As an actor, I hate reading (beat), especially in dialogue. What do I do? It's the writer's job to tell the actors what to do.

Action shows character. These little bits can give great insight to how characters deal. Pacing, smoking, crying, fainting, etc.

Bottom line is, be creative! We're writers! Stop using (beat).

According to Aristotle, the correct format is: (after an aposiopesis).


Ghostie

Funny

Sure, action works if there is action, and one should always write action instead of the nebulous beat. But what about all those times when there is just a notable pause? Happens all the time in real conversation. Two people are talking about something and they hit some point where nothing happens. There is no action. They don't do anything, but that break in everything is absolutely necessary. What do you suggest in those instances?

Nothing happens for a few seconds?

Beat seems to be the best and shortest way to write such a thing. Stick it in a parenthetical, and you further notate that the focus never left the speaker, but for just a second, the whole world stopped to consider what was just said. If you hate reading the word "beat," perhaps you should consider a new line of work, since that's a really odd vice for an actor. And that word will always be with us for the very reason I described above.

You're not alone in hating beat. In fact I know a little Irish fellow from New York who shares the same passion, read below. ;D

http://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-screenwrite/m-1326418565/s-new/

If it helps the story then I'll throw it in, but I don't like to see a lot of it.

I go with the ellipses if someone's having a moment...

Or, I go with the dash/dash dealy if someone loses the proverbial conch shell --

Like so. ;D

(beat) Doesn't make me pause when reading down the page...
So, I tend not to use it in my own writing.

Regards,
E.D.

Using (BEAT)

Is little more than lazy writing.

That moment can be filled with creative interaction rather than the writers own pause button.

Shawn.....><

If it is a pause, especially in dialogue our a phone conversation, then show the other line. We can do that in movies.

One beat is okay but page after page of (beat) gets tiring, at least for me.

There are times when it is lazy writing. There are times when it can be used as a crutch when something else would be far more effective. But like so many other "despised" screenwriting "taboos" (like the dreaded "we see"), they have their time and place once in a while. There are some very specific circumstances in which this is the singular best way to tell a scene. If it isn't done on every page and isn't done when something else is clearly better, then it works. Hence, I advocate the better alternatives every time, but I would never cut it out entirely.

There will always be a place where some of these taboos are the absolute best and shortest way to write something.

I agree with you that once in a while, when there's no other option, that (beat) is okay.

But only as a last resort.

And this thread has nothing to do with any particular script posted. It seems to be a problem in a few scripts posted lately.

Hey Ab

Seen you posted this question on MP as well.

I don't have a deep history of writing, in other words the underlying reasons for why things exist within protocols, so i write as how i see it played out...but seek to learn as i go along.

So my rules, until altered are;

I use...for a short mid conversation pause. Someone reflects, a short pause.

i use (BEAT), rarely, when i want a line to hang. In other words, for there to be a moment beyond the last sentence and then the same character carries on. Not always, as there could just be a split in the dialogue, but on occasions i feel this is more appropriate.

i use -- for when a character is cut off mid sentence.

I am also happy to change my rules, but thats what i use at the moment.

I am no actor. Never have been or tried, so I don't think in the same way. But i wonder why you have such an issue over a hint of direction, when a script is usually full of direction as to how the writer thought a scene would develop.

Useful debate

all the best 8) 8) 8)

Crap.  I have to go back and read some scripts all over again now.  I didn't know (beat) meant to pause.

I thought it meant the background music started playing.

I thought it meant that whoever's dialogue box it showed up in, started beating the shit out of whoever they were talking to.

I'm saying this with a smile, so don't take it as hostile, AB. Just messing around!

(beat)

Who gives a rat's... what the actor thinks? Whoever writes the shooting script can deal with that. We're writing for readers...people who will hopefully be interested in the script. The actor is not our problem. Unless he's buying the script!

What is important to us is that the reader read the story the way we want him to.

That said, yeah, too many of these is annoying.

AB, hope you know I'm kinda teasing. Kinda. Have a good one!

Quoted Text You're not alone in hating beat. In fact I know a little Irish fellow from New York who shares the same passion.

