alexwhitmer
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When doing script readings, grammar is always high on my checklist. 'Ah, gee, Alex, can't we just focus on the story?' is a common defense. 'What does it matter if I say ''the girl runs fastly''?'
Well, partly because 'fastly' became obsolete back in the 19c, but primarily because readers don't want to have to translate English into English. That aside, where poor grammar can really do damage is in dialogue. For example, a character whose backstory includes high education and social status, probably won't be speaking like a drunken drop-out - unless, of course, that is the writer's intent.
All I'm saying is, if you are serious about writing, or at the very least, want your characters to be authentic, then find something like 'Elements of Style', or another easy-to-read grammar book, and spend even a few moments a week thumbing through it. Pick up something on cadence while you're at it. Yes, it really matters.
Of the thirty or so scripts I read each year, 3 or 4 at best have a solid command of English. Many are simply too confusig to get through.
If you are a filmmaker that relies on others to write your material, you need to be able to recognize when poor grammar is pulling your story down, or is in conflict with a character's backstory.
Remember, poor grammar translates into poor communication of ideas and intent. An actor, light tech, costumes designer, etc., can easily misread intent if it is not clearly communicated, and the director will be fighting with the script to extrapolate the vision.
Be a shame to spend all the time and money on what appears to be a great story, only to have it come across as unrefined. Attention to detail begins with the written word.
a
Well, partly because 'fastly' became obsolete back in the 19c, but primarily because readers don't want to have to translate English into English. That aside, where poor grammar can really do damage is in dialogue. For example, a character whose backstory includes high education and social status, probably won't be speaking like a drunken drop-out - unless, of course, that is the writer's intent.
All I'm saying is, if you are serious about writing, or at the very least, want your characters to be authentic, then find something like 'Elements of Style', or another easy-to-read grammar book, and spend even a few moments a week thumbing through it. Pick up something on cadence while you're at it. Yes, it really matters.
Of the thirty or so scripts I read each year, 3 or 4 at best have a solid command of English. Many are simply too confusig to get through.
If you are a filmmaker that relies on others to write your material, you need to be able to recognize when poor grammar is pulling your story down, or is in conflict with a character's backstory.
Remember, poor grammar translates into poor communication of ideas and intent. An actor, light tech, costumes designer, etc., can easily misread intent if it is not clearly communicated, and the director will be fighting with the script to extrapolate the vision.
Be a shame to spend all the time and money on what appears to be a great story, only to have it come across as unrefined. Attention to detail begins with the written word.
a
