Here we explore five of his cinematic trademarks and common themes found in his blockbuster resume. 

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Sense of Spielberg Wonder Through Transitions to Wide Shots 

Because Spielberg’s filmography spans more than fifty years of directing movies in multiple genres and subgenres, we sometimes have to differentiate his common themes and trademarks from decade to decade as he evolved as a cinematic storyteller. However, there’s at least one common theme and trademark of his work found in all of his movies — moments that showcase a sense of wonder and catharsis through cinematography.

Visually, all Spielberg movies utilize visual camera placement and movement to create an added sense of wonder. Spielberg's most wonder-filled work came early in his career with films like Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, and E.T. the Extra-Terrestrial. 

Wonder could be achieved through intimate moments between characters, yes. 

But true wonder in Spielberg films encompasses his transition from intimate or close shots to extreme wide shots that showcase the context of the story’s world. 

In Jaws, the quest to kill the shark begins through a wide shot that transitions from the camera moving through a shark bone jawline as we watch the Orca head out to see. It gives us this sense of wonder as the characters embark on their journey. 

In Close Encounters of the Third Kind, Spielberg offers multiple wide shots in his film that encapsulate the wonder the characters are experiencing. We see their reactions (more on that below), but it’s not until Spielberg transitions to a wide shot that we experience the sense of intended wonder of the moment. 

In Raiders of the Lost Ark, the wide-shot perspectives create wonder in the audience as we see the scope of the story ever-present.

In E.T., we feel the wonder and awe of our own world through E.T.’s as he first lays eyes on the expansive valley of suburbs. We wonder who within that valley E.T. will turn to for help.

In Jurassic Park, it’s not enough to just see the first dinosaur in the park. The wide shot of Grant’s first sighting is impactful for sure. But it’s not until we experience the true welcoming to Jurassic Park that leaves that sense of cathartic awe.

As he grew as a director, he tackled more serious subjects not involving fantasy, adventure, and outright wonder. Yet he still managed to create wonderment by using wide-shot transitions. 

So when you watch Spielberg’s movies, pay attention to these wide-shot transitions and how they create a sense of wonder, even if during some of his movies that wonder is horrifying (Schindler’s List).

Spielberg Fraction

In Spielberg's movies, he's got this other way of kicking things off — he plays with fractions. Not the math kind, though. These are tiny glimpses and snippets of things that make you ponder their meaning and compel you to continue watching. It could be a specific piece of clothing, a cool weapon, or just some random visual elements we don’t understand yet but will. He throws them at us in bits and pieces, making us scratch our heads and wonder how the heck these things fit into the character or the story that's about to unfold.

At the beginning of Raiders of the Lost Ark, as the opening credits roll, we catch these quick glimpses of this mysterious figure.

• We don’t see his face.
• He’s checking a map.
• He’s examining poisoned darts.
• His companions hang on his every step.

It’s not until something threatens him that we see his face.

In the opening of E.T. the Extra-Terrestrial, we catch glimpses of something or someone in the woods. We see brief visuals of an alien ship. And we see silhouettes of individuals searching for that something or someone — particularly a man wearing a set of keys. All of these fractions engage our interest and are later answered as the story goes on.

In the opening of Schindler’s List, we see fractions of Schindler. 

• Suits
• Ties
• Cufflinks
• Money
• Cigarettes
• And finally, his Nazi pin.

We also notice the reactions of people as he walks through the room. He’s a man of power and respect. 

We also get this experience of Spielberg fractioning during kinetic suspense scenes as well. Look back to the moment when we first saw the T-Rex. The introduction started with fractions of visuals leading to the big reveal. 

Even the opening of the film played with our imaginations and wonder by way of fractions. 

And when we go back to Spielberg’s first blockbuster hit, Jaws, we see the results of Spielberg fractions. Now, we also know that this wasn’t initially Spielberg’s intended choice. Because of production issues with the shark, Spielberg was forced to show us less and less of the shark throughout the film. But this fractioning actually added to the tension and suspense. 

Read More: Screenwriting Wisdom from Steven Spielberg

Spielberg Family Dynamics

Once you watch Spielberg’s autobiographical film, The Fabelmans (Spielberg was Oscar-nominated for Best Picture, Best Director, and Best Screenplay), you’ll understand why his films often presented the dynamics of family. It’s the most common (and probably the most easily recognized) theme within most Steven Spielberg films — especially the early ones.

Spielberg came from a broken home. He dealt with divorce. He had issues with his father while also holding him high. He loved his mother very much. Everything we see in The Fabelmans is represented in most of his movies. 

In Jaws, Chief Brody takes a moment to connect with his son amidst the chaos and stress of trying to keep his town safe from a man-eating shark.

In Close Encounters, Spielberg reveals the strain between Roy and his family after he has a close encounter with the UFO.

In E.T., we get to see Elliot's dysfunctional family — two brothers who don't get along, a single mother who is barely hanging on, and a kid sister who's just along for the ride.

The great thing about his use of family dynamics is that it allows the audience to further empathize with his characters, especially when the broken family elements are in plain sight (Close Encounters of the Third Kind, E.T. the Extra-Terrestrial, Indiana Jones and the Last Crusade, War of the Worlds, The Fabelmans). The audience can relate to those dynamics because they represent a majority of families in one way, shape, or form.

Spielberg Faces

Often considered a Spielberg crutch in some circles, Spielberg faces refers to the director’s use of cutting to the close-up reactions of characters and their faces to showcase an intended emotion. In many of his films, it’s used as a way to showcase, you guessed it, wonder. Some see this as a cheat for Spielberg to get audiences to feel a certain way. It’s often misrepresented as manipulation on his part. But what such critics don’t understand is that all of cinema utilizes visuals (and sounds… more on that below) to conjure an intended reaction in the audience. He’s just mastered that cinematic tool. 

'Jaws'

These close-ups of his character’s faces convey:

• Wonder
• Drama
• Suspense
• Horror
• Fear
• Shock
• Uncertainty
• Love

He further accompanies these close-ups with the effective use of the dolly shot — camera movement that enhances the reaction shots of his characters, delivering the intended emotion full-force with dramatic and cinematic flare.

Whether you love them or find them cliche, it’s a Spielberg go-to — an effective one.

John Williams Music in Spielberg Movies

Steven Spielberg and John Williams share one of the most iconic and enduring collaborations in the history of cinema. Their partnership spans over fifty years, playing a pivotal role in shaping the emotional landscape of Spielberg's films. Their first collaboration occurred in 1974 for the film Sugarland Express. Williams has scored the music for the majority of Spielberg's films, creating unforgettable and instantly recognizable soundtracks. Their collaboration is marked by a seamless integration of music and storytelling, with Williams' compositions enhancing the emotional depth and impact of Spielberg's visuals.

• The iconic two-note theme from Jaws 
• The soaring melodies of E.T. the Extra-Terrestrial
• The triumphant march of Raiders of the Lost Ark (and its sequels)
• The haunting score of Schindler's List 

These are just a few examples of the magical synergy between Spielberg's directorial vision and Williams' musical genius. And Williams, now likely retired, closed off their collaboration with The Fabelmans. 

Williams has a talent for being able to capture the essence of Spielberg's storytelling and elevate it to new heights. The music for each of his Spielberg movie scores — iconic or not — becomes an integral part of the narrative, enhancing the audience's emotional connection to the characters and the story. Once again, some find the music overly manipulative — but, again, that’s the point. 

Spielberg has often credited Williams with bringing his films to life through music, and Williams, in turn, has spoken highly of Spielberg's unique storytelling abilities. Their work together has not only left an indelible mark on the films they've created but has also enriched the cinematic experience for audiences around the world.

These are just five of the director’s trademarks. Keep an eye out for them as you watch his films. And as you do, which other common Spielberg trademarks have you noticed? 

Read More: 3 Spielbergian Ways Screenwriters Can Introduce Their Characters

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post 5 Trademarks of Steven Spielberg Movies appeared first on ScreenCraft.

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100 Magical and Mystic Location Ideas for Your Fantasy Stories

1. Enchanted Forest: A sprawling woodland where trees whisper ancient secrets.
2. Hidden Waterfall: A secluded cascade concealed behind a shimmering veil of illusion.
3. Mystic Library: A vast repository of otherworldly knowledge guarded by sentient books.
4. Dragon's Lair: A cavernous home to a colossal, slumbering dragon.
5. Fairy Village: A charming settlement inhabited by tiny, mischievous fairies.
6. Haunted Castle: A spectral fortress filled with restless, ghostly inhabitants.
7. Underwater City: An illuminated metropolis beneath the ocean's depths.
8. Floating Islands: A realm of floating landmasses suspended in the sky.
9. Celestial Realm: A realm bathed in divine light and inhabited by celestial beings.
10. Lost Temple: An ancient temple concealed in a dense jungle, holding untold treasures.
11. Witch's Cottage: A crooked, mysterious dwelling surrounded by enchanted herbs.
12. Enchanted Garden: A flourishing garden filled with magical, sentient plants.
13. Dark Abyss: A seemingly bottomless chasm shrouded in darkness.
14. Crystal Caves: A labyrinthine system of caves adorned with luminescent crystals.
15. Elven Kingdom: An elegant realm ruled by noble and immortal elves.
16. Dwarven Mines: Underground tunnels where dwarves mine precious gemstones.
17. Pirate Cove: A hidden haven for swashbuckling pirates and their treasure.
18. Ghost Ship: A spectral vessel crewed by ghostly sailors sailing eternally.
19. Timeless Realm: A place where time stands still, frozen in eternal beauty.
20. Wonderland: A surreal landscape filled with whimsical and absurd wonders.
21. Mythical Mountain: A towering peak said to be the home of mythical creatures.
22. Elemental Plane: A realm where the elements take on sentient forms and powers.
23. Unicorn Meadows: Fields where graceful unicorns roam freely.
24. Goblin Market: A chaotic bazaar run by cunning goblins selling magical wares.
25. Steampunk City: A technologically advanced city with a Victorian aesthetic.
26. Cloud City: A metropolis suspended in the clouds accessible by airships.
27. Astral Observatory: A tower where seers gaze into the astral plane.
28. Gnome Workshop: A bustling factory where gnomes invent fantastical gadgets.
29. Labyrinth: A maze filled with twists, turns, and perplexing puzzles.
30. Magic Bazaar: A marketplace overflowing with enchanted trinkets and artifacts.
31. Rainbow Bridge: A radiant arch connecting different realms.
32. Sunken Ruins: The remnants of a once-mighty civilization beneath the sea.
33. Underworld: A realm ruled by dark deities and inhabited by the deceased.
34. Shadowy Forest: A forest cloaked in eternal night and inhabited by shadowy creatures.
35. Sorcerer's Tower: A towering structure where a powerful sorcerer resides.
36. Ice Palace: A palace made of ice and snow.
37. Dream Realm: A surreal realm where dreams come to life.
38. Goblin Kingdom: A mischievous kingdom ruled by cunning goblin royalty.
39. Crystal Coast: A stunning coastline adorned with iridescent gemstones.
40. Haunted Marsh: A desolate and ghostly marshland.
41. Witch's Cauldron Room: A room with a bubbling cauldron said to grant potent magical brews.
42. Firefly Forest: A forest where fireflies light up the night with their glow.
43. Starfall Lake: A serene lake under a constant meteor shower.
44. Hidden Valley: A secluded valley with a serene and mystical ambiance.
45. Vampire Castle: A foreboding castle inhabited by ancient vampire lords.
46. Mysterious Well: A well said to reveal glimpses of the past and future to those who peer into it.
47. Forgotten Ruins: Crumbling remains of a once-great civilization.
48. Enchanted Waterfall: A waterfall with the power to purify and heal.
49. Fairy Ring: A circle of mushrooms where fairies gather to dance and celebrate.
50. Cosmic Wormhole: A portal to the far reaches of the cosmos and beyond.
51. Cloud Castle: A fortress floating amidst the clouds, home to skyward adventurers.
52. Troll Bridge: A bridge guarded by trolls, demanding a toll from travelers.
53. Spirit Sanctuary: A haven where spirits of the departed find peace and rest.
54. Dragon's Nest: A safe haven for dragon eggs and their young.
55. Eternal Garden: A garden where time has no effect.
56. Dreamcatcher Grove: A grove where dreamcatchers capture and store dreams.
57. Elemental Sanctuary: A sanctuary where elemental beings find refuge.
58. Moonlit Grotto: A subterranean cavern bathed in the ethereal light of the moon.
59. Underworld Abyss: A chasm leading to the deepest, darkest depths of the underworld.
60. Cursed Swamp: A creepy swamp home to cursed beings.
61. Steampunk Airship: A fantastical flying vessel powered by steam and gears.
62. Time-Warp Tavern: A tavern where time travelers gather to swap tales.
63. Floating Gardens: Gardens suspended in the sky, nurtured by air and magic.
64. Lost Shipwreck: The remnants of a ship lost to time, holding forgotten treasures.
65. Clockwork Village: A community where clockwork automatons coexist with magic.
66. Nightmare Realm: A nightmarish dimension where fears and terrors manifest.
67. Witch's Labyrinth: A twisting maze filled with magical traps and challenges.
68. Star-gazing Grove: A tranquil grove illuminated by the light of countless stars.
69. Magical Market: A bustling market where magical goods and creatures are sold.
70. Crystal Spire: A towering spire made of crystalline material.
71. Haunted Manor: A mansion haunted by restless spirits and poltergeists.
72. Fire Elemental Forge: A forge where fire elementals craft fiery weapons.
73. Mermaid Lagoon: A vibrant underwater lagoon inhabited by merfolk.
74. Gnomish Workshop: A lively workshop where gnomes tinker with fantastic inventions.
75. Lost Oasis: An oasis hidden deep within a desert, holding hidden wonders.
76. Wizard's Academy: A prestigious school of magic where wizards are trained.
77. Celestial Gauntlet: A place connecting different celestial realms.
78. Serene Glade: A serene glade where the boundary between realms is thin.
79. Forbidden Tomb: A tomb filled with ancient curses, traps, and treasures.
80. Space Nexus: A place in the stars where all galaxies converge.
81. Hidden Waterways: Subterranean rivers and water passages hidden from sight.
82. Elven Enclave: A secluded and mystical enclave of elven culture.
83. Underworld Citadel: A citadel deep within the underworld, home to dark powers.
84. Moonstone Quarry: A quarry where precious moonstones are harvested.
85. Dreamcatcher Trees: Trees where dreamcatchers grow, capturing the dreams of the forest.
86. Goblin Tunnels: A network of underground tunnels and caverns inhabited by goblins.
87. Enchanted Treetops: Canopy of an enchanted forest where treetop dwellings are built.
88. Abyssal Depths: The deepest, darkest, and most treacherous part of the abyss.
89. Crystalline Caverns: A series of interconnected caverns adorned with shining crystals.
90. Whispering Pines: A tranquil forest where the pine trees whisper secrets.
91. Stargazing Ridge: A ridge that experiences frequent meteor showers.
92. Dragon's Roost: A mountaintop lair where dragons dwell and guard their hoard.
93. Isle of Echoes: An island known for echoing whispers and eerie sounds.
94. Monolith Structure: A monolithic black structure with mysterious powers.
95. Elemental Portal: A convergence point for elemental forces and magic.
96. Haunted Sea Passage: A narrow sea passage known for its eerie, haunting sounds.
97. Enchanted Tides: A coastal area where the tides are influenced by magic.
98. Ethereal Castle: A castle that materializes and dematerializes in the ethereal plane.
99. Shifting Sands Dunes: A desert where the sands are in constant motion, hiding ancient relics.
100. Ancient Observatory: A centuries-old observatory with mystical stargazing abilities.

Read More: 101 Epic Sci-Fi Story Prompts

'The Wizard of Oz'

Writing Fantasy Stories

The fantasy story genre incorporates magic and other supernatural elements into its core narrative, themes, and backdrop. Numerous books, series, and films within this genre are set in fictitious realms where magic and mystical beings are prevalent. And those beings usually populate different worlds far from the reality of our own. 

Consider the vast universes of franchises like Star Wars, Lord of the Rings, Harry Potter, and Game of Thrones. All serve as prime illustrations of magical and mystical adventures that transport audiences and readers to awe-inspiring new worlds. 

The Different Kinds of Fantasy Subgenres

The fantasy genre has a number of subgenres that can dictate the kind of location or setting within fantasy stories. The most prevalent fantasy subgenres include: 

1. Sword and Sorcery
2. Fairy Tales 
3. Science Fantasy      

'Avatar'

Sword and Sorcery

Films such as Game of Thrones and Lord of the Rings serve as excellent illustrations of the sword and sorcery subgenre by seamlessly integrating both the sword and sorcery components. These fantasy stories involve the art of swordsmanship, interwoven with enchantment harnessed by a diverse array of mystical figures, including warlocks, shamans, and wizards.

Fairy Tales

Fantasy stories like The Princess Bride, Snow White and the Huntsman, Maleficent, The Wizard of Oz, Alice in Wonderland, Labyrinth, Legend, and Into the Woods either derive from classic fairy tales and literature or are deeply influenced and inspired by timeless fairy tale narratives.

Science Fantasy

Within this particular sub-genre, the emphasis pivots away from scientific principles (ala Science Fiction) leaning more heavily into the realms of fantasy, yet maintaining a distinct association with the science fiction genre. The Star Wars franchise of movies, series, and books undoubtedly stands as the most prominent illustration. The latest Dune franchise falls into the subgenre as well. The subgenre incorporates fantastical components, such as the mystical Force and other enigmatic dimensions, and weaves a unique tapestry where the hard science of science fiction meets the enchanting allure of fantasy.

Read More: 131 Sci-Fi Scripts That Screenwriters Can Download and Study

'Pan's Labyrinth'

What’s So Important About Location in Fantasy Stories?

Building a fantasy world is all about location, location, location. Yes, you can use the real world as a setting for a fantasy story. However, most readers and audiences want to be taken to different worlds that they have either never seen, or want to visit familiar fantasy settings full of castles, forests, mountains, and other go-to fantasy tropes. 

To best create your fantasy story, you need to establish one or more settings within the fantasy world you've envisioned. 

• It could entail a fantastical village, town, or city. 
• It could unfurl across a sprawling continent or territory, serving as the backdrop for the hero's epic odyssey.
• In more expansive tales, it may even encompass an entire galaxy or cosmos, providing a cosmic stage upon which the story unfolds.

To get your fantasy creative juices flowing, here we present one hundred magical and mystic location prompts for your fantasy stories — prevalent in fantasy books, fairy tales, roleplaying games, video games, series, movies, and the imagination.   

Read More: The Craft and Rules of Worldbuilding in Science Fiction and Fantasy

CHECK OUT OUR SCI-FI & FANTASY NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76

The post 100 Magical and Mystic Location Ideas for Your Fantasy Stories appeared first on ScreenCraft.

Using symbolism helps writers and filmmakers to: 

• Further communicate the intended themes and deeper meanings of their stories. 
• Dive deeper into complex ideas with the usage of more simple visual and metaphorical narrative symbols.
• Evoke more emotional and cathartic responses from the audience. 
• Stylize their cinematic stories with thought-provoking and discussion-building symbology.  
• Layer their narrative plots and story points for enhanced viewing experiences via creative symbolic Easter Eggs.     

But how can writers effectively utilize symbolism in their writing? How has it been done before in cinema, and what can writers and filmmakers learn from those examples? 

Here we will delve into literary and cinematic symbolism with simple yet effective ways to inject your stories with symbolic touches that not only make your stories great for the first read or viewing, but even greater for the second, third, and beyond. 

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What Is Symbolism? 

Symbolism is most easily defined as a common and powerful tool in storytelling using creative expression and choices to represent a concept, idea, or theme using non-literal techniques. 

Writers and filmmakers are essentially using one thing to define another. Symbolism helps them to be able to further explore and communicate their intentions with the stories they tell without forcing their intentions too much to where the readers and viewers disengage from the story. 

Read More: Three Psychological Tricks Screenwriters Can Use to Engage Audiences

What Type of Symbols Can Writers Use?

There are a variety of ways to showcase symbolism in your stories. 

Character Symbolism

You can develop characters whose traits and actions embody larger ideas within your stories. A character's journey can symbolize personal growth that readers and viewers can identify with — or their journey could be a metaphor for societal change.

Environmental Symbolism

Settings and landscapes can be utilized to mirror the characters' emotional state or the story's central themes. A desolate, run-down location can symbolize the protagonist’s despair. 

Visual Metaphors

You can use objects, colors, or images to represent abstract concepts or themes. For example, a recurring red rose might symbolize love or passion, whereas the color red could symbolize blood, death, and violence. Take this visual metaphor for example: the drain is graphically matched to Marion's lifeless eye to symbolize where all of her mistakes and greed have led her.

Sound and Music

Employing soundscapes and music can evoke emotions and communicate themes within the story and character arcs. The choice of music a character listens to can symbolize their inner arcs and emotional states. 

Allegory Narratives

You can create a narrative where the entire story serves as an allegory for a larger concept, such as political or social commentary.

Cultural Symbols

Writers can also draw on cultural, historical, or religious symbols to enrich the story. You must always be mindful of the context and potential interpretations when using cultural symbols, yes. But because such symbols are so well known, they can be an effective visual to showcase your intended concepts, ideas, and themes. 

Foreshadowing Symbols 

Using symbols to hint at future events or character development builds anticipation and offers further complexity to the story. A great example of this is the "X" in The Departed, which is meant to symbolize and foreshadow the death of a character.

Subtle Subtext and Ambiguity

Using subtlety to let readers and viewers interpret symbols in their own way can be an effective approach for symbolism as well. When you leave room for ambiguity to engage the audience's imagination, they can come to their own conclusions. This also helps to create discussions about your stories as people use the open-ended subtext not as definitive answers regarding symbolism, but as discussion starters and philosophical debates.

What Are Cinematic Examples of These Types of Symbolism?

The Floating Plastic Bag in American Beauty

With enough subtlety left beyond the character’s description of what the plastic bag means to him, we can interpret the plastic bag as also symbolizing the search for beauty and meaning in everyday life.

Frodo Baggins in Lord of the Rings

The character of Frodo Baggins in the Lord of the Rings stories represents a clear metaphor for the themes of selflessness and the burden of responsibility that comes with it.

Weird Barbie’s House in Barbie

Weird Barbie as a character can represent many unintended or intended themes. Some point to the character as a symbol of queerness and how the world should begin to accept those who fall under that societal umbrella. Others believe she symbolizes our childhood innocence and the loss of that innocence. When we see her house within the film, we see the visual environmental symbolism of how different it is from the rest of Barbieland. The angles are odd and different, and they don’t make much sense compared to the design of the other structures. The painting design of the walls is more lively and vibrant, which symbolizes Weird Barie’s personality. 

Jazz in La La Land

Jazz represents a lot of things in La La Land, but it especially encompasses the character of Sebastian. He evokes the nature of jazz in everything he does and how he lives his life. And he brings that nature to Mia, which pushes her to do the unexpected, the new, and the exciting. 

The Comet and Political/Social Reaction in Don’t Look Up

The impending doom of a comet that is going to hit Earth is utilized as an allegory for the debate about climate change and its impact on the planet. Beyond that, the movie satirizes the apathy of government, politics, celebrities, and the media towards the climate crisis.

The Claymore Sword in Braveheart

While, historically, the two-handed claymore sword William Wallace used in Braveheart likely wasn’t the actual type of sword he used, that type of sword eventually became a sign of Scottish freedom after the Wallace Sword was written about in poetry and one alleged sword thought to be the true Wallace Sword was later displayed in Stirling. Regardless, the sword is featured throughout the film, symbolizing Scottish freedom and their fight against tyranny.

The Use of Red in The Sixth Sense

Upon second viewing of the film, it is revealed that the red color appears in scenes with ghosts — subtly foreshadowing the revelation that the protagonist can see the dead. We also discover that every scene that Malcolm is in also has red in it, foreshadowing the end revelation. 

The Spinning Top at the End of Inception

The spinning top at the end of the movie is a symbol of uncertainty, leaving the audience to interpret whether the protagonist is in a dream or reality. That uncertainty is evident throughout the entire story as characters — and the audience — don’t always know whether they are awake or dreaming. 

The Viewing Stone in Parasite

You don't have to guess whether or not the viewing stone is used as a symbol in Bong Joon Ho's Parasite — it's literally written into the script. When gifted the stone by his friend Min, Ki Woo literally makes a comment on how it's symbolic. But what does it symbolize? The director has stated, "The rock is assigned this very unique position. It's a kind of obsession for the young son [Ki Woo]. Throughout the film, he's trying to imitate Min, his rich friend who initiated him into this world. Min disappears in this film after giving him the rock, but the rock is sort of the remnant of his character." Essentially, the viewing stone represents the Kim family's aspirations to become wealthy.

How Can Writers Use Symbolism in Their Stories?

As we’ve listed above — complete with complementary examples — there are many ways you can utilize symbolism in your stories.

• Visual Metaphors
• Character Symbolism
• Environmental Symbolism
• Sound and Music
• Allegory Narratives
• Cultural Symbols
• Foreshadowing Symbols
• Sutble Subtext and Ambiguity

The key thing to remember when you’re trying to inject symbolism into your stories is subtlety. The purpose of symbolism is to enhance the concepts, ideas, and themes you want to present within your writing — as opposed to using symbolic tools to overtake your story. 

Pick Just a Couple of Symbolic Tools from the List

Don’t use them all. Choose which types of symbolism work best for your story, and use them effectively, but sparingly.

Decide Which Ones Work for the Genre You’re Writing In

Allegory symbolism is perfect for comedy because it also can utilize satire at the same time, much like is evident in our example found within Don’t Look Up. However, allegory can also work well in other genres like horror and science fiction. 

• Jordan Peele’s Get Out serves as an allegorical exploration of how white people can exert control over Black bodies, while also appropriating and benefiting from Black virtues and strengths, alluding to the unsettling realities of racial dynamics.
• Starship Troopers is a science fiction film that works as an allegory and satire of fascism and fascist propaganda.

Figure out what types of symbolism work best with what genres of stories you want to tell. 

Don’t Overstep Your Role as a Writer

If you’re writing screenplays, it’s not your job to dictate the props, cinematography, production design, specific music selection, etc. These are all elements left to the filmmakers to decide. If you have physical elements of your screenplay that the story needs to convey symbolism, you need to use them sparingly, and preferably in a way that can be interwoven into the narrative (because that is your job), as opposed to being more of a filmmaker’s choice during production and post-production. 

An easy example would be the use of the Wallace Sword in Braveheart. Keeping the sword prevalent in the script is easy. And the end visual of the sword being thrown toward the enemy and driven into the dirt of the battlefield is a narrative element. However, dictating a particular song choice for a scene can: 

• Alienate the reader if they don’t know the song, putting the reader's experience in jeopardy. 
• Derail the impact if the producer or studio of the eventual film interpretation doesn’t own the rights to the song. 

Read More: Should You Reference a Specific Song in Your Screenplay?  

