I’ve been reading for a contest these past few weeks.
It’s a safe bet to say that a lot of the writers who entered may not be as familiar with how to write a screenplay as one would expect.
This, in turn, inspired some helpful suggestions for any writer to keep in mind:
-SHOW, DON’T TELL. Convey the information in as visual a way as possible.
-GET IN LATE, GET OUT ASAP. Get to the point of your scene as quickly as you can, then move on to the next one. Don’t have the characters chitchatting back and forth for another page.
-GET THINGS MOVING. Get us into the story from the outset. Keep the momentum going.
-EVERY SCENE NEEDS CONFLICT. Two opposing forces; anything from a subtle gesture to an epic battle.
-INVEST IN SCREENWRITING SOFTWARE. It makes a huge difference to write something in Final Draft as opposed to Microsoft Word. This can also help with..
-FORMATTING IS IMPORTANT. If you’re not sure how a script should look on the page, there are tons or resources online with good examples. You can also read some other scripts to get an idea.
-DO YOUR RESEARCH. Fleshing out a story or characters with relevant info adds to the authenticity of the material. Don’t go for the information dump; use what’s important/necessary.
-SPELLCHECK IS NOT YOUR FRIEND. There’s no ‘e’ in ‘lightning’, nor should somebody ‘waist’ an opportunity, just to name two.
-THE THESAURUS IS YOUR FRIEND. Mix it up. There are 142 alternate words for “walk”.
-CHARACTER INTROS. Describe their personality, rather than just their height & appearance – unless either plays a part in the story. Also, their name in ALL CAPS only when they’re first introduced; NOT every single time after that.
-“HOW DO WE KNOW THAT?”. Action lines are for describing what we’re seeing transpire onscreen (i.e. action), not explaining why something’s happening, why somebody’s doing something, or what something really means. Find a way to get that across visually, or through dialogue.
-KEEP IT BRIEF (or WRITE AS IF INK COSTS $1000 AN OUNCE). While a book may allow for lengthy descriptions, a screenplay needs to be tight. Lots of unnecessary text will slow things down, and an important detail might get overlooked if it’s in the middle of a dense paragraph.
-IS THIS IMPORTANT TO THE STORY? While you may consider it vital to meticulously describe the decor of your protagonist’s living room, or every item of clothing they’re wearing, unless that information plays a part in the story, it’s unnecessary clutter.
-IS THIS HOW PEOPLE TALK? Do your characters talk like real people or like they’re in a movie? Helpful tip – read your dialogue out loud to see how it actually sounds.
-ACTIVE, NOT PASSIVE VERBS. “Bob runs” is more effective than “Bob is running.”
-WE SEE/WE HEAR. Personally, not a fan. If you have to use them, do so as sparingly as possible.
-CAMERA DIRECTIONS. Again, not a fan. I find them distracting. You don’t need to remind us we’re “watching” a movie
These, of course, are just the tip of the proverbial iceberg, but still pretty important to keep in mind.
Despite what some may say, it’s actually kind of tough to get a gift for a screenwriter. Straight-up cash – for contests and consultants, of course – is always good, but Murray in the accounting department says Maximum Z’s budget only goes so far, so that’s not an option.
So I figured, how about the next best thing?
You guessed it. Guidance!
So in the spirit of the season, here are some helpful tips that can benefit any screenwriter. One size fits all, the color suits you to a T, and they never fade, run or tear.
WRITE SOMETHING YOU WOULD WANT TO SEE
You like comedies? Write one that could make you laugh out loud. Horror fan? Transfer the scares onto the page. Your taste runs towards small indies? Bet some aspect of your life would be a great foundation for a story like that.
When you go to the movies or sit down to watch something streaming at home, you want your money’s worth. It’s up to the script to deliver on that.
The writer’s love of the material should be evident on the page. The reader/audience will pick up on your enthusiasm for the material, so don’t hold back and have at it. You’re your own target for this, so what would you want to be included in your story?
