Decluttering for Scribblers

With the kids out of the house, I've been on a mission to declutter, sorting through old sci-fi novels, comic books, and even my trusty D&D manuals from editions past. Gamifying the process has made it more engaging - seeing how much I can donate or toss before the end of whatever podcast I’m listening to.

As I dove deeper into different decluttering methods, a lightbulb went off. Too many scripts sag under the weight of pointless scenes, overexplaining dialogue, and characters that don't pull their weight. 

If Marie Kondo can transform our closets, why can’t we apply that magic to our screenplays?

Spark Test Your Scenes (Hat tip to Marie Kondo) 

Take each scene and hold it up to the light. Ask yourself, "Does this scene reveal character or push the plot forward?" If the answer is no, you know what to do. Axe it.

Look at John Wick. Every single scene in that flick either propels Wick closer to his goal or deepens our understanding of his world. There's no wasted space. That's what we're aiming for.

48-Hour Rule (Inspired by the One-Year Rule) 

In decluttering, if you haven't used something in a year, it's probably safe to let it go. We can apply a similar principle to screenwriting. Here's the rule: if a plot point, character trait, or story element vanishes for more than 48 script pages, it's time to cut it loose.

Remember, screen time is precious. If an idea disappears for too long, the audience will forget about it. Or worse, it'll feel random when it pops up again. Breaking Bad was a master at weaving plot threads together so that nothing felt like it was gathering dust in storage. That's the standard to strive for.

Five Lines or Less (Shout-out to the 5-Minute Declutter) 

If a home decluttering task takes more than 5 minutes, it often doesn't get done. In screenwriting, we can use a similar tactic to tighten up our scene descriptions.

Try this: set a timer for 5 minutes. Find any block of scene description that's longer than five lines. Your mission? Cut it down to size.

Remember, screenplays are a visual medium. Overwritten descriptions slow down the read and drown the actual action. Think about how Mad Max: Fury Road conveys action, it's all quick, punchy bursts. That's what we're going for.

Combo Those Characters (Inspired by the Four-Box Method) 

I’ve got enough room in my office/garage to sort items into four boxes: trash, give away, keep, or relocate. We can use a similar method to declutter our cast of characters.

Here's how it works: put all your supporting characters in a box. Now, look at each one. If their function could be fulfilled by another existing character, it's time for a merger.

Look at The Dark Knight. Every character in that movie is there for a distinct reason. No one's just taking up space. That's the goal.

Dialogue Isn't a Dumping Ground. 

My wife often tells me to avoid using our home as a storage unit. I prefer to think of it as a museum, but I get the gist of her note. Well, the same goes for dialogue in your script. Clunky exposition? Chop it out or rework it until it feels natural.

Inception is a master class in this. It explains enough to follow the plot without getting bogged down in the details. If a character is telling instead of showing, it's time to rethink your approach.

The "Just in Case" Myth (Inspired by the "Just in Case" Clutter Trap) 

Homeowners too often hold onto items "just in case" we need them someday. But more often than not, that day never comes. The same trap can snare us in screenwriting.

If you've got a scene that you can't quite bring yourself to cut, ask yourself: if I delete this, does the story still work? If the answer is yes, it's time to let that scene go.

Remember Jaws? Entire subplots got tossed out of that script. But the movie is stronger for it. Don't be afraid to throw those "just in case" scenes overboard.

One In, One Out

My Amazon addiction inspired this rule at our house: whenever you buy a new item, one old item needs to leave. Let’s apply this to our screen scribbling –

When you're seized by a brilliant new plot twist, go for it. But here's the catch: you've gotta remove an existing story element to make space.

The Matrix saga is a perfect example. Each movie introduces mind-bending new ideas, but it keeps the story streamlined by ensuring each concept builds on what came before. That's the sweet spot. (We could’ve used this one on Lost, but hey - I was only there for season one.)

The Rule of Three (Adapted from the Closet Organizing Rule of Three) 

In closet organization, if you haven't worn an item in the past three months, it's probably safe to let it go. In screenwriting, we can apply a similar rule to subplots.

If a subplot doesn't connect to your main story in at least three meaningful ways, it's on the chopping block. A subplot needs to earn its place in your script.

Take The Godfather. Its side stories don't just chill on a beach in Cabo; they work hard to enrich the main plot. That's what we're aiming for. If a subplot can't justify its existence, it's gotta go.

Sharpen Your Focus 

Decluttering your screenplay isn't about stripping it to a skeleton. It's about sharpening your story's focus. Every scene, every character, every line of dialogue should serve a clear purpose. If it doesn't, it's just taking up space.

Remember, writing is rewriting. And sometimes, the best rewriting happens with the delete key. Grab your scalpel and get ruthless. Then tighten the screws on every page. That's how you elevate your craft from mediocre to magnificent. Remember what Papa Hemingway said:

"There is nothing to writing. All you do is sit down at a typewriter and bleed."

Now, get back to bleeding! No more excuses! ABD! Always! Be! Decluttering!