Screenwriting : Writing vs. Rewriting: Where Does the Magic Happen? by Sandra Isabel Correia

Hi, Sandra Isabel Correia. Here's my rewriting process:

I rewrite as I go when I write the first draft. Rewriting as I go helps me think of ideas, scenes, etc.

I leave the first draft alone for a day, days, week, etc. after I finish writing it and rest or work on another project. After that, I rewrite the script. I break the rewrite up into categories:

– A Story

– B Story

– Subplot(s)

– Character Arc(s)

– Dialogue

– Visualize (I go through the script, visualizing the action and dialogue -- it helps me think of ideas, scenes, etc. and catch story issues)

– Track (I go through the script, tracking important things like character behavior, relationships, and items)

– And sometimes other categories

After I finish rewriting the script and making the pitch material, I either get feedback on the script or start pitching it. I skip feedback sometimes if it's a short project (short script, commercial, etc.).

Using the logline and beat sheet as guides helps me polish my script without losing its soul.

My best revision tools, much to my chagrin, are time and distance. Some of my very best ideas for revision have only occurred to me after I'd become absolutely convinced I was done with a script. But six months pass, and suddenly I get this great idea on what to do with the script. Sometimes, this idea is spurred by feedback that's months old and it's only months later that I have the psychological distance to understand the intent of that feedback. Wish I had a faster, better process though.

Maurice Vaughan your rewriting approach is truly a masterclass in screenwriting! Breaking down revisions into clear categories ensures a deep, intentional refinement of the story. Taking time away from the draft before diving into rewrites is such a smart technique, it allows fresh perspectives to emerge naturally.

I will keep this for me if I need a guideline:))

Thanks you my friend.

I never did a beat sheet. What is a beat sheet?

Some creative processes takes time Eric Christopherson, and it’s all good. It’s your process and I appreciate it. Time and distance are great advices. Thanks for sharing :))

You're welcome, Sandra Isabel Correia. Thanks. A beat sheet is a list of the key events, emotional moments, and plot points in a script. I also put notes for myself and research in a beat sheet. Here's a MasterClass article about beat sheets: www.masterclass.com/articles/what-is-a-beat-in-screenwriting

If there is magic to be had, for me it's the moment you imagine and write the first draft. What separates great writers from the rest is the tireless and practical application of "screen writing" craft in subsequent drafts. :)

... The magic happens when you read the thread I just posted called"Remove 2/3rd of the words in your first draft, with ease!"

I'll usually finish the script and then go walk away from it for a while. Maybe even do something else. It gives me some time and distance that I can go back and look at it better. I'm not so caught up with it as I am when I just finished it.

I think it truly depends on how you feel like the story you wrote on how you wanted to go and if it feels like the direction of that story isn’t the way to go and you feel like OK that’s that’s odd but sometimes the original endings or original plot lines can be a good idea to wear the character goes too I suppose.

Sandra Isabel Correia after finishing my script, I take a break and return to it later when I feel inspired. Rereading it often sparks new ideas, leading me to add fresh scenes and story elements.

I'll finish the script and ask a couple of people to read it and give feedback, then make notes and go back / tweak.

Sandra Isabel Correia For me, rewriting is essential. I treat the first draft like a raw summoning. It captures the essence, the emotion, the intention, but it’s wild and chaotic. The rewrite is where I start asking: what was the original spell I cast with this story? What was I trying to say beneath the words?

I never want to lose that. So I highlight those core beats, lines, or images that carry the soul of the piece and everything else becomes negotiable.

Biggest lesson I’ve learned: if a note keeps haunting you, it’s probably pointing to a wound in the story you’re scared to look at. And those are usually the most powerful places to dig.

Thanks for opening this space with a fantastic question, it is great to see everyone 's interpretation

Maurice Vaughan Totally, I'm actually a big believer in editing both the beat sheet and the treatment side by side before diving into any writing.

The reason is simple for me, The beat sheet gives my story structure, while the treatment gives my story soul and if those two aren’t aligned early on, the final script risks becoming either hollow or chaotic.

Editing both together lets you constantly check:

Does this moment make emotional sense? (treatment)

Does it land where it needs to structurally? (beat sheet)

I like that strategy, Chris Thane. I check my outline as I write the beat sheet to make sure I don't leave anything important out of the beat sheet. It's all in one document, so I just scroll up and down to find things in the outline to put in the beat sheet.