WRITE AS IF INK COSTS $1000 AN OUNCE
You want the words on the page to really flow, to make the reader keep going and want to turn the page/see what happens next, right? Which do you think will do the job better? Two lines of tight, concise action, or five of excessive prose? I’ve seen both, and prefer the former by a substantial margin.
The subheading for this could be “the more white on the page, the better”. You want to make the absolute most out of that valuable real estate on the page, so why would you want to clutter it up with thick blocks of text? Grab that red pen, put on your editor’s hat, and jump in. Could this dialogue or action be trimmed down from four lines to three? Or two?
The more the writing flows, the faster the read, and the more likely you are to keep your reader’s interest. Try to use as few words as possible; the ones that make the biggest impact.
SHOW, DON’T TELL
You’d think this was a basic one, but I’ve seen a lot of scripts that include what a character is thinking, why they’re doing something, or what something really means.
In other words, “How do we know that?” Film is primarily a visual medium, so if you’re able to present information we can see that’s part of the story, do it!
Here’s an example I like to use:
“INT. KITCHEN – NIGHT
Bob stands at the sink, washing dishes. His mind drifts to when he took Mary Lou to the prom, where she subsequently dumped him and then ran off with a plumber and now lives in Akron with four kids, a cat, and a mortgage.”
What would we see onscreen? A guy washing dishes. That backstory info needs to be presented visually, or as much as can be.
SPELLCHECK IS NOT YOUR FRIEND
True story: I once read a script that included the now-immortal line “She sets a bag of frozen pees on the counter.” I had a lot of trouble focusing on the rest of the script after that. Couldn’t tell you for the life of me now what the story was, but I will remember that line until the very end.
When a writer asks me to look over their script, I’m not just doing story notes. I check punctuation, spelling, grammar, the whole shebang. Having a few goofs is pretty standard; anything more than that and it becomes a problem. Sloppy writing makes it look like the writer isn’t taking this as seriously as they should. Not a great speller, or tend to overdo it with the commas? No problem. I bet there’s a writer within your network who’d be happy to do a polish for you.
DON’T BE BORING
Easier said than done, right? It’s a challenge to make any story interesting enough to hold onto the reader/audience’s attention, but it all starts with what’s on the page. Is the writing flat, or does it really pop? Does the writer have a handful of verbs they use over and over, or have they given their thesaurus a real workout?
Which sounds more visual and intriguing?
He walks into the room.
OR
He struts into the room.
Hint: it’s not the first one. Doesn’t imagining somebody strutting into a room feel stronger, more cinematic, than somebody simply walking in?
The script is your way to paint a picture in our minds using words, and words alone. It’s up to you to do that in as entertaining a way as possible, using the words that pack the most punch.
Does the writing in your script do that?
BE NICE TO PEOPLE/PLAY NICE WITH OTHERS
Another one you’d think would go without saying, but manners do count – especially when it comes to meeting people who could potentially have an impact on you establishing a career.
Which would you rather be – the congenial person who’s interested in what the other person has to say, is open to ideas and suggestions, celebrates somebody else’s accomplishments, and wants to help out, or the bitter, self-important person who constantly whines/complains about how they’re not getting the recognition they deserve, badmouths other writers, won’t change anything in their script because “it’s perfect the way it is”, and just makes it all about them?
This is an extremely tough business to break into, let alone thrive in, so wouldn’t you want as much support as you can get? And every other writer needs as much support as you do, so you should try to help them just as much. Plus, nice people are nicer to be around.
Also important – be honest. Don’t present yourself as something you’re not. If you weren’t telling the truth about one thing, why should anybody believe you about anything else? Sometimes all you have is your reputation, and you don’t want to have it work against you.
Those within the industry would much rather work with somebody who presents themselves as a team player, and not a diva. Cliched as it sounds, you really do only get one chance to make a first impression. Make sure that yours puts you in the best possible light, then you do what you can to keep yourself there.
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And that’s it. Hope you get some use out of these, and feel to re-gift as needed.
Wishing you all the best for a happy holiday season that involves a slice of your favorite pie and at least a little bit of writing.
