Passive verbs rape screenplays.
Notice how I phrased that. I didn’t say “Passive verbs are detrimental to screenplays” or “A passive verb is a word that lacks strength.”
No. Passive verbs rape screenplays. Passive verbs mutilate interest and gouge out positive reviews. A verb devoid of action devours a screenplay. And then rapes it.
Now I can hear some of your reactions already. You’re saying “woah, slow down” or “they can’t be that bad” or “what’s with all the raping?”
Passive verbs sedate readers. We’re not writing lullabies, we’re writing screenplays. A verb is a sledgehammer aimed at your reader’s head. And you’re swinging sledgehammer. And what’s the name of the doctor who fixed your rotater cuff so you can swing the sledgehammer?
Dr. Thesaurus.
The thesaurus lends you strength. The thesaurus lights the way and leads you when you stray from the path. The thesaurus is your best friend.
Let’s look at an example.
John Doe watches the poker game from across the bar. He sits, waiting for the dealer to give the signal.
Now imagine 120 pages of that. Snoozefest. So let’s consult our sage and mentor, the Thesaurus. And from the gospel of the Thesaurus, our screenplay reads:
John Doe leers, pupils fixed on the seven-card stud crosswise the saloon. Our silent stalker lingers, ocular chasms anchored upon the gambling deity’s forthcoming alarm, his nerves raped from anticipation.
I hope I’ve made my point.
NEXT TIME: We address the common question “how can I make the most out of film school?” The short answer: “minor in computer science.”
Aspiring Writer 