Aaron Sorkin - Writing Process and Style

Writing Process and Style

Sorkin has written for the theatre, film and television, and in each medium his level of collaboration with other creators has varied. He began in theatre which involved a largely solitary writing process, then moved into film where he collaborated with director Rob Reiner and screenwriter William Goldman, and eventually worked in television where he collaborated very closely with director Thomas Schlamme for nearly a decade on the shows Sports Night, The West Wing, and Studio 60 on the Sunset Strip; he now moves between all three media. He has a habit of chain smoking while he spends countless hours cooped up in his office plotting out his next scripts. He describes his writing process as physical because he will often stand up and speak the dialogue he is developing.

"For me, the writing experience is very much like a date. It's not unusual that I'm really funny here and really smart here and maybe showing some anger over here so she sees maybe I have this dark side. I want it to have been worth it for everyone to sit through it for however long I ask them to."

A The New York Times article by Peter De Jonge explained that "The West Wing is never plotted out for more than a few weeks ahead and has no major story lines", which De Jonge believed was because "with characters who have no flaws, it is impossible to give them significant arcs". Sorkin has stated: "I seldom plan ahead, not because I don't think it's good to plan ahead, there just isn't time." Sorkin has also said, "As a writer, I don't like to answer questions until the very moment that I have to." The Seattle Post-Intelligencer's TV critic John Levesque has commented that Sorkin's writing process "can make for ill-advised plot developments". Further complicating the matter, in television, Sorkin will have a hand in writing every episode, rarely letting other writers earn full credit on a script. Peter De Jonge has reported that ex-writers of The West Wing have claimed that "even by the spotlight-hogging standards of Hollywood, Sorkin has been exceptionally ungenerous in his sharing of writing credit". In a comment to GQ magazine in 2008, Sorkin said, "I'm helped by a staff of people who have great ideas, but the scripts aren't written by committee."

"You almost never see how anyone travels from point A to point C . I wanted the audience to witness every journey these people took. It all had a purpose, even seeing them order lunch. It just seemed to be the proper visual rhythm with which to marry Aaron's words. I got lucky that it worked."

Sorkin's nearly decade-long collaboration in television with director Thomas Schlamme began in early 1998 when they found they shared common creative ground on the soon to be produced Sports Night. Their successful partnership in television is one in which Sorkin focuses on writing the scripts while Schlamme executive produces and occasionally directs; they have worked together on Sports Night, The West Wing, and Studio 60 on the Sunset Strip. Schlamme will create the look of the shows, work with the other directors, discuss the scripts with Sorkin as soon as they are turned in, make design and casting decisions, and attend the budget meetings; Sorkin tends to stick strictly to writing.

"he trick is to follow the rules of classic storytelling. Drama is basically about one thing: Somebody wants something, and something or someone is standing in the way of him getting it. What he wants—the money, the girl, the ticket to Philadelphia—doesn't really matter. But whatever it is, the audience has to want it for him."

Sorkin is known for writing memorable lines and fast-paced dialogue, such as the "You can't handle the truth!" piece from A Few Good Men and the partly Latin tirade against God in The West Wing episode "Two Cathedrals". For television, one hallmark of Sorkin's writer's voice is the repartee that his characters engage in as they small talk and banter about whimsical events taking place within an episode, and interject obscure popular culture references into conversation.

Although his scripts are lauded for being literate, Sorkin has been criticized for often turning in scripts that are overwrought. His mentor William Goldman has commented that normally in visual media speeches are avoided, but that Sorkin has a talent for dialogue and gets away with breaking this rule.