The In's and Out's of Corporate Scriptwriting
by James A. Zura
GETTING STARTED:
Writing a dynamic, effective Corporate Video Presentation is really a topic worthy of a full seminar and workshop; but there are some salient keys that can help improve one's ability to create a dynamic and effective video script. After all, the script is the blueprint for the finished production. The script must clearly impart the vision set forth in the Treatment, and be a practical working tool that directs achievable results within the constraints of budget, timeline and available resources.
In order to assume the task of writing a complete script from the beginning to end, you ideally need to have all of your resources right in front of you at the same time. This prepares you for creating a workable script in advance of the actual video production, during what we call the Pre-Production phase. In terms of project management and control, it is better to have an approved script before the production team is scheduled to begin shooting.
In the real world, this is not always possible or practical. There are two basic production styles that represent opposite ends of the spectrum: the Advance Script, and the Documentary styles. With pure Documentary style, we may have a pretty good idea of how our program is going to take shape, but we're not really sure of some of the content until we get out there and to see and hear the realities of the situation.
In some cases, it may be advantageous to send a research team into the field to gather the missing information and stick with the Advance Script style. But in many circumstances, it is more practical to dispatch the production team to gather relevant footage and research at the same time. These situations include projects that require:
Information and footage gathered from the field may provide new content information, considerations, and production opportunities not previously anticipated. So, while the textbook says that shooting before the script is completed and approved should be avoided in order to maintain tight project control, flexibility in accepting input from field experiences can enhance the quality of a finished production in many cases.
If any of this input would require some alteration to the points on our Project Initiative, it's a good idea to go ahead and re-issue the updated paperwork so that everyone on the Production Team is on the same page.
Assuming that we now have all the information necessary to complete our script, it's time to move on.
The Opening
Before we get into the variables and all the different directions that our storyline can go, let's discuss the first element in a script that is generally applicable to all productions: the Opening. This is the very first thing we see and/or hear when we start the finished tape. Let's not confuse the Opening with an Introduction (Intro for short). The Intro, as it implies, introduces something- it sets the stage for the rest of the program. The Opening doesn't really say anything important. If you miss some of it, it doesn't really matter.
So, why waste valuable time with something inconsequential? Well, first of all, we're not talking about a lot of time- usually between five and twenty seconds. And here's the purpose: picture yourself with the finished product in the typical viewing circumstance. You pop the tape in, hit "play", people in the room are still shuffling around, finishing up a mumbling conversation, staring out the window. You need a brief preamble of sound and visuals to remind people to "shut up and pay attention- something important is about to begin!"
There are several types of useful Openings, including:
The Opening for Monday Night Football cost ABC close to a million bucks to produce. Complete overkill and not even worth considering as a Logo Opening for most Corporate video projects. Fortunately, though, a very nice computer-animated graphic complete with texturing, light sources and a gleam-wipe can be realized for a fraction of a percent of that figure.
A little creativity and skill in producing a Montage Opening can set forth a high-quality image by incorporating "matching action motion dissolves" with the edits on the beat of the music. What does this mean? The action of each scene, whether it is the subject moving, the camera moving, or both, leads the eye into the action of the next scene, enhanced by a dissolve (or cross-fade) as a transition. It certainly helps to have these scenes planned (or "blocked- a term we'll get into later) before shooting, as opposed to trying to find the right footage as an afterthought.
A Sketch Opening (as with any sketch or role-playing scenario in the body of the video) demands credibility in the writing, experience in directing, believability in the performance, and technical artistry in the editing. These attributes are the difference between an amateurish attempt that looks corny, and truly compelling opening segment.
The Title:
Every video project should have a Title, if for no other reason, to distinguish it from other productions. But there's a better reason: a compelling title helps to pre-sell the viewer- it's part of the appeal of the production. Sometimes a brilliant title is the first thing that's thought of, and everything else works to support its promise. More typically, it is fleshed out during the creative process.
The story of the successful firefighting activities in Kuwait was titled, "Bringing Back The Sun." A perfect title for that project. "Crossing The Sahara" certainly sounds like good viewing fare. It's the story of Anadarko Petroleum Corporation's exploration activities in Algeria, and their innovative solutions to the unique, challenging problems they faced when operating in an extremely harsh environment. "Creating the Future" was an employee-communications video about the company's new appraisal and compensation process, and how the employee plays a key role in creating their own future.