Tim Schildberger is an experienced writer, script coach, and co-founder/Head Judge of Write LA – an annual screenwriting competition that gives writers a chance to get read by managers, and hear their winning script read by professional actors in LA (and posted on YouTube). He cares far too much about helping writers improve their craft and get access to the industry. Tim is an expat Australian, a former TV journalist, writer on the globally popular soap opera NEIGHBOURS, newspaper columnist, creator of a comedy/reality series for the Travel Channel called LAWRENCE OF AMERICA, and one of the key members of the original BORAT team. He has stories.
In his spare time, Tim is a husband, parent, tennis player, road tripper, and he and his family foster kittens. Seriously. Twitter: @write_la Instagram: @writela
What was the last thing you read or watched you considered exceptionally well-written?
I hate to be a cliche, but THE CROWN – sets the bar very high. Peter Morgan is a genius. His ability to tell story with and without words, and build tension in scenes that on the page might appear boring, is remarkable. THE QUEEN’S GAMBIT had similar skill, attaching us to an unconventional character quickly and effectively. Feature films – I loved PALM SPRINGS – structurally, and characters/dialogue, and who doesn’t love a woman solving the problems using education and intellect!
How’d you get your start in the industry?
I was 22, living in Australia (where I’m from), working as a trainee TV News Producer. I had applied to newsrooms, and I’d called up various TV series, asking if they needed a writer. It was a simpler time. A nightly soap opera, NEIGHBOURS, let me do a writing submission, which they liked – and said they’d get back to me. In the meantime I got the job in TV news.
One day, six months later, I got a call in the newsroom, it was NEIGHBOURS, asking if I’d like to write an episode. I said yes, obviously. They mailed me the scene breakdowns, I typed my script on a typewriter, and ten days later mailed it back. All after working a full day in the newsroom. I did that 5 more times before it all got far too overwhelming. I was the youngest writer they’d ever had, and that experience made it clear to me that writing, in all its forms, was my future.
What was the inspiration for creating the Write LA competition?
We wanted to create a competition we’d want to enter. I’ve been writing for a long time – and I’ve entered competitions large and small. I’ve won a few, placed in a bunch, and it became clear that many of the writing comps out there don’t really do much when it comes to attracting attention, gaining industry access, or launching careers. And pretty much none put any kind of focus on helping writers improve their command of craft. So our goal was to build a competition that somehow combined both goals – to help with the craft, and to help with the access.
What makes Write LA unique compared to other screenwriting competitions?
Two things I think separate us. First, we are a competition run by actual writers. So we are able to deliver a certain degree of respect and admiration for the act of actually finishing a script and entering it – that many competitions lack. We know how it all feels.
Second, we stand proudly in front of the competition. Everyone knows I’m the co-founder and Head Judge. When you email a question, it comes to me. I do an enormous amount of reading, and I’m supervising every aspect of the competition. We try hard not to be a faceless comp where sometimes it can feel like you’re sending your script into a void, and then hoping something emerges. It matters to us that the entrants feel ’seen’.
A big concern for writers entering a screenwriting competition is the quality/experience level of its readers. How does Write LA address that?
I hear that. And I’ve experienced it first hand. A script will make the Nicholl semifinals, and won’t make it out of the first round somewhere else. And then you get ‘feedback’ that feels like it was written by someone who never actually read the script, they just strung a few buzzwords together.
So to address that – I’m heavily involved in the reading process. I’ve handpicked our small team, I do a ton of reading personally, and I set pretty clear parameters when it comes to what I’m looking for when it comes to command of craft. Every script that makes it into our top 15 semi finalists will have been read by at least three different people, including me.
We give every script, whatever the genre, or whether it’s a TV pilot or feature, full respect and attention. And all the additional feedback (offered at an extra fee), is done by me personally. So there is a consistency of the feedback, and a name attached to it (mine). I’m not interested in telling anyone what I would do, I’m focused entirely on maximizing the opportunities presented by the writer and doing my best to empower them to bring the most out of their idea, and their skills.
What do you consider the components of a good script?
