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"Revision." Taken literally, it means: "to see again." If "Drafting" is the "passion hot" phase of writing, then revision represents the "critic cold" period. Whereas flow is the ideal state when drafting, reflection and objective consideration characterize revision.
There are many ways to see our first draft scripts "again." One is through the eyes of others-client, content expert, producer, director or even spouse. That's called "feedback."
Another way of seeing first draft scripts "again" is through the writer's eyes. Only the writer relates to the shooting script as both creator and critic. It is "whole-brain thinking" epitomized. Before unleashing the media script on key readers, it's vital to revisit the script and rework it from the writer's perspective.
To do this, it's essential to put some distance between yourself and the first draft. Time provides the necessary distancing. Set the script aside to cool a few days. Return later with fresh eyes and renewed enthusiasm.
Before reading the script, put yourself in the shoes of your target audience. Go back and review the objectives of the media program that the client originally approved. Then read your script first with the audience and objectives foremost in your mind.
This is a "big picture" read through. Look for structure, flow and overall clarity. You may find the script works better after reordering scenes or segments. Perhaps you find the opening is weak or the conclusion fails to drive home the key points. Do all the transitions lead seamlessly from one topic to the next?
Focus first on fixing such structural elements. Once you're satisfied with the overall flow, read the script from a more detailed perspective. Focus, for instance, on narrative copy.
Test your copy. No matter how tight I feel my first draft, reading it aloud always reveals ways to make it better, more conversational. Reading copy aloud is the acid test-the foolproof way to detect and fix narrative problems. Revise your narration until it is lean and taut. Make it sing.
Don't forget about music and sound. The right hand column of a dual column script is for "audio." Breaking wall-to-wall narration with music or sound effects at key transitional points cues the audience that we are moving to a new topic. It adds variety and helps support your overall selection of voice. Music also conveys emotional weight in a way words cannot. Use all the tools available to you.
Read your script focusing on the visualization. As mentioned in previous columns, the topics that corporate or educational media writers deal with are often abstract. How well have you developed the visual side of your script? Have you managed to tell the story visually?
Read again looking for synergy between pictures and sound. The two should enhance and support one another. The style of the narration should match the style of your visuals. If you've called for cartoon style illustration or animation-narration will likely be written in a whimsical, humorous style.
In short, look at your emerging draft from as many perspectives as possible. Be ruthless. Keep revising and polishing. Just as with motion picture writing, a first draft corporate media script is not really a first draft. The writer has spent considerable time revising and fine-tuning. Only then is it ready for the eyes of others.
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