This is my final question, split into 3:

When it comes to revisions, how do you tackle them?
(What do you take out, put in, remove, revamp, etc)

Breaking up action blocks into "shots" during fight sequences/chases, how does it work?
(I've read scripts, but I need advice, not an example to copy)
Is it like camera angles, if so... isn't that the director's job?

How do you write a Beat Sheet, how does it function, and does it help?
(What's the point of them?  Could someone give me an example of their own?)

I've been writing a novel, so I've forgotten a ton of stuff in regards to screenplays, including how to write them, lol.

I'm also conflicted about my future in this gig, as nothing is working, probably because of the quick transition.

-Lee

Personally I write a vomit draft, then I revise it to make the story work, then revise again and again if necessary. It all depends how complicated the plot is.

Once I've done that, I write a treatment. A few sentences about what happens in every scene. I study the treatment then do a rewrite based from my thoughts of that. Then I'll list it here for thoughts before doing another rewrite.

In regards to the writing, I try to ensure there aren't any unnecessary words. That doesn't mean you have to kill flow, nor building atmosphere. The writers here that talk of not needing to build atmosphere I have no doubt have never had anything produced. Unnecessary words are words like 'there is'... they add nothing, no voice, no atmosphere... they just clutter the page with useless verbiage.

The best thing you can do to improve your writing is to read. There's nothing above that.

-J.S.

AHA!  So beat sheets are breakdowns.  Write something simple:

EXT. DOWNTOWN NEW YORK - NIGHT

Jensen chases Tony's car through a barrage of oncoming traffic.  At last pits the fleeing car, which flips over, and slams into a barricade.

EXT. THE HUDSON RIVER - NIGHT

Jensen and Sean wait on the docks.  A speedboat arrives, drops off the goods.  Jensen and Sean load the goods into a van.  Cops arrive, helicopters buzz.  Jensen and Sean take off, as cops target the speedboat.

Then, use this simple excerpt and develop it, shot by shot (as Dustin said), into a more intense multi-scene sequence of events that could be minutes of action...

Add the dialogue in/around it.  Got this down now.  Write 6 pages worth of simple ideas, then develop those 6 pages into a full-blown feature-length script.

Awesome!  I have it, I think.  Beat sheets are simple sequences.

My normal route is to have an idea about what I'm going to write well in advance.
It helps if you know what you're writing about, haha.

I have a clear vision of what it is about, who is involved, and how the whole thing is gonna end up. I guess you could call this part of the process "daydreaming" but the older I get, the less time I have to do this so the natural DMT just ain't gonna cut it.  Not that it helps in writing a script, but you can't beat a decent night sleep.

Basically, if I had an idea about a guy trapped in a room, with no way out, with a load of obstacles, I'd call it TRAPPED.  Then I'd write a basic outline to fit with the premise.  Fit accordingly.  You've already got your title. You have your logline ( sort of). And you have your idea in a nutshell.

Then, I'd write a small outline how I would like the script to move along. Just nothing major. Just something that makes ME, the author, excited about wanting to write this and devote myself to this crazy dream.  It can be as nuts as you want, or as dull as you want. It's your vision and noone is ever gonna see this but you at this point.

Then, I'd probably leave it for a few days, depending on how many of these you make.

I'd then narrow the list down.

Choose one.

With the chosen one, I'd then draw up a quick list of the main characters involved. Then make the beat list. (Quite important. But also headache inducing with my method. Stick to Save The Cat. )

Then I write a larger outline. I call this my treatment.  It's basically to fit within the beats, the story I have outlined already and just to set the scenes.  Everything in this treatment will be the zero draft.  I'll copy and paste the final version of this monstrosity into Final Draft and work from there.

Then, I'll get drunk and think I've made a masterpiece, congratulate myself on how amazing I am and think I can start dishing out advise on how to write a screenplay.

Good luck man, I think you are a brill writer, as many are here, and just take my words with a really large shower of salt. Or just overlook your script with 8 cans of beer, a bottle of cider, some atmospheric music and go for broke.  It can work, Carpenter style. Trust me.


Regarding the whole BEAT thing: I'd reccomend learning it, understanding it and using it. I'm not gonna say EVERY movie I have seen utilizes the system but it is a useful tool.  