Pepper Your Story with Subtle Symbolism

When you salt and pepper your food, you always want to avoid over-salting and over-peppering. Why? Because it will spoil and overcome the flavor of the actual meal. The same can be said with using symbolism in your writing. If your symbolism overtakes the core concept, story, plot, and characters, it will ruin the experience of your intended narrative.

Allow Audiences to Interpret Their Own Symbolism

Sometimes it’s best to leave it to the imagination. We all bring our own baggage, beliefs, and perspectives to the table when it comes to ingesting literary and cinematic stories. That’s the beauty and power of storytelling.

Steven Spielberg was often confronted with the symbolism found by audiences and critics in his iconic film E.T. The Extra-Terrestrial. Many believed that E.T. was symbolic of the Christ figure, given the various visual symbols, as well as the plot points of resurrection. However, Spielberg reminded them with a smile that he was Jewish. The point is that symbolism can also come from one’s interpretation of your story — you don’t always have the inject too much symbolism for readers and audiences to find some.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What is Symbolism and How Do You Use It In Your Writing appeared first on ScreenCraft.

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What is a Dystopian Story?

A dystopian story is characterized by its portrayal of a fictional society or world that is marked by oppression, suffering, and often, a sense of hopelessness or despair. If a utopian society is the ideal place to settle, then a dystopian society is most people’s worst nightmare. 

Dystopian settings are frequently marked by:

• Anxiety
• Anguish
• Fear
• Distress
• Tyrannical governments and oppressive authorities
• Catastrophic deterioration in societal conditions

Just imagine the worst a society could get — that’s pretty much the setting of a dystopian story. And within those settings, you usually witness protagonists rising up against tyrannical and oppressive antagonists and villains that have control over the people by way of propaganda, censorship, lies, denial of free thought, and enforcement of conformity.  

Read More: The Biggest and Baddest "Big Bads" of Sci-Fi & Fantasy

'Mad Max: Fury Road'

Examples of Dystopian Movies and TV Shows

Examples of cinematic dystopian stories include:

• 1984: Based on George Orwell's novel, the film portrays a totalitarian society where the government monitors and controls every aspect of people's lives.
• THX: 1188: In the 25th century, a time when people have designations instead of names, a man, THX 1138, and a woman, LUH 3417, rebel against their rigidly-controlled society.
• Blade Runner: Set in a bleak future, this film follows a detective who hunts down rogue artificial humans known as replicants in a dystopian Los Angeles.
• The Matrix: This sci-fi classic envisions a world where humanity is enslaved by machines and trapped in a simulated reality, while a group of rebels fights to free them.
• Children of Men: In a world where infertility has led to a global crisis, a disillusioned bureaucrat becomes involved in protecting a pregnant woman who may hold the key to humanity's survival.
• The Hunger Games: Based on the best-selling novels, the franchise is set in a future society divided into districts and follows a young woman who must participate in a brutal televised competition to the death.
• Mad Max: Fury Road: This post-apocalyptic action film features a wasteland where resources are scarce, and a group of rebels fights against a tyrannical warlord.
• Snowpiercer: After a failed climate-change experiment freezes the Earth, the last survivors live on a train that circles the globe, with social classes and conflicts emerging onboard.
• The Handmaid's Tale: Based on Margaret Atwood's novel, the TV series depicts a future where women are subjugated and used for reproductive purposes in a theocratic society.
• The Last of Us: Based on the hit videogame series, the TV series depicts a postapocalyptic zombie-like story where a pandemic has killed off much of society. The dystopian element is showcased by a paranoid government body that becomes oppressive to ensure the survival of the human race while attempting to do so in a very inhuman way. 

'The Last of Us'

Key Themes to Use in Dystopian Movies

You have a plethora of story options and themes to utilize when writing a dystopian movie or TV show. Here are just a few:

Totalitarian or Oppressive Government

This is where you usually start. Dystopian movies typically feature a government or ruling authority that exercises extreme control over its citizens. 

• A totalitarian regime
• A dystopian dictatorship
• A surveillance state

These governing or ruling powers often enforce strict rules and regulations that limit individual freedoms to maintain their power. This will become the source of all of your story's conflict — and dystopian movies need a lot of it.

'1984'

Social Injustice

This is where your characters come in. Dystopian societies are often marked by profound social inequality and injustice. Discrimination based on class, race, or other factors is common in these stories and drives the character arcs of your protagonists.

There is usually a clear divide between the privileged elite and the oppressed masses. That will fuel the conflict within the story and begin the arc of your characters as they deal with these conflicts.   

Lack of Personal Freedom

Dystopian worlds frequently depict a lack of personal freedoms and civil liberties. Citizens may be subjected to constant surveillance, censorship, curfews, or restrictions on their actions, thoughts, and speech. This creates a boiling point where your characters move from the first act to the second as they rise up against those who oppress them. 

'The Handmaid's Tale'

Economic Hardship

Economic hardship is also a common theme in dystopian movies. Audiences can often relate to this element because it exists in the world we live in today. In these dystopian stories, many citizens struggle to survive due to the scarcity of resources. This economic hardship can reinforce the divide between the haves and the have-nots — creating that boiling pot dynamic within characters that are looking to break free from their strife. 

Technological Control

In some dystopian stories, advanced technology is used as a tool of control and oppression. Governments may use technology for surveillance, mind control, or to maintain their grip on power. This dynamic creates an excellent series of conflict hurdles that your characters must surpass. 

'The Matrix Revolutions'

Environmental Decay

Many dystopian movies explore environmental degradation and the consequences of unchecked pollution, climate change, or ecological disasters. These factors contribute to the overall bleakness of the setting. This is often used as a forewarning to audiences when it comes to possible circumstances of issues we face today in our society. 

Loss of Individuality

In dystopian societies, individuality and personal expression can be suppressed. Citizens may be forced to conform to a rigid set of norms and expectations, and any deviation from these norms is punished. 

'Children of Men'

Resistance or Rebellion

As mentioned above, many dystopian stories feature a protagonist or group of individuals who resist the oppressive regime. These characters often embark on a journey to challenge the status quo and seek freedom or justice. This works as both a character element and a story element. 

Commentary on Contemporary Issues

Screenwriters and filmmakers often use dystopian stories to serve as social and political commentary, highlighting and exaggerating issues and trends present in the real world today. This is where you can really get the audience to relate to the issues the characters are dealing with because they are augmented, exaggerated, and speculative versions of what we see in today’s society around us. Look no further than the likes of The Handmaid’s Tale for an example — a series that stands as the result of the tipping of scales from where we may be teetering today. 

So, all, or at least some, of these elements are where you should start in your dystopian screenplay. Now let’s explore the basics of how you can develop and write your story. 

How to Write Your Dystopian Movie

In the end, it’s your creativity, ingenuity, and vision that will create the next great dystopian film. But here are some foundations that you can use to develop and write your story. 

Start with Worldbuilding

Dystopian stories are initially all about the world you build. That’s what really stands out. Rebellions and uprisings are great — and all of that will come — but what will differentiate your dystopian story from all of the others that came before yours will be the particular dystopian world you build. 

Ask yourself these development questions:

• What started this dystopian society? 
• Is it post-apocalyptic, near-future, or set on another planet?
• What is uniquely frightening about the dystopian world you’re going to build?

You need to see this world. You need to know what it looks like, what it feels like, what it sounds like, and how those elements are different from what we’ve seen in prior dystopian movies. 

Find Relatable Themes and Issues to Explore

You want and need to connect with the audience. The easiest way to do that with a dystopian story is to find those augmented, exaggerated, and speculative versions of what we see in today’s society around us — and then use them to wrap around the world you are creating.

Ask yourself questions like:

• What if we let corrupt politicians have all of the power?
• What if we allowed Artificial Intelligence to run our world?
• What if we had a second Civil War?
• What if we had a Third World War?
• What if we ignore global warming? 

Whatever the hot point issues in our current world may be, you can find themes to explore. 

Create Your Cast of Characters

Then you need to figure out who the characters who populate your dystopian world. 

• Who is the oppressor?
• Who is being oppressed?
• How are they being oppressed?
• For what purpose is the oppressor oppressing people?
• Who is going to rise up against the oppression?
• Why are they the ones to lead the resistance or uprising? 

Your lead protagonist(s) need to have a higher purpose and a deeply layered inner character arc to warrant them being the ones to lead the oppressed. 

Your supporting characters need to fill in the blanks that the protagonist(s) lack. 

And let’s not forget the most important element — the antagonists and villains. They need to embody the oppression that the protagonists are fighting against. While the protagonists can preach about the oppression they face, and the reasons why the oppression is inhumane enough not to live under any longer, the antagonists and villains need to embody why they feel the oppression is necessary.

This leads to the ultimate conflicts of your story as protagonists versus antagonists/villains boils and boils until the pressure can’t be contained any longer.

Start with the Ordinary World of the Protagonist

Presenting your main character in their everyday life at the start of your dystopian story provides an opportunity to showcase the start of their inner and outer character arc. 

It then shows how profoundly difficult their journey is going to be when faced with the choice to take the call of adventure to rise up against the dystopian oppressors. 

• Show the oppression.
• Show their struggle. 
• Show their ordinary life and how it will be rocked when they choose to rise up.

Now, you have a couple of options on how to showcase their ordinary world. 

1. Show them under the rule of the oppressors. 
2. Introduce them on the outskirts of the oppression and wanting to free their people.
3. Or, as a third option, have them be part of the oppression who wakes up and decides what they’ve been doing was wrong.

Consider the Ordinary World openings of the following: 

• In The Hunger Games, Katniss is living in District 12 with her family, struggling to survive.
• In The Handmaid’s Tale, June is on the outskirts of the oppression, trying to escape to Canada when she, her husband, and her daughter are caught by Gilead foot soldiers.
• In The Last of Us, Joel is working the dystopian system to survive and try to find a way to find his brother. While he’s not the oppressor, he’s also not trying to lead an uprising against them. He’s doing what he can to survive. 

Read More: Exploring the Twelve Stages of the Hero’s Journey Part 1: The Ordinary World

The Rest is Up to You

There’s no one single way to write any genre or subgenre of movies. When you’re dealing with a subgenre like dystopian movies, you need to educate yourself on the common elements that define such a story (see above) and find a unique and interesting take on it. 

• Subvert expectations. 
• Find ways to offer unexpected twists and turns.
• Take the audience down one path, only to push them onto another.
• Play with character archetypes, cliches, and tropes. 
• Find unique set pieces and sequences. 
• Pile on the conflict. 
• Raise the stakes. 

Know what a dystopian story is, embrace the key story and character elements, build your dystopian world, consider finding relatable themes and issues audiences can identify with, create a compelling cast of characters on both sides of the struggle, showcase their ordinary world while selling the setup to the audience, and then find ways to make your dystopian story engaging and unique. 

Read More: 101 Epic Sci-Fi Story Prompts

CHECK OUT OUR SCI-FI & FANTASY NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

The post How to Write a Dystopian Movie or TV Show appeared first on ScreenCraft.

Here we present five simple ways to help you conjure shocking and surprising (there's a difference) plot twists in your screenplays. But before we do that, let's showcase the difference between what shocks us and what surprises us.

The Difference Between Shocking Plot Twists and Surprising Plot Twists

The terms "shocking" and "surprising" are often used interchangeably. However, there's a subtle difference between the two that screenwriters should keep in mind when writing these different kinds of plot twists.

Shocking Plot Twists

Shocking plot twists are those that evoke a more visceral reaction from the audience — usually at the climax of the story. They create more disbelief and astonishment, and sometimes leave the audience disturbed.

Three of the most shocking plot twists in cinematic history came in the 1990s.

Read More: 101 Great Plot Twist Ideas to Elevate Your Script

Note: Beware of Spoilers for The Sixth Sense, Fight Club, and The Usual Suspects! 

The first, The Sixth Sense, made auteur M. Night Shyamalan the go-to shocking plot twist conjurer. We learn that Malcolm — the protagonist of the film — has actually been dead the whole time. He's a ghost. The revelation left the audience stunned, questioning everything they had watched prior. This is likely what led to the repeat viewings that drove the box office numbers up, as audiences went back to search for clues.

The second, Fight Club, managed to pull off one of the most shocking plot twists of its era — that the two lead characters were actually one person. And the eventual antagonist of the film, Tyler Durden, was the protagonist's alter ego due to his dissociative identity disorder. Audiences were shocked because, again, everything up until that twist is now was now in question. It subverted expectations and made audiences wonder what was real, and what wasn't.

The third, The Usual Suspects, revealed that Verbal Kint — the film's narrator — is actually Keyser Soze, the mastermind behind the entire operation. The supposed weak and vulnerable Verbal being harshly interrogated was nothing more than a ruse. This left the audience feeling shocked and in disbelief.

Surprising Plot Twists 

Surprising plot twists deviate from what was anticipated or predicted but don't always necessarily provoke the strong emotional response that a shocking plot twist would.

Note: Beware of Minor Spoilers for Everything Everywhere All at Once and Mission: Impossible movies. 

In Everything Everywhere All At Once, it's revealed that Jobu Tupaki, the villain of the story, is actually the Alpha version of Evelyn’s daughter Joy.

In the Mission Impossible movies, every time it's revealed that a character is using one of the face masks, the audience is surprised but not overall shaken.

Surprising plot twists can be more peppered throughout the script, playing with the audience's (and script reader's) predictive anticipation with minor twists that change the course of the story.

So, how do screenwriters come up with these surprising and shocking plot twists?

5 Ways to Create Plot Twists

1. Subvert Expectations

Most movies and series follow generally established conventions or tropes. The filmmakers and writers do this to engage the audience and give them what they are familiar with. Audiences are highly risk-averse. They know what they want to see in any given genre, and they expect certain conventional storylines, plot tropes and character arcs.

Knowing this, you can set up those audience expectations and point them in one narrative direction and then choose a place within that story or plot to deliver a surprising plot twist that goes against their assumptions of what is about to happen.

This is the easiest way to conjure plot twists for your script.

• If conventional wisdom tells the audience that the guy will get the girl at the end of a romantic comedy, maybe the guy doesn't get the girl but learns something valuable in the end.
• If audiences expect a secondary character to die, consider making them the hero of the story.
• Perhaps the protagonist's mentor is actually a villain?

If you know movies and series storytelling, you have a general knowledge of what to expect in a story. Use that knowledge to go in an entirely different direction than what would be expected.

2. Toy with the Audience

If you're taking the audience down familiar roads and story paths, meet their expectations and subvert their expectations at will. This will create an edge-of-their-seat experience where they don't know where the story and its characters are going to take them. This goes beyond subverting expectations. You're playing with those expectations.

This is by far the most entertaining and satisfying part of writing a screenplay. You're taking the audience (and the script reader) on a ride. Depending on the genre, it could be any type of ride.

• An emotional ride (Drama)
• A hysterical ride (Comedy)
• A horrifying ride (Horror)
• An informative ride (True Story)
• An exhilarating ride (Action)

3. Create Multi-Motivations in Characters

Revealing hidden character motivations can be an easy way to surprise and shock the audience. These types of plot twists are intertwined with character arcs and also offer an opportunity for more character depth within your story. When you reveal that a character has dual or multiple motivations than what has been initially set up, added suspense is injected into the story. It also keeps the audience guessing when it comes to not just the plot points of the story, but the character motivations.

4. Utilize Time Shifts and Play with the Chronological Order of Events

Flashbacks, flashforwards, and nonlinear storytelling can be highly effective in surprising and shocking the audience. Forget past screenplay educational books that tell you these story devices are cheats or unwanted. It's how you use them that truly matters.

• Start your script at the climax of the story — and then flashback to the protagonist's ordinary world to surprise and shock the audience as to how the character could find themselves in such a predicament.
• Have two storylines begin in different parts of the story — one starting from the beginning, and one starting from the end — and then have them converge in surprising or shocking fashion.
• Flashback to pivotal revelations that reveal ulterior motives or otherwise hidden backgrounds of characters that create surprising and shocking plot twists.

As long as you structure these stories well, and don't use them as crutches for mere exposition, these types of practices can create some unique and memorable plot twists.

The Sixth Sense (1999)

5. Start from the Twist Before Developing and Writing the Script

While seemingly divine inspiration during the development and writing phase of the story is great, starting the initial process with already knowing various surprising plot twists and perhaps a major shocking plot twist for the end is always the best way to deliver. Why? Because you can spend the whole development and writing process leading up to those pre-conceived twists.

The reason The Sixth Sense delivered its shocking plot twist so well was primarily because Shyamalan peppered the script with clues, plants, payoffs and foreshadowing.

Read More: Screenwriting Plants and Payoffs: The Sixth Sense

Once you have a general idea or concept, start thinking about the various surprising and shocking plot twists that you could apply to the story you're building. Think of those before anything else. Challenge yourself to find opportunities to subvert expectations, toy with the audience, create multi-motivations in characters, and possibly utilize time shifts and play with the chronological order of events.

Read More: 101 Great Plot Twist Ideas to Elevate Your Script

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post 5 Simple Ways to Conjure Shocking and Surprising Plot Twists appeared first on ScreenCraft.

To help get your creative meet-cute juices flowing, here we present 100 potential locations and scenarios where your meet-cutes can happen. Some may have been done before. Others may be fresh and new. Regardless, you can use this list to brainstorm your own or create variations of what the list offers. 

But before we get to the list, let’s go over what a meet-cute is and how to write one!

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What is a Meet-Cute?

Meet-cutes are those awkward, comical, and, well, cute scenes where Character A meets Character B. They usually happen in creative and, let’s be honest, often cliche ways that either jump-start the romance from the get-go or create fun tension between the characters that we all know will eventually fall for one another despite their differences. 

Different Kinds of Meet-Cutes

We’ve written about the four different kinds of meet-cutes in movies. 

1. Pull/Pull Meet-Cutes where the two characters are instantly drawn toward one another. 
2. Push/Push Meet-Cutes where they are opposites that push away from each other at first. 
3. Push/Pull Meet-Cutes where one character falls for someone with no reciprocal interest (at first).  
4. Neutral/Nervous Meet-Cutes where neutrality and nervousness create a cute scenario for characters destined to fall in love. 

Read More:  4 Ways Characters Can Meet-Cute in Your Romantic Stories 

How Meet-Cutes Can Serve Your Story

While meet-cutes easily fall under the cliche or trope umbrella, the key is to find ways to create those moments in new and unique ways.

Options include: 

• Subverting audience expectations by making them believe a cliche meet-cute is coming, and then adding a creative twist to make yours stand apart. 
• Placing meet-cutes in unique locations. 
• Putting characters in different scenarios and situations. 

And sometimes you can have the meet-cute moment be very self-aware of itself as a wink to the audience.

100 Meet-Cute Scenarios

1. Coffee Shop — Bumping into each other while reaching for the same coffee order.
2. Bookstore — Both reach for the same book on a shelf.
3. Airport — Sitting next to each other during a flight delay.
4. Subway — One falls into the lap of another as the train jolts.
5. Dog Park — Each of their pets runs after the other.
6. Art Gallery — Having different opinions of a painting.
7. Music Festival — Dancing the same awkward way to the music.
8. Wedding — Catching the bouquet and the garter.
9. Gardening Store — Both reaching for the last bag of soil.
10. Food Truck — Ordering the same unique dish.
11. Charity Event — Volunteering side by side.
12. Escape Room — Working together to solve puzzles.
13. Hiking Trail — Being lost on the same path.
14. Farmers' Market — Both reaching for the last ripe tomato.
15. Yoga Class — Accidentally knocking each other over.
16. Karaoke Night — Being forced to sing a duet together.
17. Dog Shelter — Wanting to adopt the same dog.
18. Antique Shop — Haggling over the same vintage item.
19. Picnic in the Park — The wind blows their picnic blankets together.
20. Film Premiere — Spilling popcorn on the other.
21. Food Truck Festival — Being last in line for closing food truck.
22. Bike Ride — Colliding and falling in a heap.
23. Outdoor Concert — Dancing next to each other in the rain.
24. Museum — Discussing a historical artifact.
25. Train Station — Both missing their train.
26. Pet Store — Playfully arguing over which fish to buy.
27. Costume Party — Wearing complementary costumes.
28. Ferry Ride — Being seasick next to each other on the deck.
29. Carnival — Being randomly seated next to each other on a Ferris wheel.
30. Board Game Night — Competing in a heated game with friends.
31. Bakery — Both reaching for the last croissant.
32. Rock Climbing — Helping the other who is frozen in fear.
33. Thrift Store — Discovering they both bought the same vintage clothes.
34. Salsa Dance Class — Becoming dance partners.
35. Photography Workshop — Discovering that they took pictures of one another.
36. Ballet Class — One is there for balance as a football player while the other is a true ballet dancer.
37. Food Competition — Both judging the same dish.
38. Hotel Bar — Sharing travel stories.
39. Scavenger Hunt — Teaming up to find hidden clues.
40. Beach Volleyball — Competing on opposing teams.
41. Film Set — Working together as troublemaking extras.
42. Piano Lessons — Mistaking the other for a fellow student when they’re actually the teacher.
43. Movie Audition — Auditioning for the same role.
44. Paint and Sip — Painting side by side.
45. Campground — Accidentally going into someone else’s tent.
46. Cooking Class — Being partnered to make a dish.
47. New Year’s Eve Fireworks — Needing someone to kiss.
48. Trivia Night — Going up against each other.
49. DIY Workshop — One is teaching and the other is learning.
50. Christmas Tree Lot — Reaching for the same tree.
51. Protest or Rally — Debating different sides but with instant attraction.
52. College Orientation — Being paired as roommates by mistake.
53. Tennis Court — Hitting a ball into the next court.
54. Bike Race — Crashing into each other.
55. Beekeeping Workshop — One freaks out while the other calms them.
56. Comic Convention — Bonding over shared fandom.
57. Photobooth — Squeezing into a small booth together by accident.
58. Choir Practice — Being paired together for a duet.
59. Ice Skating Rink — Both trying to regain balance.
60. Ski Resort — Riding the same ski lift.
61. Underwater Scuba Dive — Exploring the depths together.
62. Botanical Garden — One dealing with an allergy attack while the other helps.
63. Sushi Bar — Sharing a laugh over a sushi mishap.
64. Zip Line Adventure — One freezing in fear while the other helps them.
65. Sailing Mishap — Boats nearly crash into one another.
66. Food Festival — Rival jam selling.
67. Local Theater Production — Overbearing director versus lead actor.
68. Jazz Club — Playing jazz together as strangers.
69. Dog Obedience Class — Training their unruly dogs.
70. Hot Air Balloon Ride — Surviving an accident.
71. Camping Trip — Seeing each other from one fire pit to the next.
72. Paddleboarding — Trying to balance on paddleboards.
73. Horseback Riding — Going out of control as another rescues them.
74. Wine Tasting — Sitting at the same wine bar.
75. Aquarium — Admiring colorful marine life.
76. Pottery Class — Creating art from clay together.
77. Restaurant — Requesting to meet the chef.
78. Indoor Skydiving — One instructing the other.
79. Meditation Retreat — Being the only two that can’t relax.
80. Zoo — Divorced parents taking their kids to the zoo and meeting.
81. Rock Concert — Saving someone from a mosh pit.
82. Dance — Being partnered by chance.
83. Uber Ride — A glitch scheduling two rides at the same time.
84. Local Park — Single parents see their kids playing together.
85. College Library — Both reach for the same book.
86. Martial Arts Class — Being partnered to spar with each other.
87. Apple Orchard — One falls from a tree while the other saves them.
88. Sailing Regatta — Competing against each other.
89. Science Museum — Exploring interactive exhibits.
90. Amusement Park — Riding a roller coaster together.
91. Art Class — A nude model falls for one of the painters.
92. Book Club — Debating the quality of an assigned book.
93. Poker Tournament — Going all-in against each other.
94. Kids Soccer Game — Coaching against each other.
95. Potluck Dinner — Bringing the same dishes.
96. Community Class — Student mistaking instructor for a student.
97. Bowling Alley — Throwing bowling ball into someone else’s lane.
98. Water Park — Lifeguard saving a person who doesn’t swim well.
99. Street Corner — Bumping into each other and mixing up their things.
100. Spa — Going into the same massage room in the nude by accident.

Use these one hundred meet-cute scenarios as writing prompts. Have fun with brainstorming more options. And remember, all they need to do is meet in cute ways. It’s not rocket science.

Read More: 101 Romance Story Prompts

____________________________________________________________________________

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post 100 Scenarios for Potential Meet-Cute Moments appeared first on ScreenCraft.

Plot Hole Definition

Plot (plät) — the main events of a play, novel, movie, or similar work, devised and presented by the writer as an interrelated sequence.

Hole (hōl) — a hollow place in a solid body or surface.

1. MacGuffin Plot Inconsistencies

These arise when the narrative presents inconsistencies related to MacGuffins, which are objects or goals that drive the plot forward, sought after by protagonists for various reasons.

Read More: Everything You Need to Know About MacGuffins

2. Logical Plot Incoherencies

These occur when certain elements of the story lack logical consistency, whether it's within the real-world context or in relation to the rules and setups established by the screenwriters and filmmakers.

3. Character Plot Discrepancies

These involve inconsistencies in characters' decisions, sudden introduction of unexplained abilities to resolve conflicts, or any deviations from established character traits.

4. Narrative Plot Discrepancies

Narrative plot holes refer to gaps or irregularities within the storyline that disrupt its coherence.

5. Deus Ex Machina Plot Flaws

These emerge when an apparently unsolvable or insurmountable conflict is suddenly resolved through the introduction of a new character, skill, or object.

Indiana Jones and Sallah quickly discovered that the Nazis were searching in the wrong area for the Ark of the Covenant. If they had simply departed with the medallion, the Nazis would never have laid eyes on the Ark.

The Poster Plot Hole in The Shawshank Redemption

It's revealed that Andy tunneled his way out of prison after many years of work using only a small rock hammer. We're willing to forgive how long it would have taken him to do so (that is somewhat addressed in the film). However, if Andy crawled through the tunnel to escape, how was the poster reattached to the cell wall to cover his escape tunnel?

Unconscious and Time-Traveling Indy Plot Hole in Indiana Jones and the Dial of Destiny

Let's take it back to Indiana Jones — this time in the final chapter of the character's story. In the end, when Helena, Indy, and company have traveled back in time to the era of Archimedes. Indy wants to stay. However, Helena punches him out. Indy wakes up in his apartment. He has somehow been transported back to his present time and has been also transported back to his apartment. How did Helena do all of this without Indy waking up?

The Illegal Kick Plot Hole in The Karate Kid

Sure, we could explain this away. Many (yours truly) have. However, the plot hole of the illegal kick still remains. During the tournament, Daniel is told that kicks to the face are illegal. Yet he manages to win the whole thing with — wait for it — a kick to the face.

The Not-So-Quiet Place Plot Hole in A Quiet Place

A family lives in near-silence in a postapocalyptic world where aliens with acute hearing attack the slightest of sounds. However, the family does visit a waterfall area where the noise is so loud that they can talk freely. Why would they consider moving closer to the waterfall? Sure, they would have to build a new home and cart new supplies across the forest to do so, but it's moderate plot holes like this that make you think they could have used a line of dialogue to explain that.