Sandra Isabel Correia I used to run with my imagination on the first draft. But it was a grueling process to fix the mess. Now, I've learned from a mentor to start off with the basic turning points (even before doing a beat sheet):

Status Quo

Inciting Incident

Act 2A

Midpoint

Act 2B

Lowpoint

Climax

Coda

It seems to me that once these are worked out, the stakes and complications can be fleshed out in the beat sheet, sequences, and scenes, carried by a clear through line.

Thank you, Maurice Vaughan, for explaining it. Yes, I see Celtex has it. I can use it in my Soul Mated screenplay. What stage of the process do you typically build your beat sheet in?

Hi Richard Wilkinson, Thank you for the magic. I agree. For me, the first draft of Soul Mated was the pinnacle of my writing. I am now in the fifth draft, after coverage and notes, but my heart is not the same. I get you. Do you see a distinction between rewriting and polishing?

Ah! Ah! Ah! Screenplay Writer, I loved your "editing" DMT moment. :))))

I try to get the spirit of the story down when writing and clean it up during rewrites. Right now I'm doing some major rewrites for Finding Elpis proper and I think it's flowing a lot better. I'm basically conducting plot surgery at this point lol removed a whole arc I hated and transplanted some of RoP into it (which has the added benefit of offsetting its narrative bloat--gotta love when the sequel is doing double the heavy lifting lore-wise lol), as well as doing some scene placement switcheroos and pruning the loose threads during it. Some days that's all I do without the rewrites so it's definitely a good challenge~

Thanks for sharing, Rutger Oosterhoff. Could you please share the link with us?

That's a very good strategy, Bill Albert. There is time and distance. How long does it usually take from your first draft to the final draft?

You're welcome, Sandra Isabel Correia. I typically build my beat sheet after I figure out a lot about the story, characters, and world.

Your advice, Stephen Hardy. It is very interesting. That approach appeals to me. And, I would add, we must allow the characters to speak and guide us. Thank you.

Here's the link, Sandra:

https://www.stage32.com/lounge/screenwriting/Remove-2-3rd-of-the-words-i...

Amit Kharb, that's my inspirational method. I usually write ten pages per day in six hours. When I returned the other day, I almost always improved on what I had done before. Thank you for sharing.

That's the practical way, Stephen Folker. I like that! It's like a proof of concept. Thanks for sharing :)

PS: Portugal douze points!

Thank you, Chris Thane. I really like your perspective and how you see things. My first draft of Soul Mated was an emotional healing process for me because it allowed me to write about my obstacles and overcome them through my screenplay and characters. The beauty of it is that I confronted my own ghosts. And you are right; it is fascinating to read everyone's perspectives. We are different, but ultimately, we can build a masterclass with it. :) Thanks for sharing.

Robin Gregory, I just love it, and I appreciate you sharing it with all of us. That is an effective strategy for writers because, as creatives, we dislike rules when writing. It is a mental jumble, but your strategy makes it seem easier and more practical to organize the scenes in our heads and in the script. That is very clever. Thank you, once more.

Banafsheh Esmailzadeh, I love your surgery methods. I am doing something similar. Now I have to change a scene location because the world-building on that scene does not exist (a bar in a crystal cave), and the budget will be affected. Now I need to rewrite in a different location, but with the same scene purpose. Thanks for sharing, sweetie. :)

Oh, Maurice Vaughan, thank you. So, I am missing the beat sheet. :( I have the treatment and the outline, but not the beat sheet. I need to do that! Thank you for your help.

Thank you Rutger Oosterhoff :)) I go there now. Thats a lot of points for Portugal :))

You're welcome, Sandra Isabel Correia. The beat sheet shouldn't be hard to put together if you know your story, characters, and world well enough. And you could put your beat sheet in the outline and/or treatment if you want. I put my beat sheet in both.

I know my story very well; I even sleep with it:)) Thanks for the advice, Maurice Vaughan . I will try it as soon as possible. This was an extremely useful tip for me. Many thanks.

You're welcome, Sandra Isabel Correia.

Hi Sandra - Like a building, a screenplay needs a solid foundation to stand tall. Before my first draft I spend time writing a detailed beat sheet (5 to 8 pages)... then I write the first draft... and if the structure is not working - I will rewrite the beat sheet. Once the structure is solid, then the character arcs and strong dialogue have a foundation... For me, I concentrate on structure for the first two drafts, with the later drafts now in a great place to focus on character arcs, dialogue, action sequences etc. It was Dashiell Hammett who said "Eighty percent of writing is rewriting." and I agree. Later drafts can focus on specific character voices... but early drafts are all about structure and overall theme and character arcs.