You don't mean me Steve cuz I lovvvvvvvveeeeeee "beat" ;D ;D

I love the whole lazy aspect of it, rather than create more feelings as it may in a character, by writing an emotion rather than pause.

Mark

Quoted from dreamscale I thought it meant that whoever's dialogue box it showed up in, started beating the shit out of whoever they were talking to.

But what about a (beat) in a monolugue or Voiceover?  Are they supposed to beat the shit out of themselves?  (I guess it worked for 'Fight Club', huh?)

I can see how it could be invasive, but no ones breaking any rule that I know of using it. People, may use it incorrectly, but learn as we go

BLB

To beat or not to beat...

NELDA (V.O.)
Shouldn't have mentioned his nasty drawers
    (beat)
Now he’ll want me to wash them.

Or without beat...

NELDA (V.O.)
Shouldn't have mentioned his nasty drawers
    (grimaces)
Now he’ll want me to wash them.

One allows the actor to practice his/her craft while the other directs.

My main problem with (beat) - you lose a line to it.  For me, ... works well.  Though, that can be overused, too...  :)

XL - nice touch regarding replacing (beat) with an (emotional reaction.)  You wanna keep those light too, of course.  But when it's needed, at least it's the more colorful option...

Wonk, Really don't know if it was a nice touch or not? One directs, the other offers the actor or director an opportunity to do their thing.

I'm neither an actor or a director. And as a scriptwriter, I just got here, so I don't know what I don't know. Heck, I'm still trying to get one lousy three page episode written.

John

Wait a minute. I am an ACTOR...I starred in an infomercial about a laser putter. It had a $1M budget.

PGA Craig Stadler got paid and I didn't even get the ham sandwich they promised me.

Quoted from XL To beat or not to beat... NELDA (V.O.) Shouldn't have mentioned his nasty drawers     (beat) Now he’ll want me to wash them. Or without beat... NELDA (V.O.) Shouldn't have mentioned his nasty drawers     (grimaces) Now he’ll want me to wash them. One allows the actor to practice his/her craft while the other directs.

I don't think you need a beat or a grimace. I think the meaning is inferred well enough. Actors practice their lines every which way. I think you should avoid telling them how to deliver lines as much as possible.

Quoted from Breanne Mattson I don't think you need a beat or a grimace. I think the meaning is inferred well enough. Actors practice their lines every which way. You should avoid telling them how to deliver lines as much as possible.

I agree with Breanne here.

"(grimaces)" is actually an "action wrylie", and IMO, these should be written as action lines.  Otherwise, one could write their actions by using multiple action wrylies, over and over again, and no one wants to see that.

I am far from against using BEAT in dialogue, but only when there is moire than a slight pause (...) and it's necessary for the feel and meaning of the dialogue - and that doesn't occur very often, or at least, shouldn't.

Quoted from Breanne Mattson I think you should avoid telling them how to deliver lines as much as possible.

I'm with Breanne on this one. Us screenwriters need to allow the actors some space to breathe if you like. They need to be able to put their own personal touch to the screenplay, rather than just doing everything the way we say they must.

By all means, use (beat). I think that replacing it with an action, yes, gives our audience a good idea of what sort of character we're dealing with, but at the same time an actor may have a different interpretation of certain bits of dialogue. If they aren't allowed to explore their characters by themselves, what's the point of having actors in the first place?

How do readers feel about beats?
I suspect on a spec screenplay the director, producer, and secured locations are going to sweep away many of the fine nuances of beats and such on multiple rewrites.


Readers want a show.
Directors and producers want brass tacks.
They have similar & related but different needs.

But for a laugh, use find and replace on all (beat)s to (fap, fap) and the story becomes a comedy.

I think the reason (beat) was introduced to screenwriting was because of the director.  In the production of a screenplay or even a stageplay timing is important.

During a production, I can see a director needing to communicate to his actor that he needs a (beat) at this particular spot - for any number of reasons.

In a spec script, story is important.  You'll have a hard time convincing me that (beat) has any story significance - ever.    

Quoted from mcornetto In a spec script, story is important.  You'll have a hard time convincing me that (beat) has any story significance - ever.

Seconded.

I'll never use BEAT in a spec.
Tend to create a moment like...

Joe ponders her words...

OR just use ellipses. ;D

Regards,
E.D.