Buzz Lightyear Freezing Plot Hole in Toy Story

This classic has its own plot holes. Namely, why did Buzz drop and freeze at the presence of Andy if he didn't think he was a toy? Sure, you could argue that any toy automatically freezes in the presence of a human. However, Buzz and Woody (as well as their friends) clearly don't freeze as they move about town. Heck, Woody even talks to Sid. So why did Buzz freeze when Andy walked into the room before he realized he was a toy?

Giant Eagles Coming to the Rescue Plot Hole in The Lord of the Rings: Return of the King

The entire Lord of the Rings saga hinges on the difficult cross-country journey that Frodo embarks on with various Fellowship peers. He's tasked with taking the One Ring to Mordor to throw it into the lava. Mission accomplished, Frodo and Sam are about to die until giant eagles summoned by Gandalf come to save them. Um, why didn't they just use those eagles to fly Frodo into Mordor in the first place? It would have saved literally thousands of lives. While the books may explain this, the movies don't.

Thousand-Some Police Officers Trapped Underground for Months Plot Hole in The Dark Knight Rises

It's one of the biggest plot holes in a movie full of plot holes. Supervillain Bane traps a thousand-plus police officers underground for months. How did they survive? And when they escape, how come they are clean-shaven with fully-pressed uniforms?

Old Steve Rogers in Avengers: Endgame

This is a plot hole that audiences just choose to forgive because it's such a cool character moment. Steve Rogers appears as an old man at the end of the film. It is revealed that during his time-traveling, he decided to go back and be with the love of his life, Peggy. It's a sweet and tender moment. And we love the fact that he finally got to be with her. However, how is he in the same timeline as the Avengers we grew to know that just went through years of conflict with Thanos and his minions?

How to Avoid Writing a Plot Hole

Screenwriters have no control over what happens to their script after they hand it over to the studio. So forget the many hands in the cookie jar during the development phase, the trials and tribulations of production, and the editing done in post-production.

But what can you do to avoid writing plot holes in your spec scripts?

Protect Your House of Cards

The final draft of a screenplay is a house of cards. And as is the case with any house of cards, when you remove one card, many will usually fall as a result.

Great screenplays build and build and build to something. And when you build upon elements as you try to reach a desired climax, each piece is not just important, but vital.

If in Pulp Fiction, Quentin Tarantino is tasked to eliminate the character of Jules, the ripple effect within the script would be disastrous. However, sometimes those types of choices need to be implemented.

Pulp Fiction (1994)

How you overcome this is by going back and witnessing each and every cause and effect.

• If Jules isn't there, then it's just Vincent in the car.
• And if it's just Vincent in the car, how are we able to keep the amazing dialogue about Royale with Cheese and other gems?
• Do we have Vincent on a car phone talking to Marsellus?
• Do we have Marsellus in the car with him as Vincent is dropping him off somewhere?
• If we do that, what is the cause and effect? How does that interfere with Marsellus's timeline?

Editing your script isn't just about cutting and pasting. It's about protecting that house of cards by carefully going back and seeing the cause and effect of every choice you make, whether those elements will be big or small.

Read Previously Written Pages Before You Write

Reading previously written pages before your next writing session is perhaps the most vital element of ensuring that there are little to no plot holes in your script.

Pacing, tone, atmosphere, and character portrayal can change depending on your state of mind during each writing session. Reading what you've written before you continue writing is key to preventing pacing holes, tone holes, atmosphere holes, characterization holes, and, yes, all types of plot holes.

• If you write ten pages on the first day of writing, on that second day be sure to read those ten pages before you write more.
• When you have twenty pages before your next writing session, ready those twenty pages before you continue with ten more.
• Continue this process before every single writing session you have.

When you do this, your mind will have each and every detail ever-present as you write on, thus you'll be less likely to miss out on those bigger or smaller elements within the story and character arcs, the action, the build-ups, and the eventual payoffs.

Read what you've written before you write and you'll always be on the same page with yourself to catch those plot holes.

Salt and Pepper Your Script

When you've reached that final draft, take the time to go through the whole thing from Page One to The End with your metaphorical salt and pepper shakers to season the story, plotting, and characters.

Find any and all opportunities to offer foreshadowing earlier in the script to set up moments later on. Foreshadowing can be the ultimate plot hole fix because you're well aware of the minor and major plot points as you do so, thus you'll be more apt to ensure that things are connected well.

Choose Your Requested Suspension of Disbelief Wisely

It's okay to ask the reader or audience to suspend their disbelief in exchange for entertainment. Logic shouldn't always be applied to film because film is fantasy. Even films based on true stories have to adhere to the fact that, in the end, there are only two hours (give or take) to tell a story that could amount to a lifetime in the real world. It's fantasy. And it's entertainment.

That said, a reader or audience will only give you, the screenwriter, so much leeway in that respect. If you don't offer any logic within your story, you'll lose them fast because that means the script doesn't have any stakes.

Set the Rules and Stick to Them

If you have stated that a character has a heart condition that prevents them from running at high speeds for a long duration of time, and then in the climax you have them chasing down the bad guy in an epic foot race, that's a plot hole.

In Lord of the Rings, if you have shown that a certain wizard character has the ability to conjure giant eagles to fly characters to safety and you fail to utilize such capabilities in the most drastic of times as a Hobbit struggles to climb to the top of a mountain to throw a dangerous ring into the fire, that's a plot hole. And even if fanboys have an explanation for why those eagles couldn't take on that task, you need to have at least some dialogue explaining such rules.

You, the screenwriter, are the Lord of the Story. Suspension of disbelief is fine, to a degree, as long as you showcase the rules of your universe and stick to them. When you do that early, the audience will have no choice but to accept the rules and go along for the ride. If you break them, you're going to lose them.

Keep It Simple, Screenwriter

KISS. The greatest stories are often told through the most simple of plots.

A giant shark is terrorizing an island community and a chief of police, fisherman, and marine biologist are tasked to stop it.

One of the greatest and most suspenseful films contains one of the most simple plots in cinema. The chief needs a boat and he needs an expert. He can't do it alone. That's all this story is, yet it captures us and takes us on an amazing journey. We didn't need to know where the shark came from and why it was wreaking havoc. It's a giant shark and it likes to eat. And that's bad for the community. That's it. Time to go shark hunting.

Over-complicating stories with multiple A plots, B plots, and C plots almost always leads to inevitable plot holes. It's unnecessary most of the time.

Keep it simple and you'll avoid the deep, dark depths of plot holes.

---

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

The post What is a Plot Hole and How Can You Avoid Writing Them? appeared first on ScreenCraft.

What are the most essential elements of cinematic screenplays? Here are some general guidelines.

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5 Elements of Cinematic Screenplays

1. A Focus on Actions and Reactions

Because film and television are visual mediums, audiences want the story to be told through actions and reactions. A screenplay that focuses more on showing rather than telling is a sign of a cinematic screenplay. Action and reactions allow the cinematic story to flow at a quicker pace.

1. Introduce the conflict.
2. Show the characters reacting to the conflict.
3. Show the consequences of their actions.
4. And have them react to those consequences.

2. Smaller Story Windows and Streamlined Timelines

In the film Lincoln, Steven Spielberg could have tried to depict the whole presidency of Abraham Lincoln but wisely decided on choosing a smaller story window within his presidency — in this case, Lincoln’s struggle to emancipate the slaves.

That allowed for a more cinematic experience for the audience than what could equate to a documentary by showcasing his whole story.

Read More: How to Succeed the Steven Spielberg Way

In the book version of Lords of the Rings: The Two Towers, Tolkien spends 200 pages with one set of the Fellowship. Then he goes back in time to cover Frodo and Sam's journey into Mordor. This would be a questionable narrative structure choice in a film. The cinematic option was to cut back and forth between those storylines. That offered a more streamlined cinematic feel.

Read More: The Hero's Journey Breakdown: The Lord of the Rings

Presenting the story's structure in a more streamlined fashion helps keep the audience focused on the chronological structure of the narrative. When you keep the timelines between different storylines simple and chronological, you present a more cinematic experience for the script reader and audience.

3. Swift Scene Description

Scene description holds the key to the success of your cinematic screenplay. You want the reader to decipher the visuals you are describing in your scene description as quickly as possible — as if they were reels of film flashing before their eyes.

Read More: Essential Movies Taught in Film School

Sadly, most novice screenwriters fail to understand the importance of writing cinematically. Instead, they either focus on directing the camera or go into specific detail with long-winded scene descriptions and prose.

In this first example, we have scene description that is more interested in prose than it is presenting a visual.

This scene description block isn’t the worst we’ve seen. Two sentences in one block and one long sentence in another. A lesser writer would have used another paragraph to go further into detail, trying to capture some particular atmosphere for what is basically one image for the reader to visualize.

This second example is a version of the same opening of the same scene but with the focus of getting to the point swiftly so the reader can see the visuals in their head as quickly as possible.

The latter example is cinematic scene description.

Read More: Screenwriting Tips on Writing Action That Pops

4. Writing How a Film Editor Edits

Novice screenwriters often worry too much about the plot, as opposed to cinematically communicating that plot. They outline the scenes, make sure the proper plot points are placed here and there, and then when they write, they simply create scenes that lead the plot forward, often with dialogue that tells rather than shows.

This describes about 98% of the scripts floating around Hollywood agencies, management companies, and development offices right now.

The top 1% deliver on offering a hybrid of great concepts, great stories, great characters and great cinematic reads.

Film editing is a critical factor in the success of any film. Every choice the editor makes drastically affects the emotional engagement of any story, plot point, scene, sequence, or character.

The choices an editor makes are vital to the telling of a cinematic story. And it's certainly not just about what is left on the cutting room floor, instead, it's about vital yet straightforward choices like:

1. When to enter and exit a scene
2. How much or how little dialogue is used
3. What emotions are shown
4. What point of views are utilized
5. What transitions are made from scene to scene, and what those transitions are telling us

These are choices that screenwriters need to make to create a more cinematic read that feels like the reader is watching the movie in its final cut.

It's not about presenting camera angles and camera directions. It's about presenting a visceral experience on the page. And this goes for any genre, including dramas.

5 Pro Screenwriting Tactics to Write How a Film Editor Edits

Offer a Visual Treat in the Opening Pages

Imagine the opening visual and conjure the dramatic, scary, thrilling or funny moments that follow. Imagine how you can quickly introduce characters while still showcasing elements of who they are. We covered this well in our blog posts How to Introduce Multiple Characters Quickly and How to Introduce Ensemble Characters in Dramas.

But even more important, offer something that engages the reader visually.

Here's where most screenwriters make a mistake. They think that dialogue and some story point is a way to engage a reader in the opening pages. Human beings respond more to visual references. The best way to provide that cinematic experience is to conjure visuals that engage, rather than just some smart, interesting, or shocking dialogue or plot point.

You accomplish this by describing something that creates a visceral response in the reader. Something memorable. The late Wes Craven opened with this visceral scene in Scream that centered on the fear of being alone or stalked.

It's cinematic because we don't open with the setup of her character. We don't meet her parents first. We don't meet her boyfriend. We're thrust right into the middle of the moment.

Case Study: The Thing

John Carpenter, the king of throwing us into the concept quickly, opened his classic sci-fi horror The Thing like this...

We aren't introduced to the ensemble characters first. We aren't introduced to their setting and group dynamics as a lesser script would have delivered.

• First, we're offered a visual of a spaceship falling into Earth's atmosphere.
• Then we're immediately in the action of a helicopter chasing — and shooting at — a wolf.
• We watch as the wolf runs into the facility seeking refuge while the helicopter shooter exits and begins to fire at it while screaming at the main characters of the film in a foreign language.
• Finally, the shooter is taken out by one of the main characters.

This opening is accomplished almost entirely by visuals, and now we're wondering how the visual of the spaceship entering Earth's atmosphere is related to what followed. That's cinematic.

Case Study: There Will Be Blood

Paul Thomas Anderson's There Will Be Blood focuses solely on visuals as we are thrown into the lead character's life.

We go from scene to scene of him:

• Surviving the elements
• Mining
• Getting hurt
• And then finally succeeding in finding his fortune.

It's a visceral sequence that is edited perfectly as we:

• Wonder who this character is
• See how driven he is
• Learn that he'll stop at nothing to succeed.

You, the writer, can and should write like these opening sequences are edited.

Intercut Different Scenes Together to Break Up Longer Scenes

If you have a more extended scene that needs to be featured, think like an editor and figure out how you can break up that scene by intercutting it with other scenes, jumping from location to location, from this character to that, etc.

Go from one to the other, back and forth, rather than just offering a bland collection of scenes built up on top of each other. That’s not how most great films feel when we’re in the theater. Why? Because they’ve been edited to convey a certain energy, flow, and style.

Don't Edit from Plot, Edit from Instinct

As mentioned before, too many screenwriters focus on plotting the script out as they write and edit. Trust your instincts to create that cinematic "cut" of your script. What do you feel are the best cinematic choices when moving from one scene to the next? What works best visually?

The problem with supposed screenwriting "formulas for success" — Save the Cat, etc. — is that they breed formulaic screenplays. They teach you to write and edit from plot rather than from instinct. You've been watching movies and television your whole life. Trust this now-embedded visual storytelling instinct to offer answers to the sole question of "What do we see next?"

What Do We See Next?

It's not about going to the outline to see what comes next in the story. It's not about following some formula or structure. Writing like an editor edits is all about what we see next and why.

• Don't be afraid to end a scene with a character gazing at the murky water and then opening the next scene on a close-up of that or another character washing their bloodied hands in the sink.
• Don't be afraid to end a scene with a character threatening another in a violent rage and then open the next scene on that victim being discovered as a corpse floating in a lake.

Both examples that would otherwise be simple but effective film editing choices are types of visual elements that screenwriters should be embracing within each page of their script and every transition between scenes.

Pay Specific Attention to Rhythm

The great editor Walter Murch (Apocalypse Now) said it best when talking about editing:

"It's all about rhythm."

Some will say that great editing is seamless and unnoticeable. When we're talking about rhythm, that rings true. For screenwriting, the same applies. However, sometimes following the rhythm of an emotional moment forces us to make transitions to scenes in a creative manner. Some emotional scenes play better if you jarringly cut to the next scene.

If someone is agitated after an argument with another character, the next scene could open with them back home, tearing apart their apartment. We don't have to see them leave the previous location, walk home, enter, and then begin to wreak havoc. Instead, we go from the emotion of the argument to the emotion of their reaction sometime later.

Screenwriters can follow the emotional rhythm of the story and the character from scene to scene by making the right choices that offer cinematic transitions for the reader to easily comprehend.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Pro Screenwriting Tactics: How to Write Cinematically appeared first on ScreenCraft.

1. The message the writer aims to impart to the audience extending beyond the plot and story developments.
2. The higher meaning of a story based on the audience's interpretation.

Let's dig a bit deeper into what theme is, explore examples of themes in iconic movies, and how you can use them in your stories.

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Okay, So What Does "Theme" Really Mean?

A theme is like the big idea or message in a piece of art. It's something that pretty much everyone can relate to and makes you feel something deep inside.

Think of theme as the heart and soul of the story — the center core. It's what the folks who write and make movies and TV series want you to take away from it all, beyond all the stuff that happens in the plot and with the characters.

While the plot and story showcase conflicts the characters must overcome, the underlying theme is the glue that holds those elements together with deeper meaning.

Read More: 3 Philosophies to Finding Your Screenplay's Theme

Examples of Theme in Popular Movies

Barbie

Barbie uses comedy, pop culture, and iconic toy branding to explore themes of female empowerment, self-discovery, identity, self-esteem, and existentialism. While female empowerment is the surface theme, the movie offers something that everyone of any gender can learn and grow from.

Read More: America Ferrera's Glorious 'Barbie' Monologue Explained

Oppenheimer

Oppenheimer uses historical figures and events to explore themes of moral responsibility, scientific ethics and the cost of knowledge.

Read More: Why are Barbie and Oppenheimer Battling at the Box Office?

Jurassic Park

While Steven Spielberg's Jurassic Park was about characters surviving on an island full of dinosaurs, the theme shows that the story is really about the dangers of playing God and the ethics of science and knowledge.

How Important is Theme?

Laughs, history and thrills are great, but it's the theme that has the audience walking away from the movie or TV episode affected on an emotional level beyond entertainment and informative cinematic experiences. It is because of theme that we find ourselves pondering more existential questions like:

• What's lurking in the darkness we're too scared to explore?
• Is being greedy actually a good thing?
• How much can someone take before they turn into a real savage?
• Would you do anything to protect your family, even if it meant doing something terrible?
• Would you sacrifice yourself for those you love?
• Can love really hit you like lightning the first time you see someone?

How Do Themes Work on an Emotional Level?

Themes Trigger Empathy and Catharsis

Themes speak to the core of who we are as humans, offering a cathartic experience that connects with us on a deeper level. These universal themes make us feel things by triggering empathy and catharsis.

Empathy

Empathy can be described as the act of comprehending, showing awareness of, displaying sensitivity towards, and indirectly participating in the emotions, ideas, and encounters of someone else. This mirrors the response writers aim to elicit in both the readers and the audience with the goal being to have them immerse themselves in the characters' lives.

You don't even have to have the exact same experiences as the characters to get emotional. It's all about finding that common ground and feeling what they feel.

Read More: 7 Ways Screenwriters Can Create Better Character Empathy

Catharsis

Catharsis can be understood as the emotional release experienced upon the story's resolution and the completion of the protagonist's journey.

Examples of Empathy and Catharsis in Film

Field of Dreams

In Field of Dreams, Ray spends the whole movie trying to figure out what the field is trying to tell him. "If you build it, he will come." "Ease his pain." "Go the distance."

He realizes that the whispers were always about the one person he didn't think of — his father.

In the end, Ray turns to the field and sees his father. The sad truth is that they had never shared the one thing they had in common together — their love of baseball. It was perhaps the common ground on which they could have built a better relationship. And now they have their chance to do just that.

The Pursuit of Happyness

When you watch the inspiring The Pursuit of Happyness, you don't need to have experienced homelessness or the pursuit of a dream that continues to evade you to be moved by this end scene.

You can watch that character go through that and come out changed — and maybe even inspired to chase a new dream.

Between these two examples, you can encapsulate those themes with a single word:

• Reconciliation (Field of Dreams)
• Perseverance (The Pursuit of Happyness).

You can also frame these themes as questions directed at the audience:

• "Should it take a miracle for someone to forgive?"
• "What hardships are you prepared to endure to achieve your dreams?"

That's empathy and catharsis. And that is theme.

Story Themes Also Shine a Light on Society

Movies and TV shows can even use story themes to shine a light on what's going on in the world right now.

In Ron Howard's Thirteen Lives, the underlying theme shows that people from all walks of life can come together to do what's right.

In Adam McKay's Don't Look Up, the story is like a big mirror reflecting on how politics can alter our ability to think straight. It's also a bit of a wink towards the divisive topic of climate change.

And, yes, if we go back to Oppenheimer, we can see the light being shined on the concerns of moral responsibility, scientific ethics, the cost of knowledge and even humankind's thirst for power.

If a writer wants to make a statement and try to use storytelling as a way to help humankind, their story's themes are the way to accomplish that — or at least get people talking a bit more about what's going on in the world.

Use Theme as the Glue of Your Story and Characters

While there is no single step-by-step process to ensure that you're injecting themes into your stories, you can (and should) do your best to ensure that the themes you are trying to explore and share are always at the core of what you are writing.

• If your story theme is about love, your story should be a loving story that explores all aspects (good and bad) of love.
• If your story theme is about humankind vs. nature, your story should showcase the dynamics of that struggle between the two.
• If your story theme is about justice, your story should embrace the pursuit of it through all means necessary.

Do You Have to Include a Theme in Your Story?

That said, there are those who believe you shouldn't chase theme too much during the writing process. Oscar-winning screenwriter and director Paul Thomas Anderson said:

"If I've ever had a theme in mind, I mean, usually that's just the worst. Then you feel yourself writing. And there's nothing worse than that feeling of, kind of, chasing after a theme."

The story and characters are pivotal for the audience. While theme is central to the storytelling process, it's at first secondary to the audience. You need to get them through the story for them to discover and recognize the theme. You accomplish this by finding that perfect balance between ensuring that themes are present during the writing process and not keeping you held hostage by them as well.

Theme Is Subjective

It's key to remember that theme can also be subjective. One interpretation of the intended or unintended theme can and will be different from another.

The few Barbie critics out there seem to think that the film's true theme is misandristic, while most embrace the intended themes of female empowerment (which isn't misandristic), self-discovery, identity, self-esteem, and existentialism.

To this day, some critics and cinema theorists swear that Steven Spielberg's E.T. the Extra-Terrestrial is a Christ-figure allegory. Spielberg laughs off such notions, reminding people that he's Jewish. Point being? He had no intention of creating a Christ-figure allegory — but people can interpret his story in their own way, and he's fine with that.

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That's what theme is in a nutshell when it comes to movies and TV series. It's a vital part of the cinematic experience. Though the audience may inevitably have their own interpretation of the themes you present, your themes will often speak to our grander universal human experiences, from our struggles to forgive to the fear of pursuing our dreams.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What Is Theme? appeared first on ScreenCraft.

• Free Market Awareness: A pre-established fanbase guarantees instant market recognition.
• Instant Project Validation: Book/video game/article adaptations have built-in credibility
• Fanfare: Fans drum up a lot of buzz as they wait eagerly for these adaptations.

But what intellectual property, and what should (and shouldn't) screenwriters do with it?

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What Is Intellectual Property?

Intellectual property refers to creations of the mind that are legally protected. Examples of this are:

• Inventions
• Artistic works
• Symbols
• Names
• Images
• Designs
• Trade secrets
• Literary works (articles, music, lyrics, poems, novels, stage plays, teleplays and screenplays)

For writers, as soon as you create something, you own the IP rights. Registration only exists to help you prove such ownership in a court of law or binding arbitration procedures if there is a dispute between parties.

And if you want to adapt anyone else's IP, you're going to need to know the dos and don'ts of handling it.

The Screenwriting Dos and Don'ts of Intellectual Property

DO Adapt Studio Franchise IP for Fun

There's nothing wrong with playing in your favorite movie franchise's sandbox, in fact, it's a great opportunity to experiment with established characters and worlds and learn the art of adaptation. If you ever get to the level of becoming a professional screenwriter, a majority of the paid jobs you'll get will be writing assignments that handle IP that studios, networks and producers own.

DON'T Attempt to Profit from Studio IP

While it's okay to adapt studio IP on your own for fun, understand that profiting from it and promoting it as yours is illegal. This includes writing it, producing it and then putting it on YouTube to generate revenue from ad views or clicks.

DO Use Studio IP to Draw Attention to Your Talent

Let's face it, screenwriters and filmmakers need to do something to stand out and sometimes that means using studio franchise IP to get noticed.

In 2003, filmmaker Sandy Collora directed what is highly regarded as one of the best fan films ever made, Batman: Dead End, which garnered him near-legendary status among Comic-Con fans and even director Kevin Smith.

DON'T Pitch Your IP-Adapted Projects to Studios

You might have a great idea for a Star Wars, Harry Pottery or MCU movie, but unless you're an established screenwriter, it'll never be read. Studios and their teams of lawyers fear any lawsuits that may come their way. Even the frivolous ones. That is why it is policy to not accept or read any unsolicited emails, loglines, pitches, screenplays, or materials — especially those related to IP that they own.

Avengers Endgame (2019)

DO Understand Fair Use

Limited fair use of IP without permission for purposes such as criticism, commentary, or parody is possible. However, fair use can be a complex legal issue, so consult legal counsel if you're unsure.

DON'T Assume Fair Use Applies

There is so much false information out there — especially in screenwriting forums and comment sections. To avoid any legal issues, don't use anyone else's IP.

DO Try to Find IP You Can Adapt

Make no mistake, attached IP can help your script. In most general meetings, IP is almost always brought up. Executives will ask if you have any IP-related projects — or they will have IP that they need to be adapted.

If you can nab the licensing or option the adaptation rights to comic books, novels, stage plays or any other IP, go for it. But you need to understand the limitations you'll be facing (see below).

DON'T Pursue Unproven or High Profile IP

The old Hollywood development benchmark for a successful novel worth adapting is 50,000 copies sold (it's likely double that now). Anything under that probably isn't worth pitching.

Too many screenwriters believe that just having the rights to any novel means their project is more valid than others. The IP has to be successful. The only time an unproven novel is picked up for adaptation by studios or networks is when the author or subject is high-profile already.

The real secret is getting in on something early. However, it's difficult to ascertain what will hit and what won't. That will be the gamble you'll be facing when trying to find IP to adapt. Yes, it's an unfortunate Catch 22.

Read More: How to Adapt a Book for the Big Screen

DO Require a Contract Before Adapting Anyone's IP

Whenever you partner with someone to adapt their IP, make sure you draft a contract that you both sign. Use contracts to clearly define the rights and obligations of all parties involved. Consult a lawyer or entertainment attorney to ensure your contracts are comprehensive and protective.

DON'T Assume the Contract Will Apply to Studio or Network Deals

Just because you and an IP owner agreed on profit splits doesn't mean that agreement will apply when studios and networks are ready to make a deal.

If you agree to adapt a novel for an author and also agree to share the profits from the sale of the script, you need to understand that things can go awry for you quickly when studios and networks become involved. They could offer a side deal with the author if you haven't been given the sole rights to adapt their work. If the contract you drafted was only for the sale of the script you wrote, the studio or network could easily buy the adaptation rights from them and hire another screenwriter.

DO Consider Using Open IP Available in the Public Domain

The Public Domain encompasses properties that are accessible for unrestricted utilization by anyone. This accessibility arises from various factors such as the expiration of copyright, the loss of copyright due to loopholes or errors, the death of the copyright owner, or the failure of the copyright owner to file for rights or extensions thereof.

What's great about the Public Domain is that you can find iconic characters and stories and use them within your own original interpretations. Or you can adapt them outright. These are all available in the Public Domain to adapt:

• Dracula
• Frankenstein's Monster
• The Phantom of the Opera
• King Arthur
• Robin Hood
• Sherlock Holmes
• The Wizard of Oz
• Tarzan
• Alice in Wonderland
• Peter Pan

Read More: The Hottest Public Domain Properties for Screenwriters

DON'T Use What Studios and Networks Have Already Done with Public Domain Properties

It is crucial for writers to exercise caution and restrict their focus solely to the material present in the books. Any inclusion or mention of characters and visuals from the classic film or any other subsequent adaptations could potentially lead to copyright and trademark infringement liabilities.

Read More: 101 Public Domain Story Prompts

DO Use Intellectual Property as Inspiration for Your Original Work

Anyone who says they don't take inspiration from successful movies, franchises, and TV shows is lying. Directors, producers, and screenwriters are inspired by the work that came before them. Studios and networks are always trying to take what's been successful and create their own version of that to jump on the bandwagon.

