Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.

Maybe it's because we as writers are alone so often, are so attuned to listening to the run of our own thoughts, that we find it more natural to write down the thoughts rather than the deeds of our characters. But speaking as a teacher who has spent some twenty years slogging through manuscripts where thoughts and exposition pile up as thick as the aftermath of a California mudslide, I can attest to the power of the evocative detail, gesture, or figment of speech.

And while dollars have little to do with it, the fiction writer should be asking the same question any capable film producer would ask: Is this scene truly necessary? It is the kind of thinking that, put into practice, results in a story with a sense of energy and direction.

Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.

There are vast differences between scripts and stories, of course. Few fiction writers would want to give up the opportunity to explore how the minds of their characters work, or to set aside the opportunity to provide necessary background exposition in a succinct fashion.