Gosh – this isn’t easy to answer quickly, but I’ll try. For me, a good script needs fleshed out characters, who face clear challenges – no matter how big or small. Because no matter how detailed the world, or ‘big’ the story, if we don’t care about the characters, it’s all a waste of time.
Also, an understanding of the audience experience is awesome. A writer who is aware of audience expectations, and is able to manipulate those expectations is exciting. And finally, a clear sense of where the story is heading. Not a lot of extra clutter. Just a solid story, competently and confidently told.
What are some of the most common screenwriting mistakes you see?
Misuse of Scene Description is HUGE. Using it to reveal character details an audience couldn’t possibly know. Using it to show off a writer’s literary command – with all sorts of flowery descriptions that waste time, rather than establish ‘mood’.
Not writing an outline. I’m confident I can pick within 5 pages if a writer has an outline, and a firm idea of who this story is about, and where it is going. And taking too long to dive into story. Spending page after page building a complicated world, and then finally starting some sort of story – is a big mistake. Even STAR WARS had a brief title explanation, and then we were into Darth Vader storming Leia’s ship. The rest we figure out as we go.
Lastly, I have to add too many spelling errors. A sloppy script does not inspire confidence.
What story tropes are you just tired of seeing?
A character waking up, turning off their alarm, and getting into the shower as the first thing we see. Happens WAY more often than you would expect, and is not only dull, but unwise. What viewer who sits in a darkened movie theatre wants to see a feature film start that way?
I’m also not a fan of drawn out action sequences. It’s great that you see the car chase in your head, but all a reader cares about is ‘does someone important die?’
Oh, and a shot of ‘overdue bills’ on the kitchen table. Anything but that please. I see a lot of stereotypes with the characters too – which usually tells me a writer is basing a character on another character they’ve seen in a movie or on TV – rather than an actual, flawed, complex human being.
What are some key rules/guidelines every writer should know?
What you are doing is more about hard work than flashes of inspiration. It’s less about talent than it is about grind.
Accept that re-writing is inevitable. Your first draft will not be a work of art. It’s a starting point.
Learn to receive notes as comments on the words on a page, not a personal attack, or a statement on your writing ability.
Characters are more important than story nowadays. Put the extra effort into figuring out who they are, and their emotional journey through your story.
What you are doing is brave, and awesome, and you should feel very proud of yourself every time you finish anything. Every time. Plenty of people talk about writing something. You went and did it. That’s huge and should never be ignored.
There is no work of art in the history of human beings that has ever been loved by 100% of the people. Accept that your work will not be universally loved – because humans are humans.
Details matter. Every scene matters. Every line of dialogue matters. Everything you do is conveying a message to an audience. Understand and embrace that.
Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?
I read many scripts like that! I read hundreds of scripts a year, so I regularly find writers who are very skilled. As for reasons, I would say the absolute, clear number one is making me feel something. I’m not alone in this. I tell anyone who’ll listen if you can make a reader feel a genuine human emotion, that is FAR more important and impactful than any set piece, world, intricate story or cute scene description. It isn’t even close.
Also, it’s fun to read scripts by writers who think about the audience, and work hard to provide us with a rich, enjoyable experience. I know the expression “write what you know” is popular. My version is “write what you know, but make it accessible to strangers.”
And while I’m here, let me add that writing what you know really refers to your emotional experience and authenticity. Not your time in middle school. If you can dig into your emotional space, which is uniquely yours, and share that on the page – that authenticity connects you with a reader/audience, and goes a long way to establishing what the industry likes to call your “voice”. I’d like to say it was easy to do. It’s not. But it’s important.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
I have to say I’m a big fan of custard. There’s a custard tart in my homeland Australia – a mini pie – which is very much my favorite. But as that doesn’t really exist here – I’m going to say I like banana cream, apple, peach, and I’m a big fan of all the cobblers and crumbles too. I don’t think I’d refuse any pie that came my way.
As 2020 wound down, I’d already made the decision to devote 2021 to focus on improving as a writer.
In addition to writing more, that also meant reading scripts more.