You can use intellectual property as inspiration for your original screenplays. And even when screenwriters and filmmakers aren't openly using other cinematic stories as inspiration, the influence of cinema is inescapable.

DON'T Just Change the Character Names and Settings to Make the IP Yours

This is a common fear of novice and ill-informed screenwriters when sending their scripts to development executives and producers — that Hollywood will just change the character names and settings to steal your work. That's not going to happen.

On the flip side, don't attempt to do the same thing with someone else's IP. It's not only wrong ethically, but it's illegal.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post The Screenwriting Dos and Don'ts of Intellectual Property appeared first on ScreenCraft.

Let's define empathy before we move on to the five ways you can use it to create better villains.

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What Is Empathy in Screenwriting?

Empathy can be best defined as the act of comprehending, acknowledging and sensitively relating to the emotions, thoughts and encounters of another. In movies and TV shows, audiences experience these character elements vicariously. The intention is for readers and audience members to immerse themselves in your characters' lives. That is exactly the kind of cinematic experience that captivates most people.

Empathy Doesn't Require a Character to Be Likeable

Old screenwriting books emphasize the necessity for protagonists to possess an inherent likability. However, in contemporary cinema and television platforms, this guideline has progressively blurred. Flawed characters and antiheroes have become central protagonists in movies and television.

The Last of Us (2023-)

Television series such as The Sopranos, Breaking Bad, The Last of Us, Game of Thrones, Yellowstone and others have excelled in portraying characters who may not always be endearing. Yet we still manage to develop empathy towards them due to their distinctive character traits.

Read More: Antihero with a Heart: Analyzing Joel from 'The Last of Us'

Some of our greatest cinematic icons have been antiheroes that blurred the lines of protagonist versus villain. Michael Corleone in The Godfather is perhaps the greatest example.

• He becomes a murderer.
• He orders the death of others.
• He shuns his wife.

Yet we still look upon him as someone to root for. Why? Empathy.

The Godfather (1972)

5 Ways to Create Empathy for Your Villains

1. Inject Tragedy Into Their Lives

When we see any type of character dealing with any type of loss, empathy is created — even in villains. Tragic backstories can explain why they have turned into the villain they now are.

• Perhaps they've lost a loved one, which has triggered their reactive plans against the hero and the world they protect.
• Maybe they have been wronged or wrongly prosecuted.
• What if they are avenging someone?

When we see the humanity in villains dealing with past tragedies, we empathize with them and feel as if the lines between right and wrong, light and dark, and good and evil are blurred. This creates a more cathartic feeling as we walk out of the theater questioning whether or not the villain was in the right or wrong — or at least it's understandable why they did what they did.

Breaking Bad (2008-2013)

2. Coping with Illness, Addiction and Other Internal or External Challenges

Whether it's a battle against cancer, the burden of shame, the weight of guilt, the grip of depression, the grip of anxiety, the complexities of schizophrenia or the clutches of addiction, when you give your villain an internal or external struggle, the audience can't help but feel empathy for them, even if they are a villain.

If Breaking Bad had solely revolved around a man's decision to embark on a life of crime for monetary gain, he could have been a mere villain or antihero. However, because he grappled with cancer and undertook those actions for the sake of his family, the audience experienced a heightened sense of empathy. While he was technically an antihero and lead protagonist to root for in the series, the lesson learned is that physical and mental challenges can inject empathy into a villain's story that makes them more memorable in the end.

Star Wars: Episode III – Revenge of the Sith (2005)

3. Make Them Fallen Heroes

If a villain was once good (Anakin Skywalker/Darth Vader), and that is present within the story, we feel empathy for them because they've fallen from glory — and we want them to find their way back. And the more we see them struggle to choose right from wrong, the more we'll be emotionally affected by whatever choices they make.

4. Give Them Shades of Humanity

Sometimes a villain just needs to be a villain. We get it.

However, you still can find ways to showcase their humanity. It could be something as simple as having a love for a pet, showing loyalty to their minions or underlings, or creating a gesture they make that goes against their otherwise evil intentions.

Even Frankenstein's Monster showcased true empathy when he interacted with the little girl.

It doesn't matter if their humanity is forever lost or hopeless to prevail. It just needs to be present now and then to add a little flavor and depth to their villainy.

5. Have Them Redeem Themselves

Sure, a villain can go out with a bang — void of any redeeming moment before their demise, but redemption by the end of their character arc leaves the audience in an empathetic state that makes the villain even more memorable by the end of the story.

• Showcase a change of heart.
• Have them understand what they did was wrong.
• Make them sacrifice themselves for the greater good.

And if you don't want them to be that redeemed, find creative ways to make their perspective understood.

The villain in Black Panther, Killmonger, seeks to overthrow the Wakandan throne. And he's willing to kill to do so. However, his tragic past and desire to rectify historical injustices provide a nuanced perspective. His final actions reflect a selfless act that challenges T'Challa's approach, leading to a degree of redemption.

Case Studies: AFI's Top Five Villains of All Time

The American Film Institute created a list of fifty of the greatest movie villains of all time. To prove our point about the importance of empathy when it comes to creating better villains, let's find the ways that we can empathize with AFI's top five villains.

1. Hannibal Lecter (The Silence of the Lambs)

Despite his gruesome nature, Hannibal Lecter's exceptional intelligence and refined tastes can captivate audiences. His ability to understand and manipulate others, coupled with his tragic past, creates a complex character that elicits a strange fascination and empathy. We also empathize with his protectiveness of Clarice. When he lets her go, we see some of the humanity left in him.

2. Norman Bates (Psycho)

Norman Bates is driven by a severe psychological disorder. He struggles with his fractured identity. Audiences can empathize with his internal battles and the torment caused by his domineering mother figure. Because of this, we can view him as a tragic figure caught in a web of mental anguish.

3. Darth Vader (Star Wars)

Darth Vader, formerly Anakin Skywalker, undergoes a tragic transformation from a gifted Jedi Knight to a powerful Sith Lord. His internal conflict, stemming from the loss of loved ones and manipulation by Emperor Palpatine, evokes empathy as audiences witness his struggle between the light and dark sides of the Force. Sure, in the first Star Wars, he's a less sympathetic presence. But as his arc through the original trilogy concludes, we feel empathy for him by the end. He sacrifices himself for his son. And when we watch the prequels, we learn more about the Anakin side of him as we watch the tragic downfall of his character as he succumbs to the Dark Side of the Force. But it's his final moments in Return of the Jedi that make us empathize with him most.

4. The Wicked Witch of the West (The Wizard of Oz)

She is initially portrayed as a malevolent force. However, the Wicked Witch of the West can be represented as a marginalized and misunderstood character. Her quest for revenge against those she perceives as oppressors can be seen as a response to her mistreatment. Sure, it's a stretch. But when you look at things from her perspective (her sister was killed by Dorothy), you can find empathetic moments if you're creative enough.

5. Nurse Ratched (One Flew Over the Cuckoo's Nest)

Nurse Ratched embodies the oppressive authority figure within a mental institution. While her strict demeanor and abuse of power make her more of an antagonist than a villain, understanding the pressures she faces within the system may generate empathy for the difficult choices she makes, even if they are detrimental to the patients.

All of these perceived villains have empathetic qualities that make them better than mere evildoers. Now, let's explore ways screenwriters can create more empathy for the villains they conjure.

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Creating empathy for villains adds more depth to your stories and the characterizations within. Sometimes you can use a lot of empathy for particular stories. Other times all you need is just a little.

But if you're looking for ways to create better and more memorable villains, empathy is the way to go.

Read More: 12 Villains That Every Screenwriter Should Study

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Using Empathy to Create a Better Villain appeared first on ScreenCraft.

Some attended film school (George Lucas, Francis Ford Coppola). Others created their own film school by watching and studying movies (Quentin Tarantino).

Whether you get your knowledge from film school, studying movie catalogs, reading screenwriting books, taking online courses or diving into screenwriting software to conjure scenes, there's a wealth of knowledge from many different places. And even the most successful professionals will tell you that screenwriting education never ends. You're always adapting and evolving as a screenwriter.

With that in mind, here we peel back the layers of screenwriting education by ranking the top five ways to learn how to write screenplays. We'll delve into the strengths and weaknesses of each, starting from what we feel is the overall least effective to the most effective of the five.

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Top Five Screenwriting Education Options Ranked

5. Film School

We're not knocking education here. If you can attend a university — film school or not — we highly recommend it. When it comes to film school, it's ranked the least effective because it depends on where you go.

According to The Hollywood Reporter, the top five film schools are:

1. American Film Institute
2. New York University — Tisch School of Arts
3. University of Southern California — Los Angeles (USC)
4. Chapman University
5. Cal Arts

Read More: A Complete Guide to the Best Film Schools in the U.S.

But not everybody can afford to go to film school — or make the move to different cities and states to attend. The benefit of going to one of the best is that you're usually learning from seasoned professionals. Most other film schools — or media programs — are limited in screenwriting mentors with industry experience. While instructors from those schools may have knowledge to share, you can learn a lot more from other resources.

And there is no screenwriting bachelor's degree. Film schools will focus more on the filmmaking aspects of the industry, with screenwriting as one of the classes required for a film school degree or degree in media.

The true benefit of film school is attending the options with the most connections with the Film/TV industry (AFI, USC, CAL ARTS, UCLA). You can utilize those mentor and peer connections you make to expand your industry network post-graduation.

Read More: Should Screenwriters Go to Film School?

4. Online Courses and Mentorship Programs

Just a notch above film school lies a much more affordable option — online courses and mentorship programs. These types of online options are usually offered by individuals who have had some industry experience, be it as professional screenwriters, former Hollywood executives, or former industry script readers and story analysts.

You're getting pretty much the same advice and instruction you would be receiving from lower-tier film school or media programs, but for a fraction of the price.

The benefits are that you'll be guided through the basic industry guidelines and expectations regarding story development, screenplay format, structure, characterization, dialogue, and marketing. These basics are all that you need to begin your screenwriting journey.

With mentorship programs, you'll also benefit from having one-on-one access to mentors who can help guide you through the learning process.

We rank online courses and mentorship programs above film school for easier access when it comes to the financial and geographical hurdles of attending film school. Again, the benefits outweigh the easier access and more affordable online options if you can attend the top programs with the most industry connections. But if you can't, you can get the same — if not better — screenwriting education than lower-tier film school or media programs.

3. Screenwriting Books

Screenwriting books can be an excellent way for screenwriters to search for industry knowledge, wisdom, perspective, philosophy, experience, tips, and instruction.

• You can learn the basics from format to structure in books like The Screenwriter's Bible.
• You can dive deeper into story analysis with Robert McKee's Story.
• You can apply or learn from theoretical formulas like those found in Save the Cat!
• You can seek wisdom from mythological structure in Chris Vogler's The Writer's Journey.
• You can gain behind-the-scenes knowledge from successful blockbuster screenwriters in Writing Movies for Profit.

There are so many screenwriting books packed with knowledge, experience and instruction. For some professional screenwriters, the best film school experience was reading screenwriting books in the Barnes and Noble Film/TV aisle.

Yes, you need to pick and choose wisely. But you always get a wide variety of options that you can cherry-pick from as you develop your own style and philosophy.

Screenwriting books are obviously more affordable and available to screenwriters compared to film school, online classes, and mentorship programs. And the best ones are usually written by industry professionals with a background in screenwriting, studio development, and studio coverage.

Read More: The Best Screenwriting Books for Screenwriters

2. Becoming a Script Reader

Beyond learning the basics of format, structure, story, and characterization, there's no better screenwriting education — beyond actually doing it (see below) — than becoming a script reader.

A script reader is someone who is tasked with reading and evaluating screenplay submissions. In short, they offer script notes.

• Interns and assistants for production companies, agencies, and management companies.
• Professional script readers and story analysts for studios, networks, and streamers.
• Screenplay contest, competition, and fellowships readers and judges.

As a script reader, you'll be asked to read multiple submissions and write script coverage that ascertains whether or not a script should advance to the next competition round or higher-tier development decision-makers.

Why is this position the best overall screenwriting education? Because you're reading examples of the best screenwriting out there, as well as the worst.

• 95% of the scripts that script readers read are horrible — or just not ready. You will quickly start to see the red flags and glaring mistakes made by scripts like these.
• 4% of the scripts read by readers are average. As a screenwriter, you can use this knowledge to understand the difference between an average script and one that is good enough to get purchased and produced.
• 1% (usually less than) of the script being read are fantastic, for any number of reasons. They are few and far between, but when you find them, you'll truly see what kind of script goes the distance.

The educational aspect of being a script reader is one of the greatest hidden treasures in the industry. Reading multiple scripts each week — the amazing, the average and the bad — will help you master screenwriting format, structure, dialogue, prose, theory, genre dynamics, etc. You'll be many steps ahead of the pack.

Read More: How to Become a Hollywood Script Reader

1. Learn By Writing Scripts

Notice how we didn't use the singular. You don't learn screenwriting by writing a single script. In fact, your first script is always your worst. You learn by writing multiple scripts and learning from both your triumphs and failures.

Most successful screenwriters write multiple scripts before they write the marque script that got them representation, a sale, an assignment, or a produced project. And you need to have a stack of amazing screenplays to truly draw decision-makers' attention, primarily because the first thing you're asked after that first general meeting is, "What else do you have?"

Reading and evaluating the screenplays of others is truly the best screenwriting education you can receive — before (or while) you start writing multiple scripts of your own.

• When you get feedback from mentors and peers, you'll learn how to take feedback and notes.
• As you later begin to submit to contests, competitions, and fellowships to test the waters, you'll hopefully opt to pay extra for the script coverage they offer. And then learn from the notes they give and your eventual placements.
• When you market and query production companies, managers, and development executives and get them to read your scripts, you can gauge what scripts are making an impact and what scripts aren't.
• As you begin to network and submit your scripts to various contacts you've made, you'll hopefully get feedback and be able to gauge responses.

But none of this happens until you've written multiple screenplays. You learn most by writing, failing, writing again, improving, failing, writing again, etc.

• Don't take six months to a year or more to write a screenplay.
• Try to write under professional deadlines (2-3 months) to allow more time to move on to other scripts.
• Learn how to move on to the next script as quickly as possible while also writing excellent material in the process.

You'll learn the most from your triumphs and your failures. Ultimately, that is the best screenwriting education you'll ever receive. And know that professionals making a living are still learning with every single screenplay they write.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What is the Best Screenwriting Education? appeared first on ScreenCraft.

Read More: 10 Reasons to Consider Killing Your Main Character

But you want to avoid killing a character just for the shock value. That's not enough. And the audience will resent you for it. Character deaths in movies and television need to mean something because if we don't care if they died or not, it is a waste of prime screenplay real estate — and a waste of the audience's time and investment.

With that in mind, here are seven ways to make your character deaths more memorable, heartbreaking and impactful.

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Timing Is Everything

If you kill a character off too quickly, there's no time for the audience to really care if they are gone or not. And if you kill them off at strange times throughout your script, the death may seem random and out of place.

One of the keys is to find the right time to kill your character.

• You can kill a character early, but only if you showcase their loss through the eyes of your protagonist.
• Another reason to kill characters early is to play on the expectations of the audience. If they feel there's no way a character of a certain type or magnitude would die early, you can do that — as long as you showcase their loss through the eyes of other characters.
• You can also time the character deaths near crucial turning points in the plot, which allows you to enhance the effect of those turning points by showcasing added loss and the conflict that ensues.

Choose your timing wisely. Have a reason that you pick that particular time in your script to kill them off.

Attach Symbolism, Metaphors and Themes

You can create a deeper meaning for a character's death by attaching it to any symbolism, themes or metaphors that can touch on those you are trying to inject into the overarching story.

When Obi-Wan Kenobi died in the original Star Wars, it later touched on the symbolism of the Force and how powerful it truly was. It also touched on the themes of Luke Skywalker's loss after previously losing his aunt and uncle. Now all of his connections to Tatooine were gone, allowing him to fully mature and come of age amidst the battle to destroy the Death Star.

Showcase the Impact The Death Makes on Other Characters 

How does their death affect the other characters they had connections with before their demise? We learn most about characters through their actions and reactions to the conflict they face. If surviving characters are left unaffected by the death of the character, it's not going to be that memorable for the audience. But if they are devastated, the audience will feel that pain through them while doing what most audiences do, living vicariously through the movie's protagonists.

Countering that, you could be creative by showing a character's indifference to the death, which could lead to additional plot twists.

Read More: 18 Plot Devices You Can Use to Elevate Your Story

Have Them Sacrifice Their Lives for Others

The act of sacrificing oneself for the greater good — or the protection of loved ones — elicits an emotional response from the audience. That's where empathy and catharsis can play a vital role in the success of your story. Audiences (and script readers) can relate to emotional loss — and sacrifice. They will be forced to imagine what it would be like to see a father, mother, daughter, son, friend, relative or peer sacrifice their life for them. That will then create a connection between the surviving characters and the audience, leading to a more memorable experience.

Star Wars paired sacrifice, shock (see below), and symbolism/theme for a memorable death.

Shock Value

Audiences love to be surprised and shocked, but it's not enough to sustain a powerful narrative. People don't want to see character deaths coming. If you're a Star Trek fan, you know the element of the Red Shirt character that beams down with the captain — the character we've never met (usually wearing a red shirt) that we know is going to die because they're presented as expendable.

While you can't rely on shock alone to make a character's death memorable, shock value is a, well, valuable asset to attach to another one of these.

That archetype of a character that never dies in a movie? Kill them off. That's what made the death of the puppy in John Wick so impactful. The cute dogs in a movie hardly ever die. But that film killed the dog off for shock value, while also attaching it to the emotional arc of the protagonist (it was a gift from his deceased wife).

Build Emotional Investment By Giving Them an Arc

The easiest way to make their death memorable is by giving them their own arc. In Pixar's Up, we didn't get to know Ellie that well. She dies within the first 10 minutes of the film. However, we were shown her character arc during that time through a montage of character moments.

• We saw her and Karl meet.
• They fell in love.
• They built a life together.
• They suffered through the loss of a child.
• They grew old together.

When she died, audiences were heartbroken. It is one of the most cathartic moments in cinematic history — all for a character that we only knew for a brief period of time within the movie.

Whether it's a major character or a supporting character, try to give them a character arc that audiences can become invested in. When they die, it will become one of the more memorable moments within your story.

Read More: Understanding the 3 Different Types of Character Arcs

Make the Actual Death Memorable Through Dialogue or Reveals

Yes, the death scene can be trite — especially when paired with a death monologue. There are plenty of cliched moments in cinematic history. But so many of them are memorable because of what is said during those last moments.

When Doc is on his deathbed in Tombstone, this killer marksman opens up about his friendship with Wyatt Earp. We see the humanity in him finally. But it goes deeper than that. We see two friends saying goodbye. And that is what creates the cathartic climax in the film. Sure, a sacrificial death could have been sufficient (although historically inaccurate). But the dialogue-driven scene is what made his otherwise quiet death so memorable.

Give a lot of attention to how you write these death scenes, and what your characters are saying during them. Look inward and find what would make you cry (or laugh for comedic death scenes).

You can also reveal further plot points, leading to twists or the completion of character arcs to make these scenes more memorable as well.

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Take this list of seven ways to make your character deaths more memorable, and use it to write some truly cathartic scenes that will stick with script readers and audiences. Mix and match them together — or use keep it simple by using just one. Regardless, don't look upon a character's death lightly in your writing. It's usually one of the more memorable moments of your script — so make it as memorable and meaningful as possible.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post How to Make Character Deaths More Memorable appeared first on ScreenCraft.

Here, we'll delve into the dynamics of interpreting script coverage notes and how script coverage can make you a better — and more industry-ready — screenwriter.

Read More: What Is Script Coverage?

Don't Take Script Coverage Notes Personal

Script consultants aren't trying to insult you. They are offering a reaction to the screenplay you have shared with them for that very purpose — an honest reaction. When you submit your scripts for coverage, you shouldn't be doing so to find instant admiration and praise. You should be submitting your work to get an in-depth outside perspective, which is something very difficult for a screenwriter to experience when reading their own work. Script coverage is there to help you gain an industry perspective on the screenplays you're looking to submit to studios, networks, streamers, production companies, agencies and management companies. It should never be taken personally. It's there to help.

Consider the Source of the Script Coverage

When you're a pro and get word from your executive or producer that the draft you've handed in is terrible, there's not much you can do. You'll have to hope they haven't replaced you — and then apply the objective notes for a better draft.

However, when you're earlier on your screenwriting journey and using script coverage services to better your craft, there's a higher learning opportunity that will better prepare you for success in those professional assignments.

The best script coverage services — like ScreenCraft’s genre-specific script notes —  employ professional readers with years of experience reading for the top studios, production companies, agencies, management companies, networks and streamers. Such experience is required to become a script consultant. And their sole purpose is to help prepare screenwriters — and their screenplays — for the tough industry spec script market.

When you consider them as the source, you'll understand that the feedback and coverage notes within are not purely subjective rants. Instead, the insights they offer are a direct reaction similar to what you should expect when you submit your screenplays to major competitions, fellowships and especially film and television industry development executives, producers, agents, managers, directors, etc.

They are offering you the industry reaction. Thus, it's imperative that you look at their notes and ratings with an open mind, void of emotional reactions and defensive mindsets. It's not easy to do that, but let's discuss some ways that will help you find the good in the terrible. (We do a deep-dive of script coverage ratings in another post, so go check that out if you want more information.)

Pay Attention to Script Coverage Notes that Trend with Your Scripts

The easiest step to accepting and learning from negative feedback is to first seek out the trends that you're reading in the reactions to your screenplays. It's one thing to have one person or script coverage service give you a bad review of your work. When you start to see the same notes trending between coverage and individuals reading your work, you should start to see that it's less about a subjective viewpoint and more about the objective issues you're writing is causing.

It's easy for screenwriters to scoff at trending script notes, which usually create a negative "me against the world" approach. Sure, plenty of studios passed on some of the most successful movie scripts ever produced. However, it's wise not to fall into immediate delusions of grandeur. Most of the time when script notes are trending toward negatives, it means that there are objective issues you may need to address.

Examples:

• Poor formatting which makes the script difficult to read.
• Wooden dialogue that needs to be punched up.
• Inconsistent tone.
• Lacking character development.
• Slow pacing.

Whatever the trending issues may be, pay attention to them. Don't think of them as nothing more than subjective reactions.

Subjective Negative Reactions to Your Script Should Not Be Taken Lightly

There's a stark difference between objective and subjective reactions.

Objective script reactions are not influenced by personal feelings, opinions or biases. Instead, they are based on the needs, wants and trends of the industry. They can be communicated and described in a neutral and impartial manner. Possible objective script notes include:

• "The budget would be too high for most studios and production companies to consider."
• "There is not enough diversity in the cast of characters."
• "The story and concept have been done before."
• "The action and plot points are too derivative of previous films."
•  "The market for the subgenre is too saturated."

Subjective script reactions are responses influenced by personal feelings, opinions and biases. These types of reactions can vary from person to person, based on personal interpretations, as well as any individual's wants, needs, personal preferences and emotional baggage.

However, that's how a screenwriter's work will always be received by the audience — with subjectivity. All art forms are viewed with subjective eyes by the consumers of the art. And it goes far beyond that in the film and television industry as well.

Studio/Network/Streaming executives, producers and directors/showrunners are the driving force of entertainment. They will often make decisions based primarily on what they want their name — or company's name — attached to.

So you can't escape subjectivity. Nor should you ignore subjective opinions when it comes to script coverage. If a script consultant didn't like your script, pay attention to the reasons they offer. The objective reasoning will be easy to spot (see above for examples). The subjective reasoning point toward more personal reactions.

• "The plot twists didn't shock me. I saw them coming a mile away."
• "I didn't like the protagonist. They came across as distractingly unlikeable to me." 
• "The pacing felt very slow in the opening act."
• "The main character's journey didn't resonate with me on a personal level, which made the story less emotionally impactful."
• "The humor and jokes weren't funny to me."

These subjective reactions aren't objective reasons to change your script. However, subjective reactions need to be, at the very least, considered. Why? Because you're going to get subjective reactions from every single person you send the script to. And even if the script gets produced and the movie comes out, you're going to get thousands or millions of subjective reactions. It's part of the art form of fiction — especially something so easily consumable as film and television.

Embrace negative script notes — or script notes that go against your original intentions. Trust in the script consultant's reaction, knowing that their reaction may likely fall in line with the majority of decision-makers reading your script.

Ask yourself, "What if they're right?" Then, consider the solutions that your creative mind could conjure when considering the subjective reactions to your work. You just may discover that not only are they right, but their pointing their subjective opinions out actually led to better versions of your story and characters.

Find the Note Behind the Note

Addressing surface-level issues with your script is easy. But the key to understanding why your script may be lacking (or terrible) in the eyes of those writing script coverage, is looking for the underlying problem(s) that a script reader may have with your script. This is where finding the note behind the note is key.

To do this, you need to delve deeper into the feedback and try to grasp and identify the core issue(s) the reader is trying to convey.

• Analyze the feedback.
• Consider the broader implications.
• Identify the root cause of their subjective reactions.

If the script coverage states that the antagonist's motivation is weak, the note behind the note may be pointing to the issue of the character's arc lacking a clear emotional journey. If the protagonist's motivation is weak, maybe the stakes need to be heightened to make their story more engaging.

If the script coverage points out that the dialogue is unnatural and wooden, the note behind the note may be that the character's dialogue may lack authenticity or a distinct voice that separates them from other characters.

If the script coverage touches on the ending, calling it too predictable, the note behind the note may be that the screenplay's climax suffers from a lack of surprises or doesn't subvert expectations that theatergoers crave. You may need to consider exploring alternative resolutions or bigger twists.

Understand and Realize All Screenwriters Need to Evolve and Grow

Let's keep it real. Sometimes your script sucks. And sometimes it takes an outside party to help you realize this. Even pro screenwriters write duds. It happens — more often than we'd like.

Script coverage helps you evolve and grow as a screenwriter. You're not going to do that by being told how amazing every single thing you write may be. Sure, positive reinforcement is good. And, yes, the best script coverage will also point out the strength of your scripts, as well as their weaknesses. But constructive criticism is key to becoming a better screenwriter. You need it. And you should seek it out.

Consider All Script Coverage Notes — But Don't Be Held Hostage by Them

If you do all of the above, and still feel that your script is exactly what you want it to be, then you have the power and freedom to reject it. As shown above, it's wise to consider each note — and the notes behind the notes. But, in the end, it's your choice. You can cherry-pick what you feel resonates best with your script and toss the rest. It's up to you. You should never feel held hostage creatively by script coverage. Nor should you rely on script coverage to write the script for you.

Screenplay coverage is a tool — a very effective one that can help you jumpstart your evolution as a screenwriter. Eventually, when you become a pro, you won't be able to use it while you're under contract. So, enjoy it while you can. And use it to help you and your writing get to a point where you're relying on yourself to complete that paid writing assignment.

