Could you cut traditional animation costs by avoiding walking and other unneces-
sary and expensive action?
Does the script use the medium well? Did the writer think and write visually
throughout?
Is there plenty of action? Does it start with action or character?
If it’s a comedy, do the characters use plenty of props? Effectively?
Will it be funny enough with plenty of visual gags? Scary enough? Is there a dire
threat? A time factor to increase the tension?
Did you give the animators something to be animated throughout?
Is the action strong and exaggerated enough for the animators? If this action is for
a small screen, can it be clearly seen?
Are the characters loveable enough or interesting enough to make into toys?
Is the story magical enough that kids will want to watch it over and over?
Will it sell worldwide?
Does it set a good example for kids? If this story is for TV, will it pass standards
and practices tests?
Improve each sequence as much as possible.
Polish the gags. Are they as funny as they can be?
Improve dialogue one last time (conflict, subtext, dialogue unique to each charac-
ter, turn of phrase, rhythm, essence).
Have you kept each block of dialogue to no more than about three lines? Have
you used an amount of dialogue consistent with other similar scripts or fewer than
three blocks per page? Does the dialogue break up the action so there’s not too
much description in any one area?
Did you use strong action verbs and write with style and humor?
Have you written in the style of that genre?
Is everything very clear? To the audience? To the production staff and overseas
animators? Watch colloquialisms that might be misunderstood.
Do you have the right length exactly?
Is your script format correct? Did you use caps where they are needed?
Correct the grammar and punctuation.
Check and correct the spelling and typos. Your computer’s spell-check program will
not catch everything. The buck stops with you. (And with inflation it’s probably ten
bucks that stop with you!)
Editing and Rewriting 273
