Novels are internal. Novels use wordy descriptions to entice the reader. Novels are more cerebral than screenplays, i.e., the novel demographic is the "reader" market, i.e., the intelligent consumer. Mostly, movies are designed for a broader demographic. Studios want to grab the high school, college, and non-college demographic, i.e., they want to sell tickets to all types of people (even the moviegoers who don't read books). So -> A screenplay works via a different dynamic than a novel. The wording in a script should be impressionistic, not realistic. A screenwriter must not generate too many details. Details bog the read down. Details make a screenplay too dense. Scripts have to be quick reads . . . with fast momentum. A good screenplay is not wordy, i.e., it's not about the writer's vocabulary. A dramatic story creates a bond with its non-reading audience via the manipulation of emotion. Most screenwriters struggle to deprogram their over-writing per all they've learned in other formats, i.e., short story, novel, school essay. Therein, the best advice for a novice screenwriter is to read scripts. Then read more scripts. Under-write. Under . . . write. Professinal screenwriters could clutter their pages with too many words, but they choose not to do so . . . knowing that too many words are the "kiss of death" in a cinematic story. Sharp dialogue -> banter -> and story mechanics -> i.e., a dramatic unfolding vis-a-vis the power of emotion . . . is the key to a "hot" script. Edit, edit, edit . . . down to the essence of the emotional flow. Also, an easy way to enhance a screenplay's dramatic unfolding -> is to have the hero express his/her emotions to a friend, i.e., a movie audience wants to live vicariously through the lead character. Novel versus screenplay. There's a big difference in craft. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Doc's advice -> click on ->