Hi Linda Shayne, Thank you so much for sharing. I am learning about the beat sheet with you guys. Your strategy is very grounded, and I believe it will be extremely beneficial to you and all of us. Acts 1 and 2 are also the most important to me. When you have the structure and have written the scenes, do you rewrite them to fit the sequence structures? Act 1, 25/30 pages, Sequences 1 and 2? I am eager to learn from you. Thank you :)

I believe the writing process is all about being willing to sacrifice. Rewriting isn't just editing — it's reimagining. As you move forward, you often find yourself telling the same story in entirely new ways. It’s definitely hard to make changes, especially when it means cutting scenes or lines you were once attached to. But over time, you grow so close to the material that you start to see what the story really needs — even if that means letting go of parts you once loved.

For me, revision is an ongoing process of better understanding the characters. The more I revisit the script, the clearer they become. I also like to look at similar characters in other films — not to copy them, but to understand how they move through their own arcs. That helps me refine how my own characters evolve and interact within the story. It’s all about staying flexible without losing the heart of what made the story worth telling in the first place.

Sandra Isabel Correia Yes - classic structure. Worth 5 dollars to invest in a used copy (13 for new) of Syd Field's classic SCREENPLAY: Foundations of Screenwriting. (not the workbook). It is short, simple and a wonderful basic guide.

No worries Sandra Isabel Correia, editing is fun like that, eh? I noticed lots of little tweaks too that needed to happen as well as little pockets for gags, too, and somewhat blatant foreshadowing that actually is narratively consistent (again, thanks to RoP's absolutely atomic lore drops lol). Now I'm basically at the new climax and trying to figure out the best way to go about it :D

I write using Fade In on my laptop, save my scripts to Dropbox.

I use the free Fade In app to read my scripts instead of doom scrolling.

I find the change of aspect ratio helps me pick out things, much like the same way printing out a script does.

The Free Version doesn't allow edits, which is fine. I simply copy the line I'm going to change, paste it in a WhatsApp message to myself.

What I discovered that can really improve my script is to dive deep, and convert the screenplay into a novel. (vomit draft will be done this month!)

But don't go by me - I'm not trying for a career as a professional screenwriter. I'm a lunatic who is obsessed by the one story I really want to tell.

So I wrote the script, the sequel to the script, and the sequel to the sequel.

Each of these has enforced and improved the others: My character needs to skill in part 3, better have a mention of that in part 1, etc. I'm able to back forwards in time.

Taking a hatchet to my original draft is my favorite part of the process. I also tend to take my time with the first draft, allowing scenes to eventually “come to me,” which provides a sense of confidence that everything falls into place, much to my satisfaction. Example: I wrote a female-driven thriller, DREAM HOLLYWOOD, a few years ago, which a manager had recently requested. I decided to give it a re-read and minor polish before sending it off. Surprisingly, what I discovered was complete enjoyment throughout the read. I became reacquainted with this journey and truly felt, “Yeah, this thing is STILL quite a ride!” I’ve never been one to suffer Writer’s Block, or to waste time stressing out over an unfinished script. My philosophy has always been, “Meh, you’ll get there. Life’s too short wasting precious time staring at a computer screen.”

Thank you for sharing, Giancarlo Escobar. I really love what you wrote: "It’s all about staying flexible without losing the heart of what made the story worth telling in the first place." That's the key. Stay flexible and never lose heart. :) I appreciate that!

Thank you, Linda Shayne for the advice. I will search for it. Because doing so has always been a game for me! A funny one. :)

I love the climax emotions. They are so good :) Thank you Banafsheh Esmailzadeh

Thank you James Fleming for sharing your process with us. I never used Fade In. It's always good to learn more. Thank you.

Bill Brock, are you finished yet? I remember that from some weeks ago. :) How is it now?

I find two perspectives have really shaped my views when it comes to writing vs rewriting.

The first is to trust in the words of Ernest Hemingway: "The first draft of anything is s__t."

The second is to follow Neil Gaiman's approach of always writing your first draft from beginning to end (he writes novels entirely by hand in a notebook) which will force you to think for a moment before writing things down, and then give yourself the freedom to let go.