I wanted to really work on developing my analytical skills, so on the last day of the year, I put the word out on social media. Want notes on your script? For free? Let me know.
And let me know the screenwriting community did. And then some.
Out of the 75 or so people who responded “Yes, please!”, 40 actually followed through and sent their scripts.
(Apologies to those who missed out. That window is now closed)
It was a fair mix of shorts, pilots, and features.
Since I also wanted to still work on my own material a bit, it all came down to time management. How much time could I dedicate to each script? It worked out to one a day, and about three to four a week.
Granted, these were not the most extensive of notes. Some general observations, questions and comments about the story and the characters, and an insanely large amount of inadvertent proofreading.
I also made sure to preface my notes saying that these were just my thoughts and opinions, so the writer was more then welcome to use or ignore them as they saw fit.
For the most part, the reactions were positive.
“Thank you so much! These are incredibly helpful! This will really help my next draft get to the next level!”
No comments wishing me bodily harm or proclaiming I was an idiot who simply couldn’t grasp their genius, so going with the theory that they approved of what I had to say and just never got around to saying thanks. I’ll ignore this horrific breach of etiquette and still count it as a win.
There was a wide variety of genres and story ideas to be found. Some truly unique and original stuff, as well as more than a few “familiar, but different” approaches to some classic concepts.
What was probably the most surprising result was that the same comments applied to a majority of the scripts, including:
WHAT’S THE STORY?
Since there are no definitive “rules”, I do like to adhere to some strong guidelines regarding structure and plot points.
If I get to around page 25 or 30 and still don’t know what the main story or the protagonist’s goal are supposed to be, there’s a problem.
The writer was too focused on minor issues and details that the main storyline got lost in the shuffle.
SHOW, DON’T TELL, or HOW DO WE KNOW THAT?
A lot of writers would explain what something meant, or what somebody was thinking, or why they were doing it, rather than portraying it visually.
For example, a scene might say something like “Bob stands at the sink, washing dishes. He thinks about the girl he took to the senior prom and how she dumped him to run off with a plumber and now they live in Dayton with four kids and a cranky Pomeranian.”
You know what we’d see on the screen?
Bob washing the dishes.
Or “Jim was lonely.” How would that look?
There was a lot of reminding the writers that film is primarily a visual medium. Describe what we’re seeing and hearing, and let the characters’ actions and words do the heavy lifting.
A subcategory of this is TRUST YOUR READER/AUDIENCE TO FOLLOW ALONG AND FIGURE THINGS OUT
By explaining what we’re seeing or what’s going on, you’re denying the reader/audience the pleasure of figuring things out to help move the story forward.
This might also count as a subcategory, but there were quite a few times a line would say something like “Bob looks to Mary. He apologizes.”, followed by Bob’s dialogue of “I’m sorry.”
I can’t help but think this is because the writer wants to make absolutely sure that you understand what’s happening, so they tell you, and then show you.
Something else a lot of writers fell into the trap of was OVERWRITING (aka BIG BLOCKS OF TEXT)
There would be 4 or 5 lines at a time to describe what was happening in a scene, which for me, really slowed down the read. I want to be zip-zip-zipping along, not taking my foot off the gas to make sure I don’t lose my place.
“The more white space on the page, the better.” Can that paragraph of 4-5 lines be done in 3? 2?
There was also frequent use of “one the best pieces of writing advice I ever got was WRITE AS IF INK COSTS $1000 AN OUNCE” (shoutout to Richard Walter at UCLA) Try to say the most on the page with the least amount of words.
A lot of writers would go into exquisite detail about things not relevant to the plot, such as the decor of an apartment that’s in one scene, or what the extras in the background are wearing, or what happens to a random character in a fight scene. These sorts of things would distract me from following the flow of the primary storyline. I’d read it and wonder “what does this have to do with ____’s story? Would it make a difference if it wasn’t there?”
This one can’t be stressed enough – SPELLCHECK IS NOT YOUR FRIEND!