Read More: What You Should and Shouldn't Expect from Script Coverage

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR GENRE-SPECIFIC NOTES AND GET YOUR SCRIPT IN SHAPE!

The post What to Do When Your Script Coverage Tells You Your Script is Terrible appeared first on ScreenCraft.

Without guidance, novice screenwriters can often find themselves lingering between bland screenwriting and attempting to explore the wants, needs, guidelines, and expectations of the film industry they are trying to break into.

With that in mind, here we present the ultimate screenwriter's guide to script coverage!

What Is Script Coverage?

Script coverage involves the evaluation and examination of a screenplay by a skilled script reader/story analyst or script consultant. This comprehensive assessment aims to gauge the screenplay's viability for potential consideration and acquisition by studios, networks, streamers and production companies. The ultimate outcome of this process is the creation of a written report that meticulously outlines the strengths and weaknesses of the screenplay itself, as well as the screenwriter(s) behind it.

How Does Script Coverage Help Writers?

Screenwriters have the ability to harness the beneficial attributes of script coverage by utilizing paid script coverage services to improve their craft and help ready their writing and their screenplays for the movie and television industries. Script coverage — provided by experienced industry script readers, story analysts, and script consultants — can help you pinpoint your script's strengths and weaknesses while providing suggestions to maximize its potential.

The script notes and feedback help to hone your skills and make your scripts shine brighter.

Does Script Coverage Help Studios?

Yes! When it comes to studios, networks, streamers, and production companies, script coverage plays a key role in giving development executives and producers valuable insights. It helps them figure out if the script and the screenwriter truly align with the company's overall vision and brand. The script readers and story analysts, who are often the same person, base their assessment on what the company wants and needs. They determine whether the script fits the kind of projects they want to develop, produce and distribute.

Different Types of Script Coverage

There is a vast landscape of coverage options and definitions that you will come across in your screenwriting journey. Understanding which types of script coverage you, the screenwriter, can utilize to hone your skills is important.

Let's explore five prominent types of script coverage available to screenwriters and examine their purpose and benefits. This analysis can help you find the most fitting type of screenplay coverage for you.

For a deeper dive, check out our article about all the different types of script coverage.

Genre-Specific Notes

Genre-specific notes are a type of script coverage that provides feedback and recommendations based on the conventions and expectations of a specific film genre. These notes consider the unique rules and norms followed by genres such as horror, action, thriller, adventure, comedy, mystery, drama, and their respective subgenres.

While still addressing story structure and character development, genre-specific notes also emphasize the tone, pacing and style relevant to the intended genre. They provide insights into how well the screenplay aligns with the genre's overall landscape and its potential appeal to the target audience.

What makes genre-specific notes particularly intriguing is that the script consultant assigned to review your screenplay is typically a knowledgeable enthusiast of the genre you're working with.

Check Out ScreenCraft's Genre-Specific Notes!

Format-Specific Notes

Certain script consulting platforms offer specialized services that focus specifically on the formatting of your screenplay. Formatting is often a challenge for new writers, and although it may not determine the quality of your script, it does carry significance. Inadequate formatting can impede the reading experience of your screenplay and greatly impact studio coverage, as well as your chances in screenwriting contests, competitions and fellowships.

Format-specific notes comprehensively address all elements of your script, ensuring adherence to industry standards and expectations for proper formatting.

Preparation Notes

Consulting services provide preparation notes that assist in assessing the viability and effectiveness of the ideas, concepts, characters, and settings of a prospective screenplay prior to beginning the actual writing process.

Script consultants can offer evaluations of screenplay outlines, enabling you to identify the strengths and weaknesses of your characters and narratives even before a single page of the screenplay is written. They can also help screenwriters in crafting compelling loglines and synopses while also assisting in developing more engaging opening pages.

Development Notes

When you're working on a screenplay while collaborating with a development executive or producer, they'll give you development notes. These notes are typically given to screenwriters who have been hired for specific projects or are doing rewrites on scripts they've optioned or sold.

The purpose of these development notes is to help you, the screenwriter, make your script even better and get it closer to the vision they have for the project. This development process is key to getting a screenplay where it needs to be for potential acquisition, financing, and production.

Screenwriters can also pay for script coverage services that provide development notes similar to those found within Film/TV/Streaming industry companies.

Notes can cover a bunch of different elements, like:

• Story structure
• Character development
• Dialogue
• Pacing
• Tone
• Theme

Receiving development notes coverage helps screenwriters prepare for the development process that they will be facing if — and hopefully when — they reach a level in their career where they are under contract and collaborating with industry professionals.

Studio Coverage

Studio script coverage is a comprehensive in-house report commissioned by major studios, networks, streamers or production companies to thoroughly evaluate a screenplay. Its primary purpose is to assist high-level decision-makers in making informed investment decisions regarding potential projects.

This type of script coverage is written by an in-house script reader or a proficient external script consultant possessing a remarkable background in generating captivating and enlightening screenplay coverage. Agencies and management companies also utilize this type of coverage to dissect a screenplay's relevance to their respective company's client-focused vision, with the aim to determine how well the script aligns with the types of clients the agents and managers are seeking to represent.

However, studio script coverage is not something that screenwriters have access to. It is specifically meant for in-house development purposes.

Who Writes Script Coverage?

The best script coverage is written by individuals with industry experience working in film and television development branches of companies, as well as those with experience in writing and developing screenplays.

On the studio or network level, coverage can be written by any number of company employees and consultants, including:

• Interns
• Assistants
• Junior Development Executives
• Paid Script Readers/Story Analysts

These coverage writers are usually trained and given guidance by company development executives. They are instructed to keep a keen eye out for various company needs and wants. They are also given guidance to search for specific character strengths, enthralling story angles and many other concept, character and story elements that the company is looking for in screenplay submissions for potential development and acquisition.

When screenwriters pay for script coverage, the best script coverage service providers require their script consultants, readers and story analysts to have a certain amount of experience in movie and television industry development. It's important to ensure that the service you pay for employs experienced coverage writers.

Explaining Script Coverage Ratings

Script readers and story analysts are tasked with prioritizing submissions through the assignment of one of three script coverage ratings:

• Pass
• Consider
• Recommend

Script coverage relies heavily on the pass, consider and recommend grading system, which plays a vital role in evaluating and processing the many screenplays in the spec script market. But what do these script coverage gradings mean?

Let's go over each one briefly. (We do a deep-dive of script coverage ratings in another post, so go check that out if you want more information.)

Pass

In the realm of studios, networks, streamers and production companies, when it comes to script coverage, a "pass" typically signifies that the script will not progress further within the company's hierarchy due to various reasons.

When it comes to script consulting services, a "pass" indicates that the screenplay is not yet ready for submission to industry professionals.

Consider

A "consider" indicates that the reader recognizes a script's potential and considers it worthwhile for further consideration by higher-level executives within the production company. However, there might still be certain flaws or issues that need to be addressed before the script can be approved for acquisition, production, or further advancement.

For consulting service coverage, a "consider" grade can be uplifting for the screenwriter, as it indicates that their work showcases potential. When you receive a "consider" grade, you're on the right track.

Recommend

Achieving a "recommend" grade is the ultimate recognition for a screenplay, but it is also the most challenging to attain.

Within the Hollywood system, bestowing a script with a "recommend" rating implies that the reader believes the script is fully prepared for production, worthy of substantial investments, and possesses the potential for great success.

For a script consulting service, a "recommend" signifies that the reader has confidence in the script's readiness for submission to Hollywood companies and recognizes it as a work of high quality and marketability.

What Does Script Coverage Look Like?

Script coverage utilizes a particular structured form for presentation purposes. The formats and grading scales for coverage differ among companies, but over the years, most studio script coverage formats have maintained a relatively consistent pattern.

The average script coverage form looks like this:

When evaluating scripts, readers assess various elements, including the concept, story, characters, dialogue, pacing and structure. They also consider the script's marketability, its potential for casting, and its overall suitability for consideration by the specific company employing the reader.

Script readers will fill out the blank informational elements of the form, including the title, format, and all credited screenwriters, as well as provide a summary of the story, logline, and overall comments.

But things get exciting once we get to the grading grid!

The Script Coverage Grading Grid

To assess the screenplay's various elements according to the company's needs and wants, a grid is employed to gauge the reader's overall reaction. Most studio script coverage forms evaluate the concept, story, characters, dialogue, structure, pacing, catharsis, and originality.

These elements are graded by marking the boxes as Excellent, Good, Fair, or Poor with an X. At the bottom of the grid, the script and writer receive an overall grade — Recommend, Consider, or Pass — each described in detail above. The average placement of X in each category determines the final grade assigned to the script.

Here is what a completed script coverage grading grid would look like:

The overall assessment of this sample grid results in a "consider" grade, with the marks averaging out to this level. If a majority of the marks had been "excellent," the script would have received a "recommend" grade.

If most of the marks had been "fair" or "poor," it would have been an easy "pass," implying a clear rejection.

CLICK HERE to download an editable script coverage document that you can use to write your own script coverage. 

What's the Difference Between Feedback, Notes, and Coverage?

Okay, you now know the ins and out of script coverage. Let's delve into a more comprehensive understanding of the difference between feedback, notes, and coverage.

Feedback

Acquiring feedback on your screenwriting is a valuable tool that can significantly contribute to improving the quality of your work. Writing groups, peers, mentors, and commissioned script consulting coverage services contain general feedback to consider — but not changes that you need to actually make.

You should always keep in mind that feedback — even from a paid script consultant — is just someone's opinion. It's up to you to decide how to use it. However, if you receive similar feedback repeatedly, it might be worth considering making changes or investigating why those issues keep coming up.

Learn more about feedback!

Notes

Script notes are the analysis offered in script coverage written for studios, networks, streamers, production companies, agencies, and management companies.

The purpose of these notes is to give objective feedback and achieve specific goals set by the studio or network. This could involve adding or removing scenes, sequences, storylines, or character developments.

Typically, when studios or companies give notes, there isn't much room for negotiation. Usually, if you receive these notes, it means you either have a contract for a writing assignment or your original spec script is going through its first contracted rewrite.

Learn more about notes!

Coverage

When you receive script notes within paid coverage services, it's key to remember that the notes within the script coverage are being offered through the lens of movie studios, television networks, and streamers. Thus, they are more objective than general feedback but still aren't set in stone as far as what you need or are required to apply in further drafts.

The people writing the coverage are generally versed in the needs, wants, and current trends of the industry. Because of this, screenwriters should strongly consider the points being made within the coverage notes.

Learn more about coverage!

How to Use Script Coverage

Script coverage should always be used as a tool rather than a crutch. You can't rely on it to write your screenplays for you. You can only use it as a tool to get some insight into possible changes and improvements that can better your chances of breaking through.

The benefit of script coverage is that it is just that — a tool. You're not writing at the behest of a development executive or producer that may have particular demands. Instead, you're being offered an educated and experienced opinion. And the points being brought up within the coverage you've paid for should be considered. But that's where it stops. You can either apply what they have suggested or find a balance between what you've learned from the coverage and what your overall vision for your script is before you start submitting it to contests, competitions, fellowships, and, especially, to studios, networks, streamers, agencies and management companies.

You're not using script coverage to get glowing reviews, receive inspiration for story and character ideas, or for proofreading. You should be using coverage for guidance, advice, and objective feedback.

Read More: What You Should and Shouldn't Expect from Script Coverage

Best Script Coverage Services

If you're looking for a free option for general screenplay feedback, CoverflyX offers a free peer script exchange. This type of coverage goes back to the feedback breakdown mentioned above, offering you a subjective reaction to your script. This free service also offers you the benefit of reviewing another screenwriter's work, which can be an equally valuable experience.

As we mentioned before, the best script coverage services hire individuals with industry experience in studio script coverage and development.

Based on that guidance, here are some of the best script coverage services that we recommend.

ScreenCraft Screenplay Coverage

Regarded as one of the best in the industry, ScreenCraft's script coverage services offer you script readers that are chosen specifically for the genre that your screenplay falls under. Thus, you're not going to get someone that prefers period dramas but is tasked with reading your contemporary horror script. You're going to get someone that is well-versed in whatever genre you are writing in.

WeScreenplay

WeScreenplay offers unique packages that range from $69 to $199, depending on the type of script and the amount of coverage you want. And even better, the coverage comes back to you at a faster rate in just 72 hours!

Launch Pad

More advanced emerging screenwriters can take advantage of Tracking Board's Launch Pad coverage offered in a more studio-level aesthetic. 

Coverfly Industry Direct Notes

Part script coverage from industry pros, part screenplay/screenwriter promotional platform, Coverfly gives writers the chance to buy notes directly from Hollywood TV and film executives. They tend to be pretty spendy, but they often come with follow-up phone calls with your reader. 

Nicholl Fellowship Reader Comments

The Nicholl Fellowship is the Academy of Motion Picture Arts and Sciences fellowship competition, which is the most prestigious screenwriting competition in the industry. Per submission, screenwriters can pay extra for reader comments. And the readers that help judge the Fellowship are esteemed industry professionals.

Read More: Top 5 Best Screenplay Coverage Services

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Script coverage is an essential industry tool for screenwriters, as well as the Film/TV/Streaming industries. On the screenwriter's end, it can contain invaluable feedback to help learn and hone those professional skills for potential writing assignments and script sales.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post A Screenwriter’s Guide to Script Coverage appeared first on ScreenCraft.

Screenwriters have multiple ways to tell their stories. And we're not just talking about different platforms and formats like features, TV pilots, episodic series, limited series, etc. Nor are we discussing the multiple genres in which you can place your characters, worlds, and stories. Here we will delve into the dynamics of the three-act structure and try to simplify it so you can master it within your screenplays.

Read More: 10 Screenplay Structures That Screenwriters Can Use

Got a great feature spec? Enter it into the ScreenCraft Feature Screenplay Competition!

More info coming soon  |  Remind Me

Where Did Three-Act Structure Come From?

This story structure has been utilized in humankind's storytelling since the dawn of our existence when we began to tell stories around the fire in caves, camps, and villages. This history is evident in archeological cave etchings that define the three-act structure in visual form.

• Hunters preparing for the hunt with spears and weapons (beginning).
• Hunters confronting the dangers of the prey (middle).
• Hunters defeating the prey (end)

You can expand upon this simple breakdown in equally simplistic definitions as well.

• Characters are introduced in their world (first act).
• They then face conflict and confrontations that rock their world (second act).
• They learn from their mistakes and missteps, adapt, and defeat the conflict they face (third act) — unless it's a tragedy.

Aristotle's Poetics & Three-Act Structure

Aristotle — the Greek philosopher, scientist, and master storyteller — is often called the father of the three-act structure. His book Poetics delved into the analysis of epic storytelling and tragedies. These forms of storytelling were presented to the public of his time — poetry and the stage.

The great philosopher stated that the best storytelling involved artistically constructed incidents that produced the essential tragic effect found within the most significant plays and stories. He pointed out that the core structure of a story's plot involved a beginning, middle, and end.

Read More: What Is a Plot?

Screenwriting is a cousin to the plays of Aristotle's time and the hundreds of years of stage and theatre storytelling that followed. Structure was necessary to tell a story within a play's limited time. Screenplays are even more constrained by time, with the average film ranging from 90 to 120 minutes, with most longer movies going only 30-45 minutes beyond that.

A three-act structure helps to organize pivotal events within the story to create a well-paced visual experience that builds to a climax.

Other story structures include four-act, five-act, six-act, and seven-act variations. Additional structure options can flip the end to the beginning or create more visceral cinematic experiences by telling a story out of sequence in different ways using structure tweaks like flashbacks, flashforwards, dream sequences, and many other creative alternatives.

However, none of these variances can escape the three-act structure.

In 1979, author Syd Field wrote one of the best-selling screenwriting books in history, Screenplay: The Foundations of Screenwriting. Field embraced the three-act structure in the book and broke it down into three sections.

• Setup (Act I): You set up the characters and establish their goals. You also showcase their ordinary world so that we can see how affected they are by the conflict(s) they are about to face.
• Confrontation (Act II): The characters are confronted by the conflict(s), and the story escalates as the stakes grow higher amidst the confrontations they are involved with.
• Resolution (Act III): Everything within the first and second acts is resolved. The characters either triumph or falter (as with tragedies).

That is the most general definition of the three-act structure.

The Three-Act Structure Is NOT a Formula

Screenwriters should never mistake the three-act structure as a formula.

Read More: How Rocky Debunks the Save the Cat Formula

Formulas are story options that work under the umbrella of the three-act structure, just as other story structures do. The three-act structure is the basic understanding of story structure at its core. Each act serves the next. And within the preceding act, or anything to build towards in the third act, the story is less effective and more disjointed.

Star Wars (1977)

Why Use the Three-Act Structure?

The three-act structure gives you the most basic story organization for your screenplay. It's a virtual compass that guides your process, characters, stories, and plots.

These three acts help you sectionalize your story. And within each act, you can effectively employ additional plot points to drive the story toward its necessary conclusion.

Development questions like:

• "Where does my story begin?"
• "Where does my story end?"
• "What happens in between the beginning and end?"

These are all answered by looking at your story through the lens of the three-act structure. They help you answer additional development questions like:

• "Where are the characters before the major conflict hits them?" (finding the first act)
• "How can I raise the stakes to keep audiences invested?" (finding the second act)
• "What is the best way to end the story?" (finding the third act)

These questions also help you pin down and edit those broader worlds you may have been creating. They allow you to pinpoint the part of the characters' lives you want to showcase. And then also help you to find the essential story and character elements you'll be able to include within the confines of what will eventually be a 90-120 minute cinematic story.

What to Include in Act I/II/III

The great thing about focusing less on formulas and sub-structures and more on three acts is that you can utilize additional plot points and moments as needed within your story, as opposed to following a step-by-step or paint-by-the-numbers approach. There is more freedom to it. And you can utilize variations of different formulas and sub-structures within.

Save the Cat and The Hero's Journey are the two most highly utilized formulas or sub-structures. There are dozens of variations of them as well. But they all fall under the three-act umbrella.

The broad strokes of each of the three acts include:

Act I

The first act briefly sets up the characters, the world they live in, and establishes the characters' wants and needs. It's essentially the start of their internal and external character arcs. The internal and external conflicts they will be facing can also be introduced in the first act as well.

You generally want to keep the first act to a minimum, allowing the characters' actions and reactions to define their characters, as opposed to overuse of exposition and back story. Remember, it's a movie. And the audience wants to get to the juiciest parts of the story as quickly as possible. You don't need to waste too much time with back story.

Read More: Defining Character Through Action: There Will Be Blood

Act II

The second act is the longest of the three and has the characters facing the conflict head-on, with increasing stakes that put them in more physical, mental, or emotional peril. Traditionally, the end of the second act will leave the characters at their lowest point. However, they have learned a lot about themselves and the conflict(s) they are facing.

To keep script readers and audiences engaged, you can use the second act to create additional plants, payoffs, and twists to keep things interesting.

Read More: 101 Great Plot Twist Ideas

Act III

The third act is where the story is resolved. The characters take what they've learned and try to apply those lessons to defeat, conquer, or surpass the conflict(s) they have faced. This is the act with the climax, be it emotional or physical. The story is resolved by the characters achieving an inner or outer goal (preferably both), defeating the conflict (emotionally or physically), or succumbing to the conflict (when the story is a tragedy that ends with a tragic loss).

It's important to know that you'll read a hundred different things that each act must have — but there are no secret formulas, necessary beats, or particular page counts where story elements need to happen. All that is figured out within your process as you develop your story and write your script. What worked for one script or movie may not work for the story you are trying to tell.

Again, that is what is so great about the three-act structure. There's plenty of room to maneuver your story and characters within each act instead of trying to hit particular story points by specific pages.

The Three-Act Structure of Top Gun: Maverick

While Top Gun: Maverick is a sequel, the actual story is far removed from the original film's story and could have just as easily been an original movie about a fighter pilot dealing with demons from his past. The sequel elements are minimal, beyond character history that drives the actions and reactions of Maverick.

With that in mind, here we present the simple three-act breakdown of Top Gun: Maverick.

First Act

We are introduced to Maverick's ordinary world. He's not a Top Gun instructor. In fact, he's at the end of his career. Because of his maverick ways, he has ruined any potential leadership roles after years of continual insubordination. He's now relegated to the role of a test pilot in a program about to be disbanded. Despite his heroic — yet insubordinate — efforts to attain the program's goals, Maverick is ordered back to Top Gun.

Upon arriving, he's informed that he has been assigned to instruct a group of Top Gun pilots to undergo a seemingly impossible mission. Maverick reconnects with an old flame and is about to face a person from his past — the son of his best friend, Goose, who died tragically thirty years prior while Maverick was piloting their jet. Upon seeing Rooster, Goose's son, it's clear that Maverick is still dealing with guilt and loss.

By the end of this first act, we know what conflicts Maverick will face. We also see how these conflicts oppose his ordinary world, where he was happy living under the radar doing what he does best. Lastly, we know he's about to face people from his past.

Second Act

The second act begins as Maverick arrives to instruct the pilots. He faces his estranged adopted son, Rooster, and there is instant conflict between them. Maverick also faces confrontations with his superior officer, as well as with the training of the pilots in a mission that seems to be more and more surefire suicide.

Maverick learns from his mistakes — primarily through the guidance of his previous wingman Iceman, now the commanding Admiral of the Navy Fleet — and finds ways to train the pilots properly. However, more and more conflicts arise as Maverick and the pilots try to find ways to make this impossible mission more plausible.

He turns to his old girlfriend, Penny, to help him through the ongoing conflict while building a potential post-Navy life with her.

But the stakes keep getting raised. Iceman dies. Maverick is released from the mission when his superior officer changes the mission parameters, which Maverick knows means certain death to Rooster and other pilots. This is where the characters of Maverick, Rooster, and the other pilots are at their lowest.

Third Act

When the mission briefing begins — with Maverick now released — the pilots are shocked to see that Maverick has taken a jet to prove to his superior officer that the mission can succeed under the original parameters. He flies the lead jet formation with seconds to spare, proving that not only is the mission possible with the original safer parameters, but he is the one to lead the team.

The mission begins. They complete it successfully. But now the pilots are tasked with getting out alive. Additional stakes are raised when Maverick — and eventually Rooster — are shot down in enemy territory. They steal an old F-18 and battle their way back to their U.S. aircraft carrier.

The story is resolved. The external arc of the story is complete as Maverick has successfully trained the pilots — and the mission was a success with no loss of life along them. The internal arc of Maverick is complete, as he has regained his relationship with Rooster and has now found a new life with him and with Penny.

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The three-act structure is simple, with nuanced elements that you can apply to the beginning, middle, and end of your screenplays. Since it is the ultimate master structure of all stories, you can find ways to adapt it to fit the needs of your story, giving you structure and direction to achieve Aristotle's collection of "artistically constructed incidents" that make up a compelling and engaging story.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What is Three-Act Structure and How Do You Use It in Screenwriting? appeared first on ScreenCraft.

Read More: Aha! The Power Of Plant And Payoff

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The Screenwriting Plants and Payoffs of Jaws

Note: Beware of  Spoilers.

Based on the Peter Benchley novel of the same name, the film tells the story of a killer shark that unleashes chaos on the vacation beach community of Amity Island. Chief of Police Martin Brody enlists the help of Hooper, a marine biologist, and Quint, an old Captain Ahab-like seafarer. Together the trio of unlikely allies set out to the deeper depths of the ocean to lure, hunt, and kill the shark.

Throughout the script, the tone of the story works as a four-way genre hybrid as it shifts from:

• Creature feature horror based on the fear of a relentless and unseen monster from the depths
• Political thriller as Brody deals with the town's Mayor and board that want to keep the island open for tourist season
• Lighthearted family drama with Brody coming home to his wife and boys
• Thrilling seafaring adventure

Throughout the story, the script maintains a light comic undertone to keep the horror from becoming too intense and the anxiety from making it a pure thriller. This opens up the film to a broader audience.

Brody's Fear of Water

Brody's fear of the water is established early on in the screenplay. He's actually not an islander. He's an East Coast city cop that took the job to get his family away from the city.

Because we know that he has a fear of the very substance that the killer shark hides within, each moment he's on or near the water intensifies the scene. That knowledge of his fear lends more suspense and empathy as he deals with this unseen threat. Every time that he is on or near the water grabs our attention more.

And as the story progresses, more and more is asked of Brody. He's forced to go with Hooper on Hooper's high-tech boat — at night, nonetheless. He then agrees to go on Quint's Orca boat to hunt down the shark. So the plant of him being afraid of the water pays off through his character arc as well.

As the third act progresses, Brody is forced closer and closer to the water.

• He is assigned to drop the fish chum into the wake of the boat. It is here where he comes closer to the killer shark than any surviving character has thus far.
• As the Orca sinks, he's forced to maneuver through the water within the boat.
• When Hooper disappears, and Quint is killed, Brody climbs to the top of the boat tower as the boat sinks. As the tension of the impending shark attack builds, Brody comes closer and closer to the water until he finally kills the shark. Only then does he actually get into the water to float back to shore with Hooper.

The payoff of Brody's fear is spread throughout the whole screenplay, giving the story — and his character arc — more and more depth (pun intended).

Shark Books

One of the more brilliant — but subtle — examples of plants and payoffs in Jaws is revealed early on when Brody has gone to the library to check out books about sharks. He knows nothing about them, so he's doing his due diligence to learn what he can.

During his research, we see images that foreshadow events to come. And plants and payoffs are cinematic examples of foreshadowing in film and television.

We see a shark using its nose to bust through the hull of a boat.

In the film, the shark uses this tactic to bust a hole in the hull of the Orca.

We also see a picture of a shark biting down on a metal rod used to measure the strength of its bite. The rod resembles an air tank.

This information tells Brody that sharks will instinctively bite down on objects placed within their jaws. As we know, this tactic is utilized in the climax of the film as Brody throws a scuba diving air tank into the jaws of the shark. More on what that leads to below.

As you can see, these subtle but informative plants pay off so well in the film's climax.

Quint's Past and Fate

The characterization of Quint offers some subtle and deep plants that eventually lead to payoffs in the climax of the story. Yes, this above screenshot of when he first appears in the story isn't that subtle. If anything, this is a bit on-the-nose, as far as foreshadowing his doomed fate.

But we have two more subtle moments that offer great plants.

The Song Quint Sings

Throughout their adventure at sea, Quint repeatedly sings an old British naval song called Spanish Ladies. We mentioned above that Quint was a Captain Ahab-like seafarer, which references Herman Melville's classic novel, Moby Dick. Quint is very similar to that novel's iconic character, Captain Ahab.

Quint is obsessed with killing sharks. Ahab is obsessed with killing the whale. They are both motivated by revenge (see below). And, yes, both are killed by their adversaries of the deep sea.

The Story Quint Tells

During a drunken conversation, Quint reveals that he was on the crew of the U.S.S. Indianapolis. The 900 men who survived the sinking were afloat in the ocean for four days. Only 316 men survived. The rest having been victims of shark attacks and dehydration.