A creative alluring title can add to the perceived value of a production, but care should be taken not to stretch the idea so far that it sounds contrived. A company-image piece that summarizes Anadarko's activities and philosophies is called simply and boldly, "This Is Anadarko". An employee training program that explains how expatriates working overseas are protected from variances in tax liabilities is called "Conoco's Tax Equalization Program." A very direct mission and a very straight- forward title. Any attempt to flower it up with a cutesy title would have been inappropriate in this case.
As with so many other subjective decisions, it just boils down to good judgment. And speaking of judgment, where do we put this title, anyway? Well, how about at the beginning. That's generally a safe place to put it. It can be incorporated into the Opening, between the Opening and the Intro, as part of the Intro, or after the Intro. Or maybe we're building a cadence where a conflict is set up, and the title is part of the resolution, appearing a couple of minutes into the program. But we're getting a little ahead of ourselves. A little later, we'll take a look at some actual productions where you can see a variety of title placement decisions.
The Intro
As mentioned earlier, the Intro is a segment that sets up the message of the video. The Intro is either an independent module, making a statement apart from the flow of the rest of the script, or it represents the starting continuity of our program. The Intro as an independent module is usually one of two things:
This type of Intro should be kept brief (30 seconds to two minutes) and remain consistent with the production values and style of the rest of the production. Sometimes it is desired to put this segment in front of, or in place of, the Opening. Again, we defer to good judgment- which, of course, includes sensitivity to who is signing off on the project.
When the Intro begins the continuity of the Script, it's time to begin our discussion on the Script Concept.
The Script Concept
The most basic form of storytelling has existed for thousands of years, and has manifested through books, plays and movies. This classic structure is: Setup, Conflict, and Resolution. Here's the situation, here's the problem, and here's how we can fix it. It's a tried and true approach, because it sets up familiar expectations- all we have to do is deliver.
One of our recent projects was for Anadarko's involvement in geothermal energy production. They wanted a marketing tape to show to community groups, government officials, investors, and to employees so that everyone could be familiar with the company's activities... The setup, conflict, and resolution unfolds as such: everybody uses energy- demands are high. Problem is, traditional energy resources are finite, and using them causes pollution. Ah, but here's a clean, replenishable, and underused resource; and here's how we're putting it into action.
Similarly, there's the "Past, Present and Future" approach. Here's the way things used to be, here's the way they are, and here's how they're going to be. A project for the M.W.Kellogg Company illustrated that for close to 100 years, the demands on lubricant manufacturers remained pretty much the same; with emphasis on quantity and reliability. Today, the marketplace demands impeccable quality, more exacting standards, and a broader line of specialty products. The future belongs to lubricant manufacturers who can meet and exceed these demands. And the M.W. Kellogg Company is uniquely poised to design, build, or upgrade lubricant plants that will service these needs well into the next millennia. (See Script Example Team Lubricants).
Now this doesn't work for every situation. Sometimes there really is no obvious conflict to resolve, or forcing this method might seem contrived. Another method is "Tell them what you're going to tell them (and why they should be interested); then tell them; then tell them what you told them (and why they need your products or services)."
Another way to do it is the "Metaphor" approach. You can borrow the courage, innovation, or persistence from other walks of life (past or present), and apply it to the spirit of the company as it breaks new ground into undiscovered territory. With approaches like this, or with humor and drama, it is essential to have an experienced team in the creative and production processes, to ensure believability and impact.
You can also use the "Checkerboard Plot" routine- where you bounce back and forth between two different sets of people, locations or circumstances. You can have two people at Corporate Headquarters and two people in the field, both concurrently working on different aspects of the same final result. You can also combine different major and minor themes. You know you've really latched on to the appropriate format when the script begins almost writing itself effortlessly. You know you're on the wrong track if you find yourself forcing things.
Style
The spoken word is different than the written word. Many people can do a wonderful job of writing for print: marketing pieces, internal communiqués, and training manuals. But this does not necessarily translate directly to conversational narrative. We're not out to perpetuate street-talk, but our goal is to communicate. And when we speak candidly and extemporaneously with other people, we often speak in incomplete sentences. And we don't always employ the kind of structure that a grammar teacher would be pleased to diagram.
