the difference of 'prose' vs. 'screenplaty'
as a 'published-for-pay' soul, and being 'educated' by my second wife on the elements of screen-writing vs. prose (she was a screen-writer, frequently optioned, with some options going to 'production'), i note some 'beefs' from
members re: 'not detailed as the novel'.
well, one must understand the 'format' of screenplays vs. a novel. 1st, the writer has absolutely no part in 'strict-detail', as a novelist---for example, while a novel Must 'paint' an accurate 'word-image' of a scene or character, over many pages, a screen-play will simply say 'setting---'small desert gas-station'---then 'action', then dialog, if any--the Director handles everything else. the director even may use a 'dialogist'---revising the writer's words.
then you have the 'format'---unless a screen-play is marketed by a major agent, or from a 'proven' 'blocbuster' writer---and even if so---it must generally be 120 pages of not just 'double-spaced' type---with few words, as the gaps between, say 'scene' and 'action' take up space, as well as dialog---Over 120 pages? 'circular-file'---
simply put, to expect a screen-play to have the attention to detail, continuity,
characterizations of a novel belies understanding of movie-making, or goals---
no novel could 'get-away' with the 'stuff' of film---
i advise such critics to download the free samples of numerous screen-writing software---then they will see 'what's-up', and understand the true difference of cinema vs. prose---and when did anyone ever read a book, followed by minutes of numerous credits? ending with the 'director'? savvy?