This is a haunting monologue that reveals why Quint is obsessed with hunting down and killing this shark. It's his revenge for the brothers-in-arms that he lost that fateful day.

As Quint was a survivor of those shark attacks, it's almost as if the past wasn't through with him yet. He would suffer the same fate as his fallen Navy brothers — killed from the waist-down bite of a shark.

Air Tanks

As Brody, Quint, and Hooper set off to sea, ready to hunt down the great white shark that has been terrorizing a vacation island, Quint watches with a smile as Hooper loads his high-tech equipment — which includes scuba diving air tanks.

During their voyage, Brody pulls a wrong knot, sending the air tanks tumbling. Hooper scolds him. He then warns them of how dangerous those tanks really are — they could explode if not handled with caution.

When you pair this with the knowledge that Brody acquired in the shark books (sharks will instinctively bite down on objects placed within their jaws), we're presented with one of the greatest cinematic payoffs we’ve seen on the big screen.

In that above climactic scene, we see three screenwriting plants collide for the ultimate payoff.

• Brody's fear of water creates tension as he sinks closer and closer to what he had previously feared the most.
• The knowledge of sharks biting down on objects placed within their jaws.
• The danger of the air tanks and the knowledge that they will explode if not handled with caution.

The result is a now-iconic climax to an equally iconic film.

Screenwriting Lesson Learned

Pepper your screenplays with plants and payoffs. Why?

• They enhance the read.
• They elevate your screenwriting.
• They prove to script readers (interns, assistants, readers, producers, development executives, managers, agents, and talent) that you have attention to detail in your writing.

More info coming soon  |  Remind Me

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

For all the latest ScreenCraft news and updates, follow us on Twitter, Facebook, and Instagram.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Screenwriting Plants and Payoffs: 'Jaws' appeared first on ScreenCraft.

Let's go over the definition of a subplot, examples of subplots in iconic movies, and how to use subplots in your stories.

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First Things First... What is a Plot?

Because the primary job of a subplot is to support the main plot, it’s helpful to understand, first, what a plot is. We go into greater detail about what plot is in this post; but in a nutshell, a plot is a sequence of events that makes up the structure of the story. And in order to fuel that story, you must have a compelling subplot.  Let's dive into the topic of what is a subplot in greater detail.

The Empire Strikes Back (1980)

Okay! Now, What is a Subplot?

A subplot is a secondary plot string that runs parallel to the main plot throughout the course of the story. But it is not its own entity. A subplot must always serve the main plot. Its character and story elements and arcs are there to be woven into the main plot, enhancing the overall story.

A/B/C Story

Common Hollywood terms you are sure to hear while writing features and episodic series are the A Story, B Story and C Story.

• The A Story is your main plot.
• The B Story is a secondary subplot closely related to your main plot.
• The C Story is a secondary subplot that helps sell the themes and arcs of your stories and characters while existing in a more parallel position in relation to the A and B Story.

There are many variances between B Stories and C stories.

• Some directly require the involvement of the protagonist and antagonist/villain.
• Others ride parallel to their stories but collide with them in the end.
• Some only require brief involvement of the protagonist and antagonist/villain.
• Others are used as story hooks to make audiences or readers wonder how they are related to the A Story — which enhances the pacing and engages the audience or reader that much more.

Subplot Examples

Top Gun" Maverick

If you look at a film like Top Gun: Maverick, one of the key subplots was Maverick's rekindled relationship with Penny Benjamin.

The main plot of the movie involved Maverick being tasked with training younger pilots for a seemingly impossible mission. However, the Penny Benjamin subplot is one of the B stories, which aids that story by having Penny help Maverick through some of the internal difficulties he is facing.

Read More: The Hero’s Journey Script Breakdown: Top Gun: Maverick

The B Story subplot with Iceman is key to the central plot and story as well. Throughout the film, we see text exchanges between Maverick and Iceman. Iceman is giving him direction. Maverick is struggling to follow it. This all comes to a head as Maverick visits Iceman in a subplot scene. Without this scene, Maverick is unable to reach the pilots he is training. But because of it, he makes the necessary turn in his instructing — which helps the main plot of the mission at hand.

The C Story in Top Gun: Maverick exists primarily within the world of the younger pilots — namely the animosity between Rooster and Hangman.

Maverick doesn't have any direct involvement in their feud. However, it does affect the mission at hand. And it touches on the past Rooster and Maverick share.

Good Will Hunting (1997)

Good Will Hunting

In the Oscar-winning Good Will Hunting, the A Story is about Will's journey to open up to the world around him and come to terms with both the demons and genius within him. The primary plot point entails Will having to be mentored by a renowned mathematical to develop his mathematical gift's promise, while also going through therapy to handle his bouts of violence.

There are two key B Story subplots in the film that are necessary for Will to open up, face his demons, and utilize his gift to better his life.

The first is his relationship with Skylar. The subplot of their budding love helps Will to realize things about himself that he needs to know and understand to fully complete his therapy. It's because of their relationship that Sean first connects with Will, with Sean explaining to him that love isn't perfect — nor is any relationship.

Read More: 18 Plot Devices You Can Use to Elevate Your Story?

And Skylar further helps in his growth by challenging him out of love and caring, forcing him to face the truths that he wants to deny.

The second key subplot in the film is the relationship between Sean and Professor Lambeau. The two are former colleagues and friends — both tasked with getting through to Will on different levels. They have been estranged, never having dealt with issues in their friendship in the past. And both have highly different hopes and agendas for Will.

This whole subplot exists to showcase what is wrong — and right — with Will. We're given these two very different perspectives to understand everything going on with Will. And these battles will help both Sean and Professor Lambeau to do their part in getting Will where he needs to be.

The Shawshank Redemption (1994)

The Shawshank Redemption

In The Shawshank Redemption, there are many B and C Story subplots that affect the core story of Andy's survival in the prison system, as well as his relationship with Red.

The Brooks storyline after is released from prison is a C Story subplot that delves into how a supporting character (Brooks) can reflect the experience of the protagonist (Andy) but through a different perspective. Andy is new to the prison system. Brooks is a lifer who has spent most of his adult years in prison. While Andy does his best to make his prison years matter, Brooks's story shows him how, despite Andy's best efforts, prison life will break you eventually. Becoming institutionalized is inevitable.

Brooks's fate is crucial to Andy finally coming to the realization that he needs to get busy living or get busy dying. It shows how effective a C Story can be.

The Shawshank Redemption (1994)

The film offers several such B and C Story subplots that slowly bleed into the A Story, including:

• Andy's relationship with the warden eventually reveals Andy's escape plan, as well as how he is going to be able to survive after escaping.
• Andy's library program, as well as his handling of the guards' taxes, provides him protection from the inmates that have violently and psychically assaulted him — as well as various favors throughout his time there that benefit Andy and his fellow inmates.
• The subplot of Tommy reveals a shocking plot point that tells everyone that Andy is actually the only innocent man in Shawshank Prison. It also showcases how far the warden will go to keep Andy in prison, despite knowing the truth of his innocence.

Read More: Why Short Stories Make Great Movies

Top Gun: Maverick (2022)

Subplots Must Have a Beginning, Middle, and End of Their Own

One single scene or moment is not enough for a sufficient subplot. A subplot must have its own beginning, middle, and end.

Example #1: Top Gun: Maverick

Penny and Maverick B Story

They reunite. They fall in love again. And instead of Maverick moving on as he did every other time they've tried this relationship out, they stay together.

Maverick and Iceman B Story

While Maverick and Iceman only share a single scene together, the whole story prior showcased their communication with one another. And we also had other characters detailing how Iceman was the only reason that Maverick was there. Iceman tries and tries to get Maverick to let go. Maverick resists until he finally understands what Iceman is trying to do for him. Maverick changes after Iceman passes away.

Good Will Hunting (1997)

Example #2: Good Will Hunting

Will and Skylar B Story

Will and Skylar meet in the bar and begin dating. They break up after Will pushes her away before he feels the relationship will go south. After Will and Sean's breakthrough, Will tells Sean that he has to go see about a girl.

Sean and Professor Lambeau B Story

Sean and Professor are reunited — we sense the tension in their relationship. They eventually battle over how Will should be handled, which touches on their own issues with their friendship. They make up with each other, understanding the other's point of view and eventually coming to terms with their own issues.

The Shawshank Redemption (1994)

Example #1: The Shawshank Redemption

Brooks B Story

Brooks is released from prison and quickly sees how different the world is since he last saw it. He struggles to fit in. And then he takes his own life after realizing that he's not able to adapt after spending most of his life in prison.

Andy and the Warden B Story

Andy becomes an asset to the warden. The warden offers him favors and special treatment. The warden shows his true colors when Andy challenges his authority, and when Tommy reveals that Andy is innocent. The warden punishes him. Andy has the last laugh after he escapes — and the warden is brought to justice by the hand of Andy.

Andy and Tommy B Story

Tommy arrives at the prison and quickly befriends Andy and his circle of peers. It's revealed that he heard a confession from the actual murderer that killed those Andy was accused of killing. He takes this knowledge to the warden and is later shot in cold blood to keep that story quiet.

All of these B and C story subplots have a beginning, middle, and end. As should every subplot you develop and write.

The Princess Bride (1987)

The Benefits of Using Subplots in Your Stories

Depth

As you can see from the above examples, subplots offer so much more depth to your story. Subplots also introduce opportunities to create compelling and engaging supporting characters that enhance the story and create further depth for your protagonists.

Enhanced Story Pacing

Subplots also allow you to change course for brief moments throughout your story. It can get tiring seeing the protagonist in every scene, dealing with the main conflicts of the story. Subplots switch the focus briefly while adding to the main story, as well as to the protagonist's arc with the additional cast of supporting characters who are somehow connected to their journey.

Enhanced Genre Elements

When you're writing a thriller, subplots offer you more opportunities to enhance whatever genre elements you're offering. If you want Hollywood, audiences, or readers (if you're writing a novel) to take notice of your stories, you need to deliver on whatever genre you are writing in, tenfold. Subplots help you accomplish that.

• If you're writing a thriller, subplots give you a chance to write more thrills with additional characters, locations, and plot threads.
• If you're writing a comedy, subplots give you more chances to inject more laughs.
• If you're writing an action-adventure, subplots can provide more thrills, chases, and fights.
• If you're writing a drama, subplots can offer more opportunities to showcase cathartic and empathetic character moments.

B and C Story subplots make your A Story so much more impactful and entertaining.

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Subplots make your story better. It's as simple as that. But they need to be developed and delivered as strongly as the A Story while sharing the A Story's DNA as coexisting narrative elements. One cannot survive without the other.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What Is a Subplot? appeared first on ScreenCraft.

The script coverage process entails a professional script reader/story analyst or professional script consultant (by way of a script consulting service) reading a script and providing a detailed analysis of its strengths, weaknesses, and market potential.

Script readers, story analysts, and script consultants will evaluate the script's story, characters, dialogue, structure, themes, and marketability. They will also provide suggestions for revisions and offer an overall recommendation on whether the script is worth the time, money, and efforts of development executives, producers, managers, and agents — or whether or not it is ready to be submitted to them by screenwriters for those considerations. That recommendation is communicated within script coverage through three specific ratings that have been used in film and television script analysis and filtration for decades, providing a clear evaluation of a screenplay's quality and worth.

Here we will delve a bit deeper into this grading system and what each grade means for you, the screenwriter, and also for studios, networks, streamers, management companies, and agencies.

Want to take your script to the next level? Check out ScreenCraft's Genre-Specific Notes!

Script Coverage Ratings

The grading system for screenplay coverage is simple:

• Pass
• Consider
• Recommend

Each grade is meant to give an overview of the script's quality and its potential for success. But remember, there are two types of script coverage that are written.

Read More: Script Coverage, Notes and Feedback: What's the Difference?

Internal Entertainment Company Script Coverage

This is the type of script coverage written for the purpose of internal evaluation of screenplay submissions from:

• Screenwriters via solicited submissions
• Agents and managers representing their screenwriter clients and their scripts

The script coverage is written by script readers/story analysts, and sometimes specific script consultants hired by companies for their excellent, informative, and wise analysis.

Internal company script coverage isn't shared with the screenwriters unless the screenwriter has a personal or professional networking connection that allows it to be shared. It is meant primarily for internal evaluation and will cover not just the basic breakdowns of concept, story, characters, plot, structure, and themes, but also whether or not the script falls in line with company needs, wants, and production plans.

Production companies, agents, and managers also offer script coverage to their clients to help them evaluate their work and identify potential investment opportunities.

Script Coverage Consulting Services for Screenwriters

Coverage services are companies that specialize in providing screenplay coverage to writers. They typically offer different levels of coverage, from basic notes to more detailed analyses.

The script coverage is provided by professional script consultants that usually have an extensive background in film and television development. These grades are subjective and depend on the reader's opinion, but they provide a similar standardized system for evaluation that film, television, and streamer companies provide.

One of the main benefits of paying for professional screenplay coverage is that it provides screenwriters with constructive feedback on their work. This feedback can be incredibly valuable for screenwriters, as it can help them identify areas where they need to improve and develop their skills. It can also help screenwriters understand what industry professionals are looking for in a script and how to make their work more marketable.

Read More: Explaining All the Different Types of Script Coverage

What Are the Meanings of Script Coverage Ratings?

Pass, Consider, and Recommend — three words that can make or break the success of a screenplay in the Hollywood system. Beyond the detailed analysis of story, characters, dialogue, structure, and marketability of the screenplay covered in script coverage, these final ratings will decide what happens with the screenplay.

While professional script coverage offered through a script consulting service — or even through the voting evaluation process of screenwriting contests and fellowships — doesn't necessarily dictate whether a script will be optioned, purchased, or produced, the ratings given can offer screenwriters an industry-level context, communicating whether or not a script is ready to be submitted to Hollywood companies.

Script coverage, and the ratings each script is given, are part of the necessary filtration process in the Hollywood studio, network, and streamer system, as well as the screenwriting contest system where contest readers are tasked with choosing quarterfinalists, semifinalists, finalists, and winners.

But what do these ratings mean?

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Pass

For internal company script coverage, a pass grade means that the reader does not think the script is ready for production or investment. The script may have significant flaws or may not be a good fit for the current market. Another determination is whether or not it fits into the company's plans and branding for future production.

In script consulting coverage purchased by screenwriters, this grade can be disheartening for the screenwriter, but it is essential to remember that it is just one person's opinion. A pass grade does not necessarily mean the end of the road for the script. It can be an opportunity for the writer to revise and improve their work.

There could be any number of major flaws or issues with the script that cause a reader to rate the script as a pass.

• Flawed structure
• Lacking character development
• Weak story
• Inconsistent plotting
• Poor pacing
• Wooden dialogue
• Low marketability

And it's usually a combination of many such flaws and issues.

Consider

A consider grade is a more positive evaluation of the script. The reader believes the script has potential and could be worth investing in. Or, at the very least, it is worth passing up the ladder of a company for higher-level executives to consider it.

However, there may be some flaws or issues that need to be addressed before the script can be greenlit for acquisition, production, or advancement.

In screenwriting contests, a consider grade can be encouraging for the writer, as it shows that their work has potential. In the Hollywood system for script submissions, it means that each considered script has added life for potential options, acquisitions, and greenlights for production.

Beyond the ins and outs of story, character, and overall writing of the script, a reader can deem a project worthy of consideration for added interests of the genre, a compelling concept, particular strong characters within the script, and even for the writing itself as a great sample that proves the worth of the screenwriter for future potential assignments.

Recommend

A recommend grade is the highest evaluation a screenplay can receive, and because of that, it's also the most difficult to achieve. Script readers/story analysts don't give screenplays recommend ratings that much because there's a high risk to lose the trust of their executive bosses.

In the Hollywood system, giving a script a recommend rating means the reader believes that the script is ready for production, investment of millions, and has the potential for success. Thus, those writing the internal script coverage won't assign recommend grades lightly.

With professional script coverage provided by a consulting service for paying screenwriters, a recommend is offered a bit more than within the Hollywood system — but it is still a badge of honor for the screenwriter and their script. It means the reader believes that the script is ready for submission to Hollywood companies and that their work is seen as high quality and marketable.

In script coverage reports, each grade is typically accompanied by a detailed analysis of the script's strengths and weaknesses, helping development executives, producers, agents, and managers understand the context of the rating that has been given.

For professional script consulting coverage, this analysis can help the writer understand why they received a certain grade and what they can do to improve their script.

Read More: From a Producer's Perspective: How to Give and Take Notes

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The pass, consider, and recommend grading system is an essential part of script coverage. It provides writers with a clear evaluation of their work and helps industry professionals assess the potential of a screenplay. Screenplay coverage can help writers improve their skills, understand industry standards, and make their work more marketable. And it primarily helps industry insiders (and contest organizers) weed through the tens of thousands of screenplay submissions received each year, aiding in their search for the diamonds in the rough.

Read More: What You Should and Shouldn't Expect From Script Coverage

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Script Coverage Ratings Explained appeared first on ScreenCraft.

Got a great feature? Enter it into the ScreenCraft Feature Screenplay Competition!

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What is Script Coverage?

Script coverage plays a vital role in developing feature films and television shows. It is also a valuable learning tool for screenwriters who want to hone their craft and develop their unique voice.

There are two kinds of script coverage — script consultant script coverage for screenwriters and studio script coverage.

Read More:  What is Script Coverage?

Script Consultant Coverage for Screenwriters

Script consulting coverage is the most comprehensive form of coverage, usually commissioned by screenwriters to obtain feedback from script consultants they have hired. This type of coverage can be significantly longer than studio coverage (see below), often spanning several dozen pages. The content encompasses all aspects of the script, including story structure, pacing, character development, plot, subplots, themes, and character arcs.

Various sources offer script coverage services, including screenwriting educational websites, blogs, and screenwriting platforms that allow writers to share their scripts with industry professionals. Additionally, screenwriters can pay for script coverage when submitting their screenplays to contests, competitions, and fellowships, usually at an additional cost to entry fees.

Read More: Explaining All the Different Types of Script Coverage

Studio Script Coverage

Studio script coverage is a detailed report that studios, networks, streamers, or production companies commission to assess a screenplay's potential. This evaluation is vital in helping decision-makers determine whether or not to invest in a project. Studio coverage can be conducted by an in-house script reader (company script readers including interns, assistants, junior executives, and professional script readers/story analysts). Some studios hire external script consultants with expertise in writing engaging and informative screenplay coverage.

Aside from studio coverage, agency or management company coverage is written to break down the screenplay's relevance to the company's clientele vision. The analysis helps the agents and managers determine the type of clients they want to represent — and find the best scripts for their acting and directing clients by narrowing down the options and selecting the best fit for their client's needs.

It's important to note that studio script coverage is exclusively for internal use, and the notes and analysis are not shared with the screenwriter. The report aims to provide feedback and insights to help the studio, network, production company, agency, or management company make an informed decision about the project's future and its relevance to film packaging, TV/Streaming development, and clientele.

Read More: What You Should And Shouldn't Expect From Script Coverage

What Are Script Notes?

Script notes typically originate from established studios, production companies, agencies, and management companies. These company-level notes and reactions are generated through the studio script coverage process. This involves a designated reader who evaluates the screenplay and applies the company's needs and wants.

Furthermore, these types of script notes are also provided by a variety of sources, including producers, development executives, directors, actors, and sometimes production staff such as line producers. These notes are intended to provide objective feedback and achieve specific objectives set by the studio or network. This may include the inclusion or exclusion of particular scenes, sequences, story arcs, and character arcs.

The ultimate objective of these notes may vary, depending on the needs and wants of the studios and networks. Examples include:

• They may aim to make the script more marketable.
• They may need the project to be more accessible to a particular target audience.
• They may feel the script needs to better suit a specific star.
• They may seek to better realize the creative vision of the attached producer or director.

Read More: Script Coverage Ratings Explained

Can Screenwriters Reject Script Notes?

In most cases, notes given by studios or companies are not open for negotiation. Typically, receiving these notes means you are either under contract for a writing assignment or your original spec script is undergoing its first contracted rewrite.

If you are under contract, implementing these notes is part of your job, which you are being paid for. These notes reflect the needs and wants of the company, producer, director, and lead actors. As the hired screenwriter, you should defend your opinions, but choosing your battles wisely and being prepared to compromise is essential. That's the key to successful collaboration between the screenwriter and those they work under.

If you push back too strongly and go against the direction your employers want to take the script, you risk being replaced due to creative differences. Therefore, it's essential to strike a balance between advocating for your ideas and being flexible to meet the needs of the project.

Read More: How the Development Process Works

What Is Screenplay Feedback?

Screenplay feedback originates from scenarios that don't encompass you working under contract or consideration for potential contracts, including input from:

• Writing groups and peers
• Mentors
• Commissioned script consulting coverage services

Receiving feedback on your screenwriting can be a valuable tool for improving your work.

Can Screenwriters Reject Screenplay Feedback?

Screenwriters need to remember that feedback is just an opinion, and you can decide what to do with it. This is especially true if you're not being paid to rewrite and are not under any contractual obligations.

But also remember that you sought out this feedback in the first place. Whether it came from a script consultant, writing group, mentor, or simply friends and family, you opened yourself up to receiving criticism. Therefore, it's essential to remain open to any feedback that comes your way.

That said, no feedback is absolute. Just because someone suggests changes to your script's characters, storyline, or other elements doesn't mean you have to implement them. However, if you receive the same feedback repeatedly, it may be worth considering changes or exploring why those issues keep arising.

When considering feedback, just ensure any changes align with your vision for the script. If the feedback makes sense and can help you improve the script while staying true to your vision, then it's worth considering. However, if it goes against your goal, it's okay to push it aside.

In the end, the choice is ultimately yours. You can decide what feedback to apply and what to ignore. Remember that while feedback can be a valuable tool for improving your writing, it's not the only factor to consider. Screenwriters need to become self-reliant because when you get to the point where you are hired to write or rewrite a screenplay, you can't rely on screenplay feedback from others. You make the decisions and then collaborate with your employers to make necessary changes and tweaks.

Read More: Why Development Notes Matter

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Script Coverage, Notes and Feedback: What's the Difference? appeared first on ScreenCraft.

Here we will delve into the character of Joel, analyzing his origins, personality, strengths, flaws and how all of those character traits and elements affect those around him.

Note: Beware of The Last of Us Spoilers!

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The Last of Us (2023-)

Joel's Backstory

As revealed throughout The Last of Us, Joel's origins showcase him as a loyal, loving, fun, and protective single father to his daughter Sarah. The year is 2003 when Joel, Sarah and Joel's brother Tommy flee their Texas home as the infection begins to spread rapidly, creating dangerous and lethal infected humans that continue to multiply.

During their escape, Sarah is shot and killed by a soldier.

Twenty years later, Joel is a smuggler embedded within the quarantined zone of Boston, run by the corrupt and authoritative Federal Disaster Response Agency (FEDRA). He's been desensitized by the death of his daughter during the beginning of the pandemic. He's also separated from his brother Tommy, who lives in Wyoming. He struggles to find a way to escape Boston and reach Tommy, but it's been difficult to find the transportation he needs to do so. He and his smuggling partner Tess are duped into buying a needed car battery that the dealer has sold to a group of Fireflies, a rebel group that opposes FEDRA. They soon encounter Marlene, the head of the Fireflies. She begs Joel and Tess to smuggle Ellie out of the quarantined Boston, offering them a working truck in exchange.

Read More: Neil Druckmann to Adapt 'The Last of Us' Video Game for the Big Screen

The Last of Us (2023-)

Joel's Antihero Qualities

An antihero is someone who does not exhibit the traditional qualities of a hero. For example, he does not run into battle crying, "I shall conquer you!" Instead he is methodical, reluctant and abrasive in his approach to the conflict of the story.

But, he has ever reason to embrace this attitude. Joel lives in a global pandemic caused by a mass fungal infection of mutated Cordyceps, causing its hosts to transform into zombie-like creatures that prey on the uninfected and spread the infection. The results of the pandemic collapse society, pitting humans against each other as groups and individuals struggle to survive.

Joel is tasked to smuggle a young girl, Ellie, out of a quarantined city and across what remains of the dangerous post-apocalyptic United States. It's revealed that Ellie is immune to the infection and may carry the key to humanity's survival. This could be good for everyone. But at this point in the story, Joel is only concerned with his own survival. He does not want to be tasked with the responsibility of someone else's survival.

Lucky for him, that's exactly what makes for a good character arc. The reluctant hero. This complexity is what draws us to his character.

Read More: How to Develop and Write Great Antiheroes!

The Last of Us (2023-)

The Goodness Within

That said, his character has been expertly built with glimmers of goodness within. The audience loves these hints at the man who Joel could become if only he could harness the light inside himself.

Joel showcases some loyalty when it comes to Tess (his smuggling partner), as well as his pursuit to reunite with his brother, but beyond that, he'll punish anyone that gets in his way. And when he lets someone into his bubble of loyalty, he'll do whatever it takes to protect them as well.

His personality slowly changes after he meets Ellie. At first, he's the no-nonsense, antihero smuggler that looks upon her as nothing more than cargo to be delivered in exchange for a vehicle that can get him back to his brother.

However, as they begin to travel together and survive multiple threats, Ellie does her best to knock down his barriers. And in the process, Joel slowly begins to show what we saw in his origins — the loving and protective side of him that also has a sense of humor. Ellie unlocks those personality traits, making him laugh. Even more important, she unlocks his sense of love and loyalty. She is no longer cargo to him. She's a replacement for his daughter whom he lost two decades prior. And because of that, we see more personality come out in him.

Read More: Play Mechanics: Adapting Video Games for the Screen

The Last of Us (2023-)

Joel's Strengths and Flaws

Beyond the military skills (and others) he clearly learned earlier in his life, Joel's strengths lie in his various weaknesses — and vice versa.

Joel is initially laser-focused on survival and getting back to his brother. These survival instincts are unparalleled, which drives him to overcome nearly every obstacle he comes across. The weakness in this otherwise strength is the necessity to shut off all emotions and disregard the ethical and moral dynamics of killing and sacrificing others for the task at hand. That is what it takes to survive the world he inhabits.

Even when Ellie comes into the picture, he needs to embrace those antihero elements for them to both survive. At first, self-preservation — both a strength and weakness — prevails. He looks upon her as nothing more than cargo, which allows him to react to threats with keen precision, and without any emotional attachment. She is nothing more than a means to get what he needs to get back to his brother.

However, as their relationship grows, he begins to rediscover his humanity. His ethics and morals resurface. He's even beginning to rediscover his sense of humor, allowing some levity to their otherwise dire situation.

