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Two understandable uses of “Wrylies” are when dialogue needs to be directed to a specific character in the room and it’s not obvious. The other spec script use is when the dialogue delivery has more impact at a lower volume.. A possible third, although not encouraged, is when it is not clear from the situation or dialogue that sarcasm is involved. My advice is make it clear by character behavior.
To sum it up. And, for the most part, I think most of us follow these rules.
Two understandable uses of “Wrylies” are when dialogue needs to be directed to a specific character in the room and it’s not obvious. The other spec script use is when the dialogue delivery has more impact at a lower volume.. A possible third, although not encouraged, is when it is not clear from the situation or dialogue that sarcasm is involved. My advice is make it clear by character behavior.
To sum it up. And, for the most part, I think most of us follow these rules.
Also, and IMO, probably most important, is to use a wrylie when someone speaks in an accent, or a strange way. If this happens with all certain characters, a NOTE an be used to save using a wrylie every time a new person speaks.
Two understandable uses of “Wrylies” are when dialogue needs to be directed to a specific character in the room and it’s not obvious. The other spec script use is when the dialogue delivery has more impact at a lower volume.. A possible third, although not encouraged, is when it is not clear from the situation or dialogue that sarcasm is involved. My advice is make it clear by character behavior.
To sum it up. And, for the most part, I think most of us follow these rules.
I wrote an extensive post on this recently in the screenwriting class thread. Check it out to see if you agree.
I just read a full article about wrylies being the death of specs. Who the hell really knows? I guess I'll be taking mine out from now on.
It all depends on how the wrylie is used, and dangers of overuse. If it's less than two words, really necessary, and/or done sparingly, I'm not bothered by it. It bothers me more when I read such things used as narrative action where it's the only action a character does.
Not to worry, was only if you had quick access to it. It wouldn't make me change the way I use wrylies either way, I just would have like to see the reasons for calling it the death of spec scripts.
I use wrilies how I feel like using them, not how somebody else feels they should be used. I use action wrilies quite a lot. I couldn't give two flying effs what anyone else thinks. Over analysing this stuff is the death of specs to any writer that takes heed of this bullshit. Concentrate on writing.
The most recent research (which I posted on these forums) suggest script readers favour voice and characterization above all else, even over originality or plot! Format is right at the bottm. Voice that contains profanity seems to give that voice more credence for some reason. I don't know why but the evidence suggest this.
I know research, facts, evidence, and experience isn't in at the moment and it's all opinion, belief and gut feeling but when your job is to read scripts all day, which ones stand out? The ones filled with stuff like this perhaps?
EXT: GARDEN - DAY
BOB (32) a touch of grey in his hair, beer belly hanging over his loose jeans - mows the lawn. He waves to his neighbour.
I fell asleep typing that.
In Shane Black's Lethal Weapon script he described a big expensive house as 'the type of house I'm going to buy if I sell this script'.
Which one is the script reader going to remember after a day reading scripts? The ones with style and a bit of cheekiness, or the safe, bland one? Which scripts are you currently discussing here, the ones with the distinct voice or the ones with the best plot?
Food for thought.
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I'm eating a jalapeno pepper. There was a study out a few weeks ago that shows the medicinal value for people with certain conditions. Has had some unexpected health benefits. What an amazing little thing.
I was going to add to the never-ending rules discussion, but it seemed more helpful to post about the peppers.
If you are not a writer earning a living at this and you want to enter the spec market, write a story that grabs the reader, a story that's easy to read, a story that shows some voice. Beyond websites and blogs no one will care much about format. Readers want something entertaining that isn't a slog to get through.
Only one thing is undeniably true. You will never please everyone.
If you know the rules well enough to bend them -- a critical caveat -- then trust your instincts with wrilies and other "conventions" of the trade. That is your voice and if you don't trust it and use it then you are wasting any talent that you may (or may not) have.
I remember an action script that opened this way:
FADE IN MUTHAFUCKA:
Unfortunately, the script did not deliver on this promising start. But had it actually been good enough to justify this ape-shit slug line? Then it is a brilliant rule bender.
You can hate this author's choice but you would be wrong because you would continue reading (at least for a bit) beyond a slug like this.
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