In my view, the desire for perfection in a first draft is your ego talking. And you should never let your ego do the talking when you're being creative. Being too "serious" and trying to be perfect from the start kills playfulness. And playfulness is usually where you strike gold more often!

Writing the first draft from beginning to end without stopping lets you be in the moment. And if you come up with a good idea (a little speck of gold) that you wish you thought of before you got to the point you're at now? Jot it down on a page of revision ideas and then... let it go. Getting stuck trying to perfect one idea means you're not letting your brain run free. And letting your brain run free will give you even more gold to adorn your creation with later.

Everyone rewrites. If you know you're going to have to do it anyhow, then let go and have fun first.

Sandra Isabel, I'm late to the game, but here goes:

I'm more inclined to make subtle (give or take a few sentences, give or take a few pages) refinements to scripts of mine...and I like to place all my bets on developing a decent, believable outline. (Mine's actually an "outline/scene list" because I also map out what scenes I want to use.)

As long as I've found six plot points (a la made-for-TV movies and Michael Hauge's system) and come up with an outline/scene list to back up those plot points, then my first draft has a chance to resonate with (at least) readers.

My own approach to rewriting is more like CJ Walley's way of doing things...he likes to make sure his first draft is the way he wants the script to be.

And I've taken inspiration from the team of Bill Persky and Sam Denoff, a legendary 1960s-1970s TV comedy-writing duo. (They liked to make sure their first drafts were as tight as possible to generate fewer rewrites.)

Thanks so very much for posting!

A big part of rewriting, for me, depends on who wants the rewrite — and why.

There's a huge difference between revising your own story because you’ve had a better idea…

and rewriting it because someone else read it and wants it to fit their vision — even if that vision has nothing to do with your story.

Where I’m from (Hungary), the film industry is mostly state-run — and, well, let’s just say it’s a bit… despotic.

If you submit a script, you might hear things like:

“This would be great… if the rebellious main character was a quiet little bureaucrat instead.”

(Perfect for the state’s messaging, of course.)

And I’m like… wait, isn’t that a completely different story?

Doesn’t matter. Just rewrite it.

One time I actually did rewrite the script the way they asked — and when I sent it in, they replied:

“Why did you take that part out? That was the best part. Sorry, not interested.”

And I’m thinking… you asked me to take it out!

So yeah — for me, rewriting is magical only when it grows from the story’s own DNA.

A unique story is like a child — if you distort it too much to please others, you lose what made it special.

Let the story breathe. Let it evolve — but don’t let it get kidnapped.

Before I write a draft, I write an outline (5-7 pages) and a treatment (10-15 pages). I get feedback on both to make sure it's firing on all cylinders, make adjustments, and then write the script. This gives me a first draft that reads like a 3rd or 4th draft, BUT there is always some rewriting to be done. The trick is filtering the feedback.

As many will say, you should look for and focus on the commonalities amongst the feedback. Are two or more people telling you that this or that is not working? That should be a warning that you need to leave your ego at the door and get out your story-sharpening tools.

The best piece of advice I can give about rewriting, though, is - nail your concept first! That will potentially save you years of wasted time trying to rewrite an idea that doesn't work and never will. It might have some great elements, but don't be seduced by that. If all the ingredients don't add up to a great-tasting enchilada, no amount of rewriting will save it. I know - I've made that mistake. Shelve it and move on to the next one.

I am with you, Craig Estrella "Let go and have fun first." In my first draft I thought I had the best version, but now at my fifth, I know this one is much better. Thank you for your insights, and I always write when I have the perfect mood for that!. I try :)

Hi, my friend Jim Boston, you are never too late! I appreciate your sharing and how you do it. My first draft will always be my baby, but I know each rewrite will improve and be much better, always with the first draft essential to it. Thank you for sharing.

Patrick Kovács, I just loved your sharing. I never thought in that way. Rewriting a script that isn't ours, but yes, I understand what you say, and I believe it must be more challenging to rewrite someone's script, especially with those "rules." The stake here is to accept others' vision and have fun along the process. Thank you so much, I appreciate it!

That's an interesting process, Phil Parker . Usually, I do treatment after the first draft, when I have all the stakes on it. I must try to do it before to see what happens, as you do. Nailing the concept is the key and will help us to rewrite in a smooth process. Thank you for this valuable advice.

Sandra Isabel, you're so very welcome!