Quoted from Leegion AHA!  So beat sheets are breakdowns.  Write something simple: EXT. DOWNTOWN NEW YORK - NIGHT Jensen chases Tony's car through a barrage of oncoming traffic.  At last pits the fleeing car, which flips over, and slams into a barricade. EXT. THE HUDSON RIVER - NIGHT Jensen and Sean wait on the docks.  A speedboat arrives, drops off the goods.  Jensen and Sean load the goods into a van.  Cops arrive, helicopters buzz.  Jensen and Sean take off, as cops target the speedboat. Then, use this simple excerpt and develop it, shot by shot (as Dustin said), into a more intense multi-scene sequence of events that could be minutes of action... Add the dialogue in/around it.  Got this down now.  Write 6 pages worth of simple ideas, then develop those 6 pages into a full-blown feature-length script. Awesome!  I have it, I think.  Beat sheets are simple sequences.

Dustin is better at description than me so he might be able to give you a proper rundown. He's also a fantastic writer, has a brilliant mind on his shoulders and despite various members having some problems with him, he is someone you can really learn from.

Beats kinda work like HEARTBEATS - the pulse of a film, if you will. When something happens exciting in a movie, the viewer is meant to FEEL something. Hence, they are called BEATS.
Of course, the whole frickin' film should be entertaining but we need time out to introduce the cause of our heart attack - the characters and actions. This is the THRILL.  Even in the most sleep inducing drama, it exists. Even in those damn repeats of Miss Marple, this staple exists.

Make it your own, do it well

A small example from a movie I just watched with the sound turned down. I was listening to music, wanted a visual... I'm not that weird...or am I?

Beat 1: HERO COP arrives at place of danger. Misfires. Lucky escape.
Middle Beat: VILLAIN taunts HERO about his lack of firing ability.
End Beat: HERO COP shoots the final shot and saves the world.

Then modify these into twelve and you have yourself a beat sheet. It's about the important factors of the script. Things that stand out and transition. Make it a smooth transition, not like the lead saying " I need to do this because - - ";

Beats are points. Points where you can rectify mistakes.
Every beat needs to have a point. Every scene needs to make a point.
If the scene is two people talking over coffee, make it dramatic somehow. Make the dialogue interesting. Make that scene count! If it means nothing, cut it. Every scene should be engaging and in an ideal world, lead to the next scene.
Every scene counts. I cannot put this point across more!

Hey Scoob,

Thanks for the insight, man.  Appreciate it.  The beat sheet for my revision of TWCD (now titled:  Cast in Stone) is around 3 pages of bulletin points that vaguely details every single, individual sequence in the story.

First-Beat:  Jensen kills David
Mid-Beat:  Jensen runs outta time
Final Beat:  The conclusion, who wins/who loses?

The coffee scene for example, as you said, in the Diner, is made dramatic by Jensen telling Becky he's hanging up his badge and they're gonna be a real family again.  

I've also been reading some oscar scripts, watching movies, and EAVESDROPPING (sorry, had to) on conversations in town, lol - just to get an idea of how people talk to one another about certain things.

The dialogue this time around will be more like Fracture's dialogue (which had the best dialogue I've ever written), it feels real, means something and doesn't rely on expository remarks to flow (unlike most of my later scripts).

I read CASINO.  I watched a few Cop movies, like A Man Apart, Deep Cover and watched the thriller "Gone" with Amanda Seyfried.  Cast in Stone now looks much stronger and feels much more natural.

Scenes in the story will flow dramatically, like Terminator 2, each scene sets up the next one, same in The Horseman (which I've now changed a bit from the WiP).

Beating it out also helped dramatically, giving me insight on scene specifics.  The treatment is okay too, managed to get down 4 sub-plots and 1 arc.  I've detailed my characters with back-stories, hobbies, pastimes, likes/dislikes and motivation.

Watched a few mob movies too, like the Departed, to get an idea of how this sort of stuff works.  Read a few files online on police investigations, how they work, what cops do when they investigate and how the CIA works.

There's also a time limit now, which makes it more thrilling, everything has to end at a specific point and time, so Jensen has his work cut out for him.

It's all looking very, very decent, and all of this is thanks to the help of members here, for assisting me with my projects and answering my questions.

-Lee