You only get one chance to make a good first impression. And that also applies to a screenplay. If your first page doesn’t make us want to keep going, why should we? Chances are the rest of it is exactly the same.
The first page is your golden opportunity to start strong straight out of the gate. Show us from the absolute get-go you know what you’re doing. A lot of the time, I’ll know by the end of the first page what kind of ride I should be expecting.
Just a few items to take into consideration.
-First and foremost, how’s the writing? No doubt you think it’s fine, but face it. You’re biased. You want a total stranger to find it fault-free, so look at it like one. Is it easy to follow and understand? Does it flow smoothly? When I read it, do I get a clear mental image of what you’re describing? Does it show, not tell?
-Is there a lot of white space? Are your sentences brief and to the point, or do they drone on and on with too many words?
-Do you point the reader in the right direction and let them figure things out, or at least get the point across via subtext, or do think it’s necessary to explain everything, including what a character is thinking or feeling? Yes, that happens on the first page.
-If your protagonist is introduced here, are they described in the way you want me to visualize them for the next 90-110 pages? Does a notable physical characteristic play a part in the story? Are they behaving in such a way that it establishes the proper starting point for their arc? Are they doing something that endears them to us, making us care about them?
-If your protagonist ISN’T on the first page, does it do a good job in setting up the world in which the story takes place? Do the characters introduced here play any kind of role later on in the story?
-Are there any mistakes regarding spelling or punctuation? Are you absolutely sure about that? SPELLCHECK IS NOT YOUR FRIEND. A team does not loose a game, nor do I think they should of won either. Two glaring errors that your software will not recognize. But a reader will.
-Does it properly set up the genre? If it’s a comedy, should I be prepared to have my sides ache from laughing too hard? If it’s a horror, should I make sure the lights are on, even if it’s 12 noon? If it’s a drama, should I have a box of tissues within arm’s reach to dry the expected river of tears?
-Do your characters sound like people saying actual things, or are they spouting nothing but exposition and overused cliches?
Not sure about any of these? Read it over with as critical an eye as you can muster, or get help from somebody within your network of savvy writing colleagues. DO NOT go to somebody who doesn’t know screenwriting.
Think I’m being overly critical? Ask any professional consultant or reader, and I bet 99 out of 100 will say they know exactly what kind of read they’re in for by the end of the first page. And number 100 might also agree.
Then again, there’s also the possibility that the first page could be brilliant and it stays that way until FADE OUT.
Or the wheels could fall off anywhere between page 2 and the end.
Your mission, and you should choose to accept it, is to make that first page as irresistible as you can, grab us tight, and not let go. Make us want to keep going. Then do the same for page 2, then page 3, page 4, etc. Make us totally forget what page we’re on.
Take a look at the first page of your latest draft. Does it do what you and the story need it to?
-Didja notice the spiffy new look? Had to make some behind-the-scenes changes, and this is the result.