Hi Reader,
A few weeks back, I got a call from a producer I know asking for help on a script.
So between prepping for the BC theatrical premiere of Contamination and traveling for the screening, I was suddenly also deep in a rush rewrite on a feature-length screenplay. The producer had a hard deadline, and I had to deliver at the start of this past week.
And I’ll be honest - with the screening landing right in the middle of it all, I had even less time than I wanted.
But I’ve never missed a deadline. So I buckled down and got to work.
The funny thing about rewrites
Here’s the part people don’t always talk about:
Knowing what’s wrong in a script is not the same as knowing what to change.
I’d already given the producer detailed notes on the screenplay leading up to the rewrite job, so I wasn’t starting blind. I knew the pressure points. I knew where the pacing sagged. I knew where the dialogue was doing too much heavy lifting.
But once you’re the one doing the rewrite, it becomes a different game.
Because now you’re not just identifying issues - you’re making choices.
And if you’re rewriting for someone else, you’re also juggling two extra challenges:
- Match the original writer’s voice
- Preserve the intended tone
…while still making the script work better on the page and in production.
That’s a tightrope.
The central goal: turn a slow drama into a fast thriller
The producer loved the original concept. The story had a great engine. But the script had gotten bogged down with:
- overly-long dialogue scenes
- pacing problems
- too much exposition
- not enough purposeful action
It was meant to be an action-oriented thriller with dramatic elements. Instead, it was leaning toward a slow-paced drama with occasional action.
So one of my main guidelines was simple:
Make it move. Make it bite. Make it play like a thriller.
What changed in the rewrite
By the end, what started as nearly 110 pages was trimmed down to just over 90.
Not because I wanted it shorter for the sake of short. But because the story needed it.
Here’s what I focused on:
- Pacing: fewer stalls, faster scene turns, stronger escalation
- Purposeful action: action that changes the situation and character dynamics (not action that just looks cool)
- Improved arcs: character motivation that feels realistic and grounded
- Character relationships: clearer dynamics, sharper conflict, stronger bonds
- Character choices + consequences: decisions that drive the plot instead of the plot dragging characters around
- Dialogue trimming: cutting exposition, adding subtext, trusting the audience to connect dots
That last one was huge for this particular script. I removed as much “lecture dialogue” as I could and replaced it with moments where the audience becomes an active participant.
Because viewers don’t want to be told what to feel for two hours. They want to discover it.
The big lesson: rewrites are part of the business
Here’s the reality every writer has to make peace with:
No matter how perfect you think your script is… someone else may feel it needs work.
Often not because it’s “bad”, but because it’s not:
- marketable enough
- filmable enough
- paced for the genre it’s meant to be
- aligned with the budget or casting or audience expectations
And if the writer can’t - or won’t - make those changes?
They’ll bring in someone else.
Sometimes it’s a polish (tightening dialogue, clarifying scenes, sharpening character beats). And sometimes it’s a rewrite (bigger structural changes, new arcs, new set pieces, major tone adjustment).
That’s not personal. That’s production.
If you ever hire a writer for a rewrite…
Do your due diligence. Vet them.
Make sure they:
- understand your vision
- respect the tone and genre
- can match voice when needed
- and can make changes you’ll actually want to shoot
Because the best rewrite is the one that makes you say:
“Yes. This is the same movie… but better.”
Want help with your script or rewrite plan?
This is exactly the kind of thing I talk through in my one-hour coaching calls.
If you’re a writer, filmmaker, or producer and you’re dealing with:
- pacing problems
- dialogue overload
- unclear stakes
- character arcs that aren’t landing
- a script that has potential but isn’t “there” yet
…we can dig into it together and walk away with clear next steps.
🗓️ Book Your Session today!
As always, thanks for reading - and thanks for creating. Rewriting can be tough, but it’s also where stories level up!
Until next time, stay creative!
Neil
P.S. Check out my feature film, Spin the Wheel - out now on Tubi!
Click here to watch for FREE: https://tubitv.com/movies/100030151/spin-the-wheel
Learn more about storytelling, screenwriting, and filmmaking: www.neilchasefilm.com.
Looking for in-depth help with your script, story or film? Check out my one-on-one coaching services here.
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