I get that not everybody has amazing spelling skills, and your eyes might be kind of tired of seeing the same text over and over again. But any writer should really know the difference between ‘your’ and ‘you’re, ‘there’, ‘their’, and “they’re”, and so on.
But when I read that a character “sets down a bag of frozen pees on the kitchen counter”, it makes it kind of tough for me to concentrate on the rest of the story. How can I think about anything else for the next 60-70 pages?
Not sure about spelling or punctuation? A lot of writers make for good proofreaders, so don’t hesitate to ask around for some help.
Friendly reminder – there is no apostrophe in “sees”. It’s “Bob sees Mary,”, not “Bob see’s Mary.” That popped up more than a few times.
Question for anybody who’s ever written a screenplay: do you ever read it out loud? Especially the dialogue. This really helps you get a grasp of how it should sound.
DOES THIS SOUND LIKE SOMETHING SOMEBODY WOULD ACTUALLY SAY?
You don’t want to run the risk of your characters sounding flat or dull, or too “movie-like”, which can include pure exposition (“As you know, I’m the wealthiest man in town who moved here sixteen years ago after striking oil in the Yucca Salt Flats, and now my twin daughters are running against each other for mayor.”) Let your ears be the judge.
Read it out loud. Host a table read (via zoom or eventually in person)
And speaking of dialogue-related items, I try to limit my use of parentheticals as few per script as possible. A lot of the time, they’re either not needed, or can be replaced with an action line (Bob points.) preceding the dialogue (BOB – “Look over there!”).
The context of what the character is saying should convey the appropriate emotion or interpretation. If I had a dollar for every time I saw the use of (sarcastic), I’d have…a lot of dollars.
As has been stated many times on this blog and throughout the screenwriting community, it takes a long time to learn how to write a screenplay, let alone a really good one. I’m not saying I’m an expert, but I believe I have a pretty firm grasp of what it involves, and am glad to have been able to offer my two cents to help other writers improve both their skills and their scripts.
Since this was a pretty significant undertaking, it was also a bit exhausting, so I don’t think I’ll be making the blanket offer again. I’m still open to reading scripts, but am taking a little time off to recuperate and recharge, so drop me a line after 1 April. Schedule permitting, we can work something out.
And a HUGE thanks to everybody who offered to read one of my scripts, which I might take some of you up on as the year progresses.
A graduate of UCLA’s screenwriting program, Heidi Hornbacher has written numerous features, treatments, and TV pilots for various independent producers. She’s judged for the Slamdance Film Festival screenwriting contest and co-founded the Slamdance Script Clinic. She and her husband founded PageCraft Writing in 2008, offering script coaching and writing retreats in LA and Italy. Her clients include Emmy winners, TV legends, and brand new writers too. Heidi has written, directed, and produced numerous commercials, music videos, and electronic press kits for various artists. She’s currently making a documentary film about British artist Paul Whitehead.
What’s the last thing you read/watched you considered to be exceptionally well-written?
There is so much great TV right now. I was mesmerized by I May Destroy You. Anything that makes me say “wow, I could not have written that” I love. I had a Kenyan writer on my podcast recently and she noted that it was a very African storytelling style which I found particularly interesting.
How’d you get your start in the industry?
I moved to Los Angeles to go to the UCLA Professionals Program in Screenwriting at night and landed a day job at Paramount as a president’s assistant. From there it was a lot of reading, learning, developing skills, and networking. And just making things without waiting for permission.
Is recognizing good writing something you think can be taught or learned?
I think this is absolutely something that can be taught. If you have a natural instinct it helps but you can train your eye to spot things the same way a sommelier trains to spot subtle flavor differences in wine. When I first started reading for contests I would decide to advance or decline a script based on instinct, but had to develop the facility to be able to say why.
Once I could could point to things like unmotivated dialogue, a major story turn being on the B story but missing from the A story, unearned reveals, etc. it helped me codify those elements into my own writing and into a teachable curriculum for PageCraft.
What do you consider the components of a good script?