These are strengths, to be sure, but they also become flaws down the road for him. He takes risks that may sacrifice his ability to survive and reunite with his brother — all to ensure that Ellie survives. These are admirable flaws, mind you. Once he learns that Ellie may have a cure for the infection within her, he now has a chance to ensure not just his survival, but humanity as a whole. As they become closer, that shifts. By the end of the first season of the series, he doesn't want to sacrifice her when he learns that to save humanity, a procedure must be done that requires her to unknowingly sacrifice her life.  Joel isn't willing to allow that, no matter what the cost to humanity. So he goes on a rampage of death to free her, killing many in the process, and, therefore, taking away humanity's only hope for a cure.

His strengths helped to save Ellie. However, the strengths of his love and loyalty become flaws in the big scheme of things.

Read More: Character Analysis: How Star-Lord Goes From Outlaw to Hero

The Last of Us (2023-)

Joel is a loving, loyal, and kind-hearted character haunted by the past and forever scarred by the death of his daughter. His undying struggle to survive this barren world of turmoil has created mental and physical scar tissue that covers his more endearing qualities. After two decades of mourning the loss of his daughter and using his skills and instincts to survive a brutal post-apocalyptic world, only the responsibility of protecting a newcomer (Ellie) can shed that scar tissue one tear at a time as he slowly rediscovers love, loyalty, and kind-heartedness — even if it clouds his reason when she may need to be sacrificed for the greater good of saving all of humanity.

Read More: 101 Epic Sci-Fi Story Prompts

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Antihero with a Heart: Analyzing Joel from 'The Last of Us' appeared first on ScreenCraft.

Showrunners are usually credited as Executive Producers (EPs) of the series. While some series have multiple EPs, the showrunner is a contractual designation defined by the contract. Sometimes the showrunner is a single individual, and sometimes there are showrunner teams that share or split the responsibilities.

The position can be highly lucrative, with many successful showrunners making eight-to-nine figures. On the other side, beginning showrunners on smaller shows can make anywhere from $30,000 to $40,000 per episode.

Got a great TV Pilot? Enter it into the ScreenCraft TV Pilot Screenplay Competition!

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The Creative Duties of Showrunners

The showrunner guides the creative vision of the series. While they aren't always the initial creators of the show, they take over all aspects of the creative elements, developing the vision of the whole series, the direction of the story and character arcs through each season, etc.

• They hire writers.
• They head the development of the series.
• They run the writing room as scripts are developed and written.

The writers' room is very prolific in the collaborative efforts of a series, with each writer having a say in creative aspects of the series (and a chance to write one or more episodes each season). However, the showrunner is the final word on all creative decisions.

Showrunners can still write scripts. In fact, many pride themselves on doing that throughout the run of a series. The White Lotus creator and showrunner Mike White writes and directs all episodes. The Mandalorian showrunner Jon Favreau sometimes directs and sometimes writes. As some series succeed, showrunners that do write or direct usually must hand over the writing to the writers' room and episode-specific directors.

Read More: Why Writing TV Is Better Than Writing Feature Films (And Why It's Not)

Stranger Things (2016-22)

The Managerial Duties of Showrunners

The showrunner role is unique in the entertainment industry because creative and money-controlling positions are usually separate. The showrunner does both. They are equally in charge of day-to-day operations, budgets, hiring, scheduling, as well as creative duties.

• They oversee casting.
• They oversee the hiring of the directors and crew.
• They oversee the weekly, monthly, and annual budgets of a series.
• They oversee scheduling.
• They work with networks and streamers.

Like all good managers, showrunners do three things on the managerial side of operations:

• Budget
• Hire
• Fire

They also work as the middle person between the series and the network or streamer.

Read More: 5 Screenwriting Lessons From the Geniuses of TV Comedy

Bridgerton (2020-)

Who Are Some of Today's Most Successful Showrunners?

Shonda Rhimes

The prolific showrunner behind hit shows like Grey's Anatomy, Scandal, How to Get Away With Murder, Bridgerton, Inventing Anna, etc.

Jesse Armstrong

Showrunner behind the three-time Emmy-winning Succession.

Quinta Brunson

Creator and Emmy-winner of the critically-acclaimed hit Abbott Elementary. She collaborates with day-to-day showrunners Justin Halpern and Patrick Schumacker.

Matt and Ross Duffer

Creators and showrunners of the massive Netflix hit Stranger Things.

Jon Favreau

Former actor and features director that brought Star Wars to television (via streamer Disney Plus) with shows like The Mandalorian, The Book of Boba Fett, and the upcoming Ahoka, Skeleton Crew and The Rangers of the New Republic.

Alex Kurtzman

The primary showrunner behind successfully bringing Star Trek back to television (via streamer Paramount Plus) with Star Trek: Discovery, Star Trek: Picard, the animated Lower Decks and Strange New Worlds (which he runs alongside Henry Alonso Myers).

Bill Lawrence and Jason Sudeikis

Co-showrunners (with Sudeikis starring) of Ted Lasso.

Ryan Murphy

Uber-prolific creator and showrunners of hit franchises like American Horror Story, 9-1-1, etc. He also created Dahmer - Monster: The Jeffrey Dahmer Story.

Tyler Perry

Creator and showrunner (and often director and writer) of many BET series.

Taylor Sheridan

Showrunner (often director and writer) of the Yellowstone franchise, including prequel series like 1883 and 1923.

Mike White

Emmy-winning creator, showrunner, director, and writer of the White Lotus franchise.

Ashley Lyle, Bart Nickerson, and Jonathan Lisco

Married couple Lyle and Nickerson partnered with Lisco to create and run the acclaimed hit series Yellowjackets.

Mindy Kaling

Creator and showrunner of The Mindy Project, The Sex Lives of College Girls, Never Have I Ever, etc.

Hwang Dong-hyuk

Creator and showrunner of Squid Game, with more to come!

These are just a handful of the prolific showrunners out there.

Read More: 5 Pieces of TV Writing Advice to Live By

How Do You Become a Showrunner?

Becoming a showrunner usually takes several years as you rise in the ranks through a writers' room or by succeeding as a writer in one successful series enough to be hired as a showrunner for another.

The TV Writers' Room hierarchy is as such:

• Writers' Room Production Assistants — The entry-level position where you'll answer phones, do "gofer" daily jobs, and do other grunt work.
•  Writers' Assistants — Assistants become more involved in script aspects at this position, mostly by taking notes during meetings, organizing discussed ideas and concepts, proofreading and formatting scripts, research duties, etc.
• Staff Writers — Staff writers participate in discussions, help break stories, and conceptualize scenes, storylines, character arcs, etc. They are never credited for episodes but may have key input in most.
• Story Editors — A leadership role within the writers' room. And they are contracted to get at least one writing credit for an episode. They are primarily responsible for the actual credited writing of episodes.
• Co-Producers — Co-producers work with the producers within the writers' room, handling higher-level duties.
• Producers — Producers are seasoned writers with a say in casting, writer hiring, production, and the overall creative direction of the series, based primarily on what the showrunner wants and needs from them.
• Supervising Producers — SPs are the eyes are ears of the EPs (Executive Producers). They are in charge of the writers' room when Co-EPs and showrunners aren't there.
• Co-Executive Producers — This role can fluctuate between being a co-showrunner and being the highest-level EP under the showrunner. Sometimes these credits are given to other high-level creatives (ala Steven Spielberg) that have major input into the concepts and vision of the series.

But you don't always work your way up through this hierarchy.

Have a Highly Regarded Spec Pilot

A hot spec pilot can catapult you into a showrunner role. The Duffers Brothers (Stranger Things) became showrunners based on their excellent pitch and eventual pilot and series bible.

Read More: How to Sell Your TV Series the Stranger Things Way!

Catch the Eye of a Major Power Player

Lena Dunham had never worked in television before. However, in 2010, she wrote, directed, and starred in the successful indie flick Tiny Furniture. The film won Best Narrative Feature at SXSW and Best First Screenplay at the 2010 Independent Spirit Awards. The buzz was enough to catch the eye of Judd Apatow. He agreed to develop an HBO series with her, giving her most of the creative control while partnering her with co-showrunner Jennifer Konner. Apatow executive produced under his Apatow Productions label.

She wrote or co-wrote all ten episodes of the first season and directed five, including the pilot. She also wrote many episodes throughout the series run.

Move From a Successful Feature Career to TV/Streaming

It's become a trend to move from a successful career in film to the current golden age of series programming. If you make a name for yourself in features with one or more critically acclaimed films or box office hits, the doors will be open for series pitching.

But Don't Count on Those Anomalies

The usual road to becoming a showrunner takes years moving up that hierarchy. Selling a spec pilot, catching the eye of a major power player, and making a name for yourself in features are all difficult ventures. Those are the lottery scenarios that don't happen to most.

However, they do happen. Just know that it takes a lot of work to even get to those stages, let alone nabbing a showrunner gig because of them.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What is a Showrunner? appeared first on ScreenCraft.

In this post, we'll go over what script coverage is, who offers it, and the terminology you'll come across when you receive it. Let's go!

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What is Script Coverage Anyway?

Script coverage is a review and analysis of a screenplay by a professional script reader and story analyst to determine its potential for prospective studio, network, streamer, and production company consideration and acquisition. The end result is a written report that details these findings.

Types of Script Coverage

There are several different types of script coverage.

On the studio, network, streamer and production company end, script coverage provides valuable feedback to development executives and producers, helping them to determine if the script — and the screenwriter — are a good fit for the overarching vision of the company and brand. Script readers and story analysts (usually one and the same) work from the directives, needs and wants of the company in determining whether or not the script is the type of project they are looking to develop, produce and distribute.

On the screenwriting craft development of the screenwriter's end, script coverage helps to identify strengths and weaknesses in the script while offering suggested improvements to maximize its potential.

Read More: Script Coverage, Notes and Feedback: What's the Difference?

Who Are Script Readers and Story Analysts?

Script readers and story analysts are primarily employed by entertainment companies as the necessary filtration process to help get through the high volume of screenplays in the open spec market.

They are professionals trained in analyzing screenplays. The training they receive usually comes from their own experience in screenwriting, followed by learning the general wants, needs, likes, and dislikes of the company they are working for, as well as the development executives and producers that oversee the development branch of the company.

Scripts readers and story analysts can be:

• Interns
• Assistants
• Junior Development Executives
• Screenwriting Consultants
• Professional Script Readers/Story Analysts

Read More: How to Become a Hollywood Script Reader

What Are Script Consultants?

Script consultants are either experienced script coverage writers working with film, television and streaming companies or they are specifically hired by screenwriters through screenwriting contests, competitions or specific script consulting services.

When they are not working solely as script consultants for companies, these professionals are paid by screenwriters to evaluate their scripts through the lens of Hollywood to offer guidance and direction.

What Is the Process of Writing Script Coverage?

Script readers and story analysts will evaluate the story, characters, dialogue, structure and marketability of the screenplay. They will also provide notes that entail:

• The strengths of the screenplay and the overall writing.
• The weaknesses where the screenplay could be improved.
• Suggestions for revisions based on the general expectations of the company and industry.

Screenplay coverage typically consists of three parts:

• The logline
• The synopsis
• The analysis and notes

Script Coverage Logline

The logline is a brief summary of the script's premise, featuring the main character(s), the world they live in, the inciting incident, the major conflict they must face, and the stakes at hand.

Script Coverage Synopsis

The synopsis is a more detailed description of the story, including the major plot points, character arcs, and themes.

Script Coverage Analysis and Notes

The analysis and notes are the most important part of the script coverage, providing a comprehensive evaluation of the script's strengths and weaknesses.

The analysis and notes will pay close attention to the story and characters. Readers and story analysts will analyze the story's structure, pacing, and plot points, always looking for opportunities to tighten the narrative, create more tension and inject higher stakes.

From a character perspective, they will also evaluate the characters, looking for well-developed and relatable ones with clear goals and motivations.

Another aspect of the analysis will feature reactions to the script's dialogue. Readers and story analysts will look for dialogue that is natural, engaging and helps move the story forward without relying on too much exposition.

They will also evaluate the script's pacing, looking for opportunities to tighten scenes and create more tension.

Script Coverage Grades

All of this information compiled in the analysis and notes can be used by development executives and producers to help make those difficult decisions about which submitted screenplays and writers to consider. The script readers and story analysts help them prioritize submissions by assigning each analyzed script one of three script coverage ratings:

• Pass
• Consider
• Recommend

Pass

Within studios, networks, streamers, and production company script coverage, a pass usually means that the script will not move up the company ladder, for any number of reasons, including:

• The script may not be written well enough to be ready.
• There are major story, character, and dialogue issues.
• The genre, concept, story, and execution of the script may not be up to necessary company par.

For script consulting services, a pass grading (if given) may reflect that the screenplay is not ready to be submitted to film and television industry professionals, based on the above issues.

Consider

If a screenplay has been submitted to a company, a consider usually entails that while the script has certain strengths, promise and marketability, additional development may be necessary to get it to the level where it needs to be for true acquisition and production.

For script consulting services, such a grade means that the script is close to being ready for submission to film and television companies, but some work is needed in various areas.

Recommend

A recommend is rarely given during the script coverage process. Most script readers and story analysts will agree that out of all scripts covered within their coverage writing, less than one percent usually receive a recommend. A recommend means that the script is ready to go and meets the requested criteria for acquisition and eventual production.

For script consulting services, recommends are easier to attain but still require a screenplay that is strong in all aspects of genre delivery, concept, story, characters, plot, themes, and dialogue.

Read More: Simple Guide to Formatting and Writing Studio Script Coverage

Babylon (2022)

Will Hollywood Companies Share Script Coverage with Screenwriters?

Generally, no. For studios, networks, streamers, and production companies, script coverage is an internal document for their development process. If a screenwriter has a connection with someone within the company, they may find an opportunity to request and review that internal script coverage. Otherwise, those documents are kept within the company walls.

Read More: What You Should and Shouldn't Expect From Script Coverage

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Script coverage is an essential tool for screenwriters, development executives and producers. It provides valuable feedback on the script, helping writers to identify areas for improvement and make changes that can increase its marketability. It can also help producers to assess the commercial potential of a project, making it easier to determine whether or not to invest in a project.

Some screenwriters may choose to work directly with a script consultant, who will provide detailed feedback and guidance on how to improve the script and ready it for industry submissions. Other writers may choose to submit their script to a script coverage service, where it will be evaluated by a professional script consultant. These types of script consultants usually hail from the development rooms of film and television companies, warranting their script coverage writing fees for their experienced and professional analysis and feedback.

Screenplay coverage can also be obtained through contests and festivals. Many contests and festivals offer coverage as part of their entry fee, providing writers with valuable feedback on their scripts and the opportunity to win prizes and gain exposure.

Whether it's script coverage written for a film and television company within their development process, or by way of a paid script coverage service, with the right guidance and feedback through analysis and notes, a script can be transformed into a compelling, marketable story that has the potential to succeed on film, television, and streaming platforms.

Read More: Top 5 Best Screenplay Coverage Services

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What Is Script Coverage? appeared first on ScreenCraft.

A loser becomes a winner. A king becomes a pauper. The skeptic becomes a believer. Often, the best arcs start with a simple question or compelling traits that become the antithesis of the conflict your character is facing.

With that in mind, here are 101 character prompts that writers can test out on their characters — and their story concepts— to find compelling character arcs that can be explored within their stories.

Read More: Acceptance, Revelation, Contentment: Exploring Your Character's Inner Arc

More info coming soon  |  Remind Me

101 Character Arc Prompts

1. What is your character's biggest fear?

2. What is your character's biggest regret?

3. What haunts your character when they stare off into nothing?

4. What, if anything, would your character kill for?

5. What is the most traumatic event from their childhood?

6. What is their most dangerous vice?

7. What is the one obstacle between where they are and what they want most in life?

8. Is your character religious?

9. Is your character anti-religion?

10. Who does your character love?

11. Who is their biggest influence?

12. Who in their lives is a bad influence?

13. What does your character see when they look at themselves in a mirror?

14. Why is the character in their ordinary world at the beginning of the story?

15. Why is your character the one dealing with the main conflict of the story?

16. How does the main conflict most conflict with the main character?

17. Is your character rich or poor?

18. Are they an optimist or pessimist?

19. Does your character have a handicap?

20. Do they have mental health issues?

Joker (2019)

21. What triggers their mental health issues?

22. Who did they hurt in their past?

23. Who hurt them in their past?

24. What does your character strive for most in their life?

25. What makes them laugh?

26. What makes them cry?

27. What makes them lose their temper?

28. What is the most selfish thing your character has done?

29. What is the most unselfish thing they've done for someone else?

30. Does your character have a lot of friends? If not, why not?

31. What is your character's favorite holiday? Why?

32. What is their least favorite holiday? Why?

33. What is your character's biggest flaw?

34. What is their biggest weakness?

35. What causes anxiety in your character?

36. What triggers them? Why?

37. Who is your character's biggest enemy?

38. Who is your character's best friend? Why?

39. Does your character believe in love at first sight?

40. Have they been in love at all?

The Woman King (2022)

41. What are their turn-ons?

42. What are their turn-offs?

43. What gender are your characters?

44. What race is your character?

45. What is your character's sexual orientation?

46. What is the greatest thing your character has done in their lives?

47. Who are their heroes in life? Why?

48. What types of people does your character look down on?

49. Who do they look up to and respect? Why?

50. Who are their mentors?

51. Why would your character refuse a call to adventure?

52. What tragedy most affected their life?

53. What tragedy could they have prevented, but failed to?

54. Who does your character need to make amends to?

55. What are they most grateful for in their lives? Why?

56. What causes them shame?

57. What would give them more confidence in life?

58. What would make them believe in God or a higher power?

59. What would make them not believe?

60. Do they work well with others? Why or why not?

Sunset Blvd. (1950)

61. Is your character a leader?

62. Is your character a follower? Why?

63. What is the biggest grudge your character is holding onto?

64. Does your character lie?

65. What do they lie about? Why?

66. Is your character a coward? Why?

67. Is your character heroic?

68. What's an ailment they are still trying to recover from?

69. What's an injury they haven't healed from?

70. What caused the injury?

71. What are your character's negative habits?

72. What is their favorite movie? Why?

73. What is their favorite book? Why?

74. Does your character belong to a particular organization?

75. What is their innate identity?

76. What new things would rock their world most? Why?

77. Does your character have a family? If not, why are they alone?

78. What is your character most stubborn about?

79. What taboos have they broken within their community? Do they regret it?

80. Does your character trust people?

Toy Story 4 (2019)

81. Is your character trustworthy?

82. Is your character tough?

83. If so, what caused them to be so tough?

84. What would finally "break" your character?

85. Who would your character give their life for most?

86. Is your character loyal?

87. What is your character's greatest bias or prejudice?

88. What is your character's worst nightmare?

89. What is their biggest dream?

90. What is the most embarrassing thing that has happened to your character?

91. What is your character's favorite place in the world?

92. What location scares them the most?

93. What item does your character treasure most?

94. What is your character's deepest physical scar? How did they get it?

95. Does your character fear authority?

96. Do they fight authority at every turn?

97. If your character could make one wish come true, what would it be?

98. What did your character want to be when they grew up?

99. Why did or didn't it work out that way?

100. What does your character want for their birthday?

101. Who does your character want at their wedding?

WANT MORE IDEAS? TAKE A LOOK AT OUR OTHER STORY PROMPTS!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many produced and distributed Lifetime thrillers. Follow Ken on Twitter @KenMovies

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post 101 Creative Character Arc Prompts appeared first on ScreenCraft.

But don't worry — we'll go over six of the most common types of script coverage that are out there, the benefits of each, and which ones might be the best fit for you and what you're working on.

Let's get to it!

Read More: What Is Script Coverage?

Want to take your script to the next level? Check out ScreenCraft's Genre-Specific Notes!

Studio Script Coverage

Studio script coverage is a report commissioned by studios, networks, streamers, or production companies to evaluate a screenplay. It is often used to help executives decide whether to invest in a project or not.

Studio coverage can be written by an in-house script reader/story analyst or an external script consultant with a background in writing compelling and informative screenplay coverage.

An offshoot of "studio coverage" is agency or management company coverage that is written by company script readers (interns, assistants, junior executives, and professional script readers) to break down a screenplay's relevance to the company's clientele vision when it comes to what types of clients their agents and managers are looking to sign.

Agents and managers also use script coverage to find the best scripts for acting and directing clients.

Studio script coverage is for internal use only. Notes and analyses are not shared with the screenwriter.

Read More Everything Screenwriters Need to Know About Agents and Managers!

Development Notes

Development notes are comments and suggestions provided to a screenwriter by a development executive or producer during the script development process. These types of notes are reserved for screenwriters that have been hired for assignments or are executing contracted rewrites for scripts they have optioned or sold.

The purpose of development notes is to help the writer improve the script and bring it closer to the desired vision for the project.

Development notes can cover various topics, including story structure, character development, dialogue, pacing, tone and theme. The notes are either presented in written form or delivered via meetings or calls.

Script Consultant Coverage

Script consultant coverage is usually the most comprehensive form of script coverage, providing feedback on all aspects of the script, examining the story structure, pacing, and character development. It also includes a deeper analysis of the plot, subplots, and themes, as well as evaluations of the characters and their arcs.

This type of coverage is usually written by a script consultant hired by a screenwriter for feedback purposes and can be several dozen pages longer than what you would typically find in studio coverage.

Script consulting coverage is found through script consulting services provided by screenwriting educational websites and blogs, as well as screenwriting platforms that allow screenwriters to share their scripts with industry insiders. Screenwriters can also pay for script coverage when submitting their screenplays to screenwriting contests, competitions, and fellowships at an added cost over entrance fees.

Most quality script consultants have years of industry reading and script coverage writing experience within notable studios, networks, streamers, production companies, agencies, or management companies.

Genre-Specific Notes

Genre-specific notes are types of script coverage that offer feedback and suggestions based on the conventions and expectations of a particular film genre.

For example, horror films often follow a specific set of rules and conventions, and genre-specific notes for a horror screenplay would take those into account. The same directives would apply to other genres like action, thriller, adventure, comedy, mystery, drama, and all subgenres from those main genres.

Read More: Do You Really Know What Genre Your Screenplay Is?

Genre-specific notes can still cover story structure and character development but also pay particular attention to the tone, pacing and style as they pertain to the intended genre. The notes will detail how a screenplay fits within the overall landscape of the genre and whether it is likely to appeal to the target audience.

The interesting draw of genre-specific notes is that the script consultant chosen to review your screenplay is usually highly versed in the genre of your script. Thus, you get someone that's clearly an aficionado of the genre you're writing in.

Format-Specific Notes

Some script consulting platforms may have a more niche service that provides specific attention to the formatting of your screenplay. For many newcomers, format is a constant struggle. While it won't make or break your overall script, screenplay format really does matter. Poor formatting can hinder the reading experience of your screenplay, which can highly affect studio coverage, as well as placements in screenwriting contests, competitions, and fellowships.

Format-specific notes cover all aspects of your script regarding proper formatting based on general industry guidelines and expectations.

Preparation Notes

Consulting services offer preparation notes to help ensure that the ideas, concepts, characters, and worlds of a potential screenplay are working before you begin to write your screenplay. Script consultants can evaluate your screenplay outline, allowing you to see the strengths and weaknesses of your characters and stories before a single screenplay page is written. They can also help screenwriters develop loglines and synopsis, and help you write the most engaging 10-15 pages possible.

What is Script Coverage Anyway?

Script coverage is a written analysis of a screenplay that is typically prepared by a script reader, story analyst or script consultant for development executives, producers, agents, and managers. The objective is to sort and analyze screenplay submissions that are being considered for acquisition and production.

The coverage helps a studio or production company's development team decide whether to move forward with a project.

There are also paid services available to screenwriters that assign different types of screenplay coverage to professional script consultants offering feedback to the writer on the strengths and weaknesses of their script. This type of script coverage allows screenwriters to read and review an industry insider's reaction to their work, allowing them to get insight into the general guidelines and expectations of the film and television industry.

What's Included in Script Coverage?

General script coverage typically consists of a logline (one or two sentences that explain the core concept of the script), a synopsis of the story, followed by a detailed analysis of the screenplay's structure, characters, dialogue, pacing, themes and marketability.

The coverage notes include suggestions for revisions and an overall assessment of the project's commercial potential and relevance to the company's future development and production slate.

Read More: What You Should and Shouldn't Expect From Script Coverage

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While studio coverage and development notes are internal documents of Hollywood company collaboration and development, script consultant coverage, genre-specific notes, format-specific notes, and preparation notes are all essential tools in the development process of a screenplay and the writing talents of its screenwriter.

By providing feedback and suggestions on the strengths and weaknesses of the script, as well as offering script coverage ratings and guidance on how to make it more commercially viable and appealing to a specific audience, these tools can help writers and development teams bring their projects to life.

Read More: Script Coverage, Notes and Feedback: What's the Difference?

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

The post Explaining All the Different Types of Script Coverage appeared first on ScreenCraft.

Here we will delve into the Marvel character of Star-Lord, analyzing his origins, personality, strengths, flaws, and how all of those character traits and elements affect those around him.

Got an amazing action script? Enter the ScreenCraft Action & Adventure Competition!

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Guardians of the Galaxy (2014)

Star-Lord's Character Analysis

Star-Lord is a charming and funny character that showcases unparalleled loyalty to those close to him. He will utilize his skills and unorthodox instincts to save them, and the galaxy, with little to no hesitation. However, his difficult upbringing, the loss of his mother, and his emotional connection (and love and loyalty) to the Guardians create a continuous struggle to focus on the greater good. Thankfully, he usually manages to figure things out. And when he can't, he relies on his Guardians of the Galaxy family to figure them out for him.

Read More: 3 Types of Supporting Characters Your Protagonist Needs

Guardians of the Galaxy (2014)

Star-Lord's Origins

Star-Lord was born Peter Jason Quill, a human abducted by a group of alien thieves, smugglers, and bounty hunters named the Ravagers. Peter was a boy when the abduction occurred, just moments after his mother died of cancer.

He was raised by the Ravagers under the leadership of Yondu and was taught the ways of smuggling and thievery. He would eventually make a name for himself as Star-Lord, a wanted intergalactic outlaw. It is later revealed that the Ravagers were initially tasked with delivering Star-Lord's child self to his father, Ego, a powerful celestial being bent on terraforming the universe for his own benefit of power and control. Ego fathered thousands of children throughout the galaxy, hoping to find one to help him achieve his vision. Star-Lord's mother was a human on Earth that fell in love with Ego. When Ego saw Star-Lord's attachment to his mother, he was the one that gave her the cancer she died from, fearing that their relationship would hinder Star-Lord's promise.

Yondu was supposed to deliver Star-Lord to Ego but decided against it. He raised Star-Lord, sometimes in a brutal fashion. Star-Lord later revolted against Yondu while pursuing a valuable Orb that would eventually be revealed as an Infinity Stone that Thanos desired.

Read More: How to Write a Marvel Movie According to 'Black Widow' Screenwriter Eric Pearson

Guardians of the Galaxy Vol. 2 (2017)

Star-Lord's Personality

He is a compelling character because of his personality. At first glance, Star-Lord is a cocky, charming, and funny character who uses these personality traits to steal, swindle, and manipulate. However, after he meets the individuals who will become the original members of the Guardians of the Galaxy (Gamora, Rocket, Groot, and Drax), he slowly showcases heroism and loyalty. This is mainly due to the fact that he's never really had a family dynamic beyond that strict upbringing he had within the captivity of the Ravagers.