The problem is, when this "conversational" style is reduced to print, as in our script, it often doesn't look like a business letter. Then somebody "corrects" this style, and we end up with a stilted, verbose script. And we expect our Narrator to read it in a conversational, believable style. Fortunately, professional narrators are accustomed to this, and they can usually make even a legal document sound appealing. But wouldn't it be better just to make it "user-friendly" to begin with? Often you'll find that what looks good on print, doesn't come out of the mouth so easily.
When developing the narrative for a script, read it into a tape recorder, then play it back. You'll be amazed at the things you'll want to adjust. Here's a quick example where the spoken word can actually sound like it has an unintended meaning: In print, this line looks perfectly fine. "Plans were submitted for bidding, drawing approval, and final design." Now when you say that, you can end up with, "Plans were submitted forbidding drawing approval and final design." Whoa! These plans were so shoddy that drawing approval and final design were forbidden! Now, two ways around this are to have your narrator create an inordinately long pause after "for," as in "Plans were submitted, for...... bidding, drawing approval," and so forth. Or you can just adjust the script to say, "Plans were submitted to facilitate bidding...." and so forth
Getting It Written
We suggest four basic stages in the scriptwriting process: First Run, Editing, First Draft, and Rewrites. When you begin the writing process, a good way to avoid writer's block is not to think about creating that intimidating First Draft. Just think of it as a First Run; your own internal first go at it. This is where the old adage :"don't get it right, get it written" is very helpful. Begin with the Script Outline and fill in the narrative that explains each topic. Liberate yourself from any constraints- this version is for your eyes only. Be experimental. If you're having trouble creating narrative for one topic, leave it alone and go on to another area you feel more comfortable with. Don't worry about length at this point- it's fine to over-write.
Again, there are many courses that illustrate the creative writing process to a level that is beyond the scope of what we're accomplishing here. The intent here is to provide some useful keys to help you with your work. Once you've achieved a narrative that you're comfortable with for most of your Outline, it is useful to establish or verify an imaginary line called the Level of Detail. It may be necessary to consult with other members of the Production Team to reaffirm this line. Then you can begin to edit your First Run, discarding or simplifying areas that exceed the level of detail.
This editing process will probably include a lot of internal rewrites. What we consider to be the First Draft of a script is a reasonably polished version that is ready for the first presentation. The ultimate goal in a completed script is : Every scene and every sentence in a finished script should have a definite function. Economy is the key. We don't have all day to make an impression on the viewer, so if the script is running long, it's time to get brutal. Every element should be motivated by the need to serve a purpose.
Go back to your Treatment, the Viewer Profile Worksheet, and the Topic List. Now check each sentence and scene in the script and scrutinize it. Does it contribute to the communication of one or more of these elements? If not, see if any of the following apply:
If it doesn't pass any of these tests, it probably doesn't belong in your script. What about redundancies? The simple test is, is this point so important that it bears repeating? If it is, then can it be rewritten in a fresh manner?
Now, here is a major key in the objective of script approval: Whenever possible, you should avoid sending a script up for approval unescorted, and only in printed form. It really should be accompanied with a "live" read. Intonation, inflection, and the "spirit" of the interpretation can change a flat printed piece into a living, breathing entity that doesn't just spell things out- it communicates! In some cases, it is possible and advisable to have a professional narrator do a read on an audio cassette tape, to be presented in conjunction with the script. Visual aids such as photographs and storyboards can enhance the image.
Script Format
The widely accepted format for writing a script is with the Visual directions on the left-hand side, and the Audio on the right. The first draft of a script will usually have only basic visual directions- it is usually up to the Director to fill in the details. The audio consists primarily of Narrative. This column will also have indications for music segments, effects, and ambient sounds (also known in the trade as "nat" sounds- "nat" for "natural." As the project evolves, the script expands and includes scenes, sub-scenes, with columns for location, props, talent, transitions, shooting itinerary, and so forth. This is part of the Pre-Production duties of the Producer and Director.
©1992 James A. Zura. All Rights Reserved.
For samples of completed scripts, see the Writing Page
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