Solid characters that have been well developed with clear goals, and positive and negative stakes to achieving those goals. Scenes that work hard to move your story forward and don’t just sit there. Even in a reflective moment, we should be learning something new about the character or they should be learning something about themselves. Every scene having a clear Goal-Obstacle-Outcome, or what we call GOO structure. Yes. EVERY SCENE.
What are some of the most common screenwriting mistakes you see?
Where to begin? The most offensive mistakes are things like not spellchecking (how hard is that?) and grammar errors. Those tell me you just don’t care about your craft or my time, so why should I give my time to looking at your craft?
A lot of scripts that are findable online, etc. are shooting scripts rather than original scripts so I see a lot of bad habits writers pick up from those such as writing in edit and camera direction. There should never be a CUT TO or CLOSE UP ON in your original script. Every slug line implies a cut so there’s that, and you should be able to imply the angle and type of shot by how masterfully you work your action lines.
I see a lot of over-directing the actor from the page. Unless a movement is key to the plot, don’t tell your actors how to move their bodies. The hardest thing about screenwriting is getting your head around the fact that it’s a collaborative art where we often never meet our collaborators because they come in after we’ve done our part. Learning to trust that your actors are going to bring nuance and physical choices to the role can be like a trust fall. If you’ve written the script well with clear context for what that character is going through, the actor will run with it.
What story tropes are you just tired of seeing?
Aside from lazy things like the detective with the board full of photos connected by red string, I’m really tired of societal tropes; rape as a motivator for why a female character becomes stronger, stories that only view Black characters as suffering characters. Can we move on? We’re more nuanced as humans so our stories should be too.
Then there are just overused dialogue lines like “it might just work”, “that went well”, and “we’re a lot alike, you and I.” We actually have a powerpoint with stills from over 40 films and shows illustrating how overused that last one is.
What are some key rules/guidelines every writer should know?
-As I said above: Make sure there is GOO (Goal-Obstacle-Outcome) in every single scene.
-Make sure you have a solid structure and outline before you start writing. You need a roadmap!
-Make sure you’ve done your character work and understand what motivates them. Make sure you’ve done as much work for the antagonist as for the protagonist so the struggle is worth your protagonist’s time.
-Make sure every major story turn occurs on the A storyline – the external story. Turns on the B and C storylines can serve as point and counterpoint to that but if a turn is missing from the A story, the narrative will feel off and it can be hard to see why.
-Remember that a script is a blueprint for a visual story and as such everything in it needs to be visual and filmable so no internal writing about what a character feels or remembers – we should get that from how you externalize those feelings.
-Break up action line chunks by story beat, audience focus or implied new camera angle so they stay below 5 lines each and keep the reader’s eye flowing down the page.
Have you ever read a script where you thought “This writer gets it”? If so, what were the reasons why?
All the time! It’s clear when a writer just doesn’t know the rules versus a writer who knows the rules and breaks them creatively. These tend to be scripts with thoroughly developed characters, great pacing, and a satisfying emotional catharsis. They are scripts with a clear point of view and strong positive and negative stakes for the characters. Their message is the byproduct of a great story and not the sole reason for the story (i.e. the story isn’t preachy).
How do you feel about screenwriting contests? Worth it or not?
It depends. If you do well in a big one, you can get noticed. The right ones can help you get representation or otherwise forward your project. For example, one of my clients just won the Nicholl. She will get lots of meetings off of that.
There are obviously a ton that are a waste of money but it can boost your confidence to get those laurels. There is a backside to that too. When I see scripts in competition with laurels on the title page (DO NOT DO THIS!), it’s like they’re painting a target on themselves saying “find reasons to tear this down” and, except in the rare occasion when it’s a stellar script, we always can.
How can people find out more about you and the services you provide?
Visit us at PageCraftWriting.com. Our next round of script workshops starts in January, we offer one-on-one consulting services, and check out our Hearthside Salons podcast (on Podbean and iTunes) featuring conversations with writers, directors and other creatives.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
That’s like asking me to pick a favorite sunset. I love anything fruit-related and made some killer loquat-ginger pies this spring. But I love pecan and pumpkin so I’m happy it’s that time of year. More pie!
Maximum Z 