The Guardians of the Galaxy become his family. They are co-dependent in many ways. And because of this, Star-Lord can connect with others on a more emotional level. He has a strong love and bond with them, which offers a more endearing personality amidst his flaws and quirks. He's still immature and petty at times, primarily because of his upbringing. However, his love and loyalty for the makeshift family of the Guardians of the Galaxy have allowed him to grow as a human.

Read More: 9 Types of Enneagram Personalities Writers Can Use for Characters

His cockiness, charm, and sense of humor bring levity to the group and any situation they find themselves in. They also help him and the group cope with the severity and danger they encounter during their adventures. And he uses these traits to take on a brotherly and fatherly role beyond his leadership as leader of the Guardians of the Galaxy, helping the others to cope with loss and defeat. And also allowing them to thrive.

Lastly, there's also a sense of wonder that initially drives his personality. He has a connection with his late mother that can't be broken. When we first meet him, he's obsessed with everything from the 1980s — particularly a cassette tape of songs from that era, given to him by his mother before her death. It's his only remaining link to her. This nostalgia drives his personality in a way that separates him from others around him.

Avengers: Infinity War (2018)

Star-Lord's Strengths

Beyond the skills he's learned during his unique upbringing, Star-Lord excels in conceiving inventive and unorthodox solutions to any problems that come his way. He even rivaled the intellectual planning skills of the late Tony Stark, concocting a plan to defeat Thanos (more on that below).

But it's his loyalty and love for his Guardians family that remains to be his greatest strength. He will go above and beyond to protect and defend them. These family dynamics drive him to do right by them whenever he can, pushing him to go above and beyond not just to save the universe but to save them as well. And this love originates from his connection to his mother. The Guardians allowed him to retap that love he felt for her.

However, sometimes one's greatest strengths can also be their most significant flaws as well.

Read More: 101 Action-Packed Story Prompts

Guardians of the Galaxy Vol. 3 (2023)

Star-Lord's Flaws

Love and loyalty are amazing strengths to have in life. However, they can also become flaws when one is blinded by them when faced with bigger-picture conflicts and goals. Star-Lord is forever haunted by the death of his mother, namely because of his reaction to the moment of her passing when she reached out her hand to hold his one last time. Star-Lord was too scared to take her outstretched hand. She breathed her last breath as she watched him back away from her in fear and grief.

That moment haunts Star-Lord. And while he was given some closure while taking Gamora's hand in a time of need, the safety and death of his makeshift family trigger deep emotions that push up against reason, forcing him to become insecure, selfish, and reckless. He's driven to protect the Guardians and is often very reluctant to allow harm to come to them. And when harm comes to them, he reverts to his old wild ways.

Read More: James Gunn Talks "Guardians of the Galaxy Vol. 2" Details

Case in point, despite conjuring an unorthodox plan that may well have succeeded in stopping Thanos from being able to snap his Infinity Stone Gauntlet fingers — thus eradicating half of the life in all of the universe — Star-Lord let his emotions get the best of him when he learned that Thanos had sacrificed Gamora's life to attain the last Infinity Stone he needed. Star-Lord's rage gave Thanos the millisecond he needed to break free, resulting in billions upon billions of lives throughout the universe being extinguished in the snap of Thanos's fingers.

Star-Lord even let a cassette tape and Sony Walkman endanger himself and others, due to the attachment the objects had to his mother. He often put himself and the Guardians at risk for those items, fearing that he would lose his only physical connection to her.

His emotions — directly tied to his love and loyalty towards the Guardians — get in the way of his better judgment.

Read More: Antihero with a Heart: Analyzing Joel from 'The Last of Us'

Download the script for GUARDIANS OF THE GALAXY VOL. 2!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries BLACKOUT, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller HUNTER'S CREED, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Character Analysis: How Star-Lord Goes From Outlaw to Hero appeared first on ScreenCraft.

You can utilize this type of storytelling on the stage, in movies, on television, and even in books.

Here we present a simple breakdown of what it means to break the fourth wall, examples of them from movies and TV, and how storytellers can enhance their stories by doing so.

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What is the Fourth Wall?

The "fourth wall" is that imaginary "wall" between the performers and audience of a movie, TV show, or play. While the audience can "see through" this wall and observe the actors' performance, the actors cannot.

Breaking the Fourth Wall Meaning

A fourth wall break occurs when a performer acknowledges the presence of the audience, the camera, or any other observer. This is usually done by looking directly into the camera and/or addressing the audience directly.

It is a dramatic technique in theater, film, television, and literature where characters display an awareness that they are in such a work.

The narrative practice of breaking the fourth wall has been around for centuries. The original term was born from the theatre in the 1800s, where box sets were constructed with three physical walls that could be manipulated for any production needs, with the fourth wall being the imaginary wall between the stage and the audience.

If you've ever watched Saturday Night Live or seen behind-the-scenes footage of sitcoms being shot in front of a studio audience, you've seen box sets that have three walls used to convey a structure the characters are houses within as the story comes to life. The fourth wall is that invisible implied barrier between the story and the audience.

In the origin of this technique in the theatre, when certain plays had characters addressing the audience directly, they were breaking the fourth wall.

Examples of Breaking the Fourth Wall

Breaking the fourth wall is one of the most unique narrative techniques in film, television, and theatre today, giving writers and directors a chance to directly connect with the audience in a more intimate way. The experience of the fourth wall being broken allows the audience to become something beyond just a mere observer. The story and characters become more personal to the audience because of the direct interaction through the imaginary fourth wall.  And the technique can work in any genre and on any platform.

Read More: The 5 Differences Between Traditional and Archetypal Storytelling That Screenwriters Need To Know

Comedic Fourth Wall Breaks

Deadpool brought the technique to the forefront of blockbuster filmmaking by means of comedic delivery. What could have been a straightforward superhero movie with comedic levity (i.e., Guardians of the Galaxy, Ant-Man, etc.) became something highly unique and original (for its time) for the genre.

Decades before that, in the 1980s, comedy icons like Mel Brooks and John Hughes broke through that imaginary fourth wall for laughs.

Mel Brooks's Spaceballs played up the fact that their film was a silly Hollywood production by showcasing fourth wall breaks to point that out for laughs.

Whether it was having one of the characters killing a (fictional) film crew member...

...or hilariously acknowledging that the characters are very aware that they are in a movie — at least for a moment of levity.

Who could forget the timeless John Hughes classic Ferris Bueller’s Day Off, which prided itself on creating a relationship between the title character and audience — usually for great laughs.

For the audience, there's a burst of fresh energy when Ferris turns to the camera and addresses us.

Romantic Comedy Fourth Wall Breaks

Even romantic comedies take a swing now and then with the fourth wall break bat. Woody Allen's Oscar-winner Annie Hall unexpectedly broke the fourth wall barrier in one of the most iconic moments of cinema.

The cult classic romantic comedy High Fidelity had John Cusack's protagonist speak directly to the audience while sharing the Top Five things he missed about his ex-girlfriend.

Read More: 5 Ways To Bring Back the Romantic Comedy

Drama Fourth Wall Breaks

Dramas sometimes utilize the technique to inform the audience of the more detailed inner thoughts of characters. Martin Scorsese's Goodfellas had excellent narration to do so, but then it used a creative fourth wall break to showcase that his narration was perhaps him talking on the stand during his trial — or perhaps his inner thoughts during the trial that he shares in motion while the court around him is frozen in time as he addresses us.

Scorsese utilized the technique in other films of his as well.

In Oliver Stone's JFK, we get the most subtle glance from Kevin Costner's Jim Garrison as he makes a plea that it's up to us to find the truth.

Another subtle glance to the audience is utilized in Call Me by Your Name.

Horror/Suspense Thriller Fourth Wall Breaks

Funny Games manages to break the fourth wall in a very original way by having the villain of the film find a remote control and rewind the movie to correct a mistake that he made.

Sometimes, simple narration can break the fourth wall within a scene as well. In American Psycho, the feature character Patrick Bateman narrates his inner thoughts as he faces and observes various other characters.

In the opening of Stanley Kubrick's A Clockwork Orange, we get the chilling stare of the film's central character.

Alfred Hitchcock's Psycho had one of the most memorable early fourth wall breaks.

Read More: 3 Low-Budget Horror Movies To Inspire Your Scary Screenplay

TV/Streaming Series Fourth Wall Breaks

As we mentioned before, breaking the fourth wall is a technique that many platforms can use. Television and streaming platforms have been using it for years.

Children of the 1980s and 1990s will remember Saved By The Bell and Zack Morris's timeouts, where he addressed the audience. The recently rebooted series followed suit as well.

Will Smith rocked the technique in his hit 1990s series, The Fresh Prince of Bel-Air.

The current hit series Fleabag performs the fourth wall break masterfully.

And Marvel's She-Hulk prides itself on its hilarious fourth wall breaks.

Break The Fourth Wall Wisely

While we've clearly proven that breaking the fourth wall can be an effective technique to make a movie, TV series, play, or book stand out from the rest, tread carefully.

When used incorrectly, breaking the fourth wall can also become a gimmick that falls flat and slows down any possible momentum that the story has going for it.

With that in mind, we'll leave you with the ultimate master cut of fourth wall breaks. Break wisely...

Read More: 4 Reasons Why Screenwriters Should Break the Fourth Wall

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter's Creed, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What Does Breaking the Fourth Wall Mean? appeared first on ScreenCraft.

• Science Fiction/Fantasy/Comedy/Action/Martial Arts/Drama genre blend
• Dramas
• Biopics
• Musical Drama
• War
• Dramedy
• Action Drama
• Sci-fi

From box office blockbusters (Top Gun: Maverick, Avatar: Way of the Water) to Small Arthouse Indies (Tar, Triangle of Sadness), and directed by Hollywood legends (Steven Spielberg, James Cameron) to cult arthouse indie favorites (Sarah Polley, Martin McDonagh), this year's Best Picture nominees offer Academy voters many worthy winners.

Read More: Academy Award Winning Movies You Need to Read From the 2000s

But only one can come home with the gold statue (unless there is a Best Picture tie, which has never happened).

Here we present all ten Academy Award nominees for Best Picture (along with their loglines and trailers), accompanied by the biggest reasons they each deserve to win.

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All Quiet on the Western Front

Notable Best Picture wins thus far: BAFTA

A young German soldier's terrifying experiences and distress on the western front during World War I.

Why It Should Win:

The Academy rarely awards Best Picture to foreign films, despite the recent 2020 win of Parasite. And that's a shame because a film is a film. While All Quiet on the Western Front will likely take the Best Foreign Picture, the film deserves to win the overall Best Picture category because of its scope and size. War films often draw votes from Academy members because of all that goes into creating period war set pieces. This film depicts a war that hasn't been as represented as others (WWII, Civil War, Vietnam). While this is one of many interpretations of this particular story, the film is a masterpiece. It's poignant, relevant, cathartic, heartbreaking, inspiring, and tragic. It deserves to win.

Avatar: The Way of Water

Notable Best Picture wins thus far: National Board of Review (Top 10), AFI Movies of the Year

The sequel to 2009 Best Picture nominee Avatar. Jake Sully lives with his newfound family formed on the extrasolar moon Pandora. Once a familiar threat returns to finish what was previously started, Jake must work with Neytiri and the army of the Na'vi race to protect their home.

Why It Should Win:

The first Avatar movie was nominated for nine Academy Awards, including Best Director and Best Picture. Cameron famously lost to his ex-wife (but a good friend) Kathryn Bigelow, who won both awards with her smaller war film, The Hurt Locker. This sequel is one that has been in the making for over a decade. It pushes the very technological advances the original Avatar made, tenfold. The world-building is outstanding. The special effects (both the CG and 3D) are the best they've ever been in any film. From a technological standpoint alone, this movie deserves to win above all others. Director James Cameron changed the way movies can be made.

Read More: How Avatar: The Way of Water Gets to "Level 3 Storytelling"

The Banshees of Inisherin

Notable Best Picture wins thus far: National Board of Review (Top 10), AFI Special Award, Golden Globes (Musical/Comedy)

Two lifelong friends find themselves at an impasse when one abruptly ends their relationship, with alarming consequences for both of them.

Why It Should Win:

Some films rely on their acting performances alone to carry Oscar-worthiness. And, yes, this outstanding and powerful character piece delivers on that front. The two powerhouse performances from co-lead actors Colin Farrell and Brendan Gleeson (returning together after playing hitmen in In Bruges) are an unmatched duo compared to all of the other Best Picture nominees. Watching these two amazing performances is worth a Best Picture Oscar alone.

Elvis

Notable Best Picture wins thus far: AFI Movies of the Year

The life of American music icon Elvis Presley, from his childhood to becoming a rock and movie star in the 1950s while maintaining a complex relationship with his manager, Colonel Tom Parker.

Why It Should Win:

Sometimes it's a single performance that warrants a Best Picture win. But the wonderful dynamic of Elvis is that Austin Butler's career-defining performance is accompanied by masterful and unique direction by director Baz Luhrmann (curiously left out of the Best Director nominations). There's a style to this film that captures not only the time period but the essence of Elvis Presley. A win would be a testament to his impact on the world. And a deserving one. Butler's performance alone is at the center as well and deserves the win.

Everything Everywhere All at Once

Notable Best Picture wins thus far: National Board of Review (Top 10), AFI Movies of the Year, Los Angeles Film Critics Awards (tie), Critics Choice, SAG ensemble

A middle-aged Chinese immigrant is swept up into an insane adventure in which she alone can save existence by exploring other universes and connecting with the lives she could have led.

Why It Should Win:

Sometimes the Academy is faced with a truly unique and original nominee that can't be ignored. Parasite was perhaps the most recent example — until this year. Everything Everywhere All at Once, directed by directing due the Daniels, takes that baton with a tenfold approach of originality and uniqueness. Never has the Academy seen such a genre blend. There's science fiction, fantasy, comedy, action, martial arts, and drama. And all are perfectly blended with a collection of amazing performances with a predominantly Asian cast.

Sometimes the story behind the scenes adds to the allure of the Best Picture win. The comeback of Ke Huy Quan, the career-defining performance from Michelle Yeoh, the rising star of Stephanie Hsu, and the possible legacy win for Jamie Lee Curtis are all great stories. The film deserves to win on its own merits, but the behind-the-scenes story only enhances the allure of a possible Best Picture win.

Read More: 2023 Oscar Nominations: ‘Everything Everywhere All at Once’ Gets 11 Nods

The Fabelmans

Notable Best Picture wins thus far: TIFF People's Choice, PSIFF Vanguard Award, National Board of Review (Top 10), AFI Movies of the Year, Golden Globes (Drama)

Growing up in post-World War II era Arizona, young Sammy Fabelman aspires to become a filmmaker as he reaches adolescence, but soon discovers a shattering family secret and explores how the power of films can help him see the truth.

Why It Should Win:

This film was the early favorite in the Awards race. While the Golden Globes win for Best Drama was a huge step forward for it being the front-runner, other films have generated more recent buzz. Spielberg's most personal film should win because of two factors.

First, it's a love letter to the cinema. Not only to the people that make movies but also to the people that watch them. Second, the film is a biopic that tells the story of arguably the greatest director of our time, Steven Spielberg. This is his story. A coming of age period piece about family, sacrifice, and pursuing a dream against all odds. It's not only highly cathartic from an emotional standpoint — it's also hilariously funny. A win for this film would be a testament to Steven Spielberg's career and life. And that would make for an amazing Oscar moment.

Read More: The Fabelmans: How Steven Spielberg Uses Filmmaking to Cope

Tár

Notable Best Picture wins thus far: New York Film Critics Circle, AFI Movies of the Year, Los Angeles Film Critics Awards (tie)

Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and the very first female director of a major German orchestra.

Why It Should Win:

A film's Best Picture win can be attributed to a powerful performance, which is no easy feat. In this case, Cate Blanchett's remarkable acting skills are the centerpiece of the movie's success. Without her masterful performance, the movie may not have been a contender. However, with it, the film deserves recognition and a win.

Top Gun: Maverick

Notable Best Picture wins thus far: National Board of Review (Best Film), AFI Movies of the Year

The sequel to Top Gun. After thirty years, Maverick is still pushing the envelope as a top naval aviator but must confront ghosts of his past when he leads Top Gun's elite graduates on a mission that demands the ultimate sacrifice from those chosen to fly it.

Why It Should Win:

There's a lot to unlock here. This could have been a dismal sequel. Instead, Tom Cruise proved how talented he is not just as an actor, but as one of the industry's best producers. It was difficult enough to concoct a worthy sequel to a beloved film that was released nearly 40 years ago. It was even more difficult to weather the storm of a global pandemic that shut down the industry's platform (theaters) for well over a year. Cruise pushed up against plans for the studio to release the long-awaited film on its streaming platform. He fought to keep it on the back burner for a global theatrical release.

According to Steven Spielberg himself, Cruise may well have saved the film industry by bringing audiences back in droves. Beyond those behind-the-scenes stories, the film itself is a masterful display of cinema, offering a heart-pounding action film with outstanding practical stunts, anchored by outstanding drama. Not every Best Picture needs to be elegant high-brow art or a dazzling and epic period piece. Top Gun: Maverick entertains. And it goes to great levels to offer cathartic moments throughout that entertainment. For that reason alone, it deserves to win Best Picture.

Triangle of Sadness

Notable Best Picture wins thus far: Cannes

A fashion model celebrity couple joins an eventful cruise for the super-rich.

Why It Should Win:

Comedies don't get their due at the Oscars. No outright comedy has won Best Picture since 1977's Annie Hall. And while you could argue that 2011's Best Picture winner, The Artist, was a comedy, that film won primarily because of its original and unique production of a black-and-white silent film. And Triangle of Sadness is far funnier than The Artist. It's hilarious. We get a true send-up of upper-class life with some of the funniest physical humor we've seen in recent years. It's about time a comedy wins Best Picture again. And this film is one of the funniest contenders we've seen.

It's also much more of a straight-up comedy than any previous comedy winner (1934’s It Happened One Night, 1938’s You Can’t Take It With You, 1944’s Going My Way, 1963’s Tom Jones, 1973’s The Sting, 1977’s Annie Hall, and, Yes, 2011’s The Artist).

Women Talking

Notable Best Picture wins thus far: National Board of Review (Top 10), AFI Movies of the Year

Do nothing. Stay and fight. Or leave. In 2010, the women of an isolated religious community grapple with reconciling a brutal reality with their faith.

Why It Should Win:

Many will say that the nomination for this film is a win. It wasn't initially very well known in many circles. However, it's a very important film for the #MeToo movement, and for our society in general. Sometimes a film's message and cultural impact are enough to warrant a Best Picture win. The film tells a harrowing true story that precedes the #MeToo movement. It's a story and message that women of all ages can sadly identify with, and it's also a story and message that men and women from all walks of life need to witness so that we can ensure that this movement doesn't fade away. Instead, we need to assure that the change continues and evolves into true equality.

Who do you think is going to win?

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post Why Each of the Best Picture Oscar Nominees Deserve To Win appeared first on ScreenCraft.

However, how you structure a TV pilot script requires a little more nuance. With that in mind, here is a simple and straightforward breakdown to help you learn the basic guidelines and expectations of the TV pilot structure.

Read More: The Screenwriter's Simple Guide to TV Writing

More info coming soon  |  Remind Me

What Does "Structure" Mean?

The general story structure is fairly simple — Beginning, Middle, and End.

This has been the story structure followed by mankind since the days of telling stories around the village fire or etching cave paintings on stone walls depicting worthy stories of hunting for prey (beginning), confronting the prey (middle), and defeating the prey (end).

The three-act structure in cinema is the most basic and pure structure that most films — no matter what gurus and pundits say — follow.

• Setup
• Confrontation
• Resolution

How you build on that basic structure creates many additional variations.

Read More: 10 Screenplay Structures Screenwriters Can Use

For television, four-act and five-act structures (see below) — as well as many other variations — are just additions to the core three-act structure of any story. However, the television platform has many unique differences compared to cinematic storytelling.

With movies, you have a general 90-120 minute (or beyond) window to tell a single story from beginning to end. But with television, you're telling an overarching story that spans multiple episodes and multiple seasons. Because of that unique platform dynamic, the structure of your story changes.

For TV pilots, you're tasked with having to tell not only the beginning chapter of an overarching story but also introduce the world of the story, as well as the characters within. You're basically using a TV pilot to sell the structure, tone, atmosphere, genre, characterization, and narrative of a whole series.

There's also the unique element of commercial breaks (for network shows) and how you go about breaking your single-episode story into commercial breaks, which encompass your act breaks. The structure is where you accomplish all of this hard work. It's almost formulaic at first sight. Because of that, the TV pilot structure doesn't have to be as difficult as it is made out to be.

Cobra Kai (2018)

The Two Elements TV Pilots Need to Have

Before we dive into the basic TV pilot structure, let's talk about the two elements that will help your TV pilot stand out the most.

In movies, the concept is everything. Sure, character-driven pieces can succeed (usually in the indie market), but Hollywood is driven by the concept when it comes to feature scripts. The concept is what gets your script read — that mash-up of a protagonist dealing with a compelling and engaging conflict.

However, in series writing, concepts change season-to-season — and conflicts change episode-to-episode. If you look at the multiple seasons of a successful series like Cobra Kai, you'll see that the central protagonist's focus changes, as does the immediate villain and threat. The same can be said for any series.

But the core elements remain the same.

• The revisiting of Daniel and Johnny decades after their initial story ended.
• The world of karate and how those characters collide with it.

As you develop your series before writing the TV pilot script, make sure it has these two elements to increase your chances of successfully getting the pilot into the hands of networks and streamers.

Read More: What is a Story Engine and How Can it Help Your TV Pilot

The White Lotus (2021)

Compelling Characters

Tony Soprano, Walter White, June Osborne, Rick Grimes, Lucy Ricardo, Mary Richards, Don Draper, Michael Scott, George Jefferson, and countless other amazing television characters force audiences to watch their series, whether the characters are hilarious, intriguing, entertaining, or deplorable.

You can't have a compelling TV pilot without an equally compelling lead character.

Read More: How to Create Memorable and Resonant Characters

The answers to how you create such characters can only be found within your own imagination. We could endlessly list the character traits of the aforementioned iconic television characters and try to come up with some secret formula for creating Emmy-worthy characters, but it's impossible. There is no secret formula, and anyone who tells you they have it is trying to sell something.

An excellent compass that can help you create such compelling characters involves developing conflicted characters with flaws.

You can certainly create a cast of intriguing characters as well. Friends, ER, Game of Thrones, Lost, The Walking Dead, The Big Bang Theory, Modern Family, The White Lotus, and Euphoria, among many others, offered a cast of characters whose dynamics engaged us from episode to episode. The key way to create a cast of hopeful icons is to play with the differences between all of the characters. You can do it for both comedic results in sitcoms or for dramatic results in drama or genre.

You just want to make sure that these are quality characters worthy of devoting a series to. But even that's not enough.

Breaking Bad (2008)

Intriguing Worlds

The Mafia (Sopranos), meth-dealing (Breaking Bad), a totalitarian society where women are property (The Handmaid’s Tale), a zombie apocalypse (The Walking Dead, The Last of Us), 60s-era advertising (Mad Men), office life (The Office), rich people on vacation at a high-end luxury resort (The White Lotus), a look into the lives of teens amidst the world of drugs, sex, trauma and social media (Euphoria) — these are the worlds that are brilliantly matched with compelling characters.

Read More: When Worlds Collide: The Art of World Building

Find those compelling characters living in those intriguing worlds that audiences will want to live vicariously through — or watch those more morally-challenged ones fall.

A, B, and C Stories

Lastly, before we get into the simple and straightforward structure of a TV pilot, let's discuss the content within your structure.

Networks and streamers always want two or three-story strings flowing and integrating together throughout a single episode. It offers more depth for the audience.

"A" Story — This story encompasses the main protagonist(s) dealing with the central conflict presented in the concept of the story and series.

"B" Story — This secondary story relates to the secondary wants, needs, and desires of the main protagonist(s) or how side story elements eventually relate to and connect with the A story.

"C" Story — Smaller side stories within the overall story arch are usually found in sitcoms — moments of little funny repetitive nuances that eventually work themselves out.

Rather than break down multiple examples of A, B, and C stories, go watch your favorite drama, genre, and sitcom series. Try to identify the A, B, and C stories for each.

Read More: Tips for Coming Up with an Idea for Your TV Spec Episode

General TV Pilot Structure Breakdown

We'll start with one-hour TV pilots.

Hour-Long TV Pilot Page Count Structure

Hour-long TV episodes generally range from 45-63 pages. The sweet spot page count to shoot for would be 50-55 pages.

Utilize the basic one-page equals one-minute guideline. With a 60-minute episode for network television (ABC, NBC, CBS, Fox, TNT, AMC, etc.), you obviously need to account for commercial breaks. If you go above 60 pages, you're already over an hour. Use the one-page equals one-minute guideline as a gauge. It's not an exact science by any means, but as a novice television writer, it's a good barometer to work from.

With five-act television scripts (see below), you generally want to keep each act between 9-12 pages, give or take a page. The old benchmark was 15 pages per act for four-act television scripts, but with additional commercial time these days — not to mention more story — it can now often break down differently.

Hour-Long TV Pilot Act Breaks

With an hour-long television series episode, you will break the story down into four or five acts.

• Teaser (2-3 pages)
• Act One
• Act Two
• Act Three
• Act Four
• Act Five (optional)

Teaser

The teaser is the compelling hook that introduces your protagonist, the world, or the core conflict of the episode/series — preferably all together. This isn't the first act of your story. It's a moment that entices the audience to keep watching. You tease the tone, atmosphere, genre, world, concept, and conflict. And then, at least if it makes it onto television, the scene then cuts to a commercial break.

For shows like Breaking Bad, Grey's Anatomy, The Last of Us, or any other hour-long episode, you'll often see the character either in peril by the end of it or the conflict of the story will be teased. Then when the first act starts, the stories either flash backward, flash forward, or switch to the protagonist(s) and their ordinary world.

Check out the teaser for the hit HBO series The Last of Us:

https://youtube.com/watch?v=TIWiuvjTQJM&si=EnSIkaIECMiOmarE

None of the main characters were introduced. However, we're teased with the world that is about to be in the series.

Not all hour-long TV pilots utilize teasers. However, we strongly suggest that you include them in your TV pilots to help entice the reader to read on.

Formatting Necessities: You'll start the teaser with a centered teaser heading and then write the script below.

ACT ONE

After the teaser, you'll then start a new page with the centered ACT ONE heading.

Act One is where you introduce the main and supporting characters within their ordinary world. You've teased the peril, struggle, conflict, or situation that the episode will tackle, but now you're getting things really started by setting the stage as far as where the characters are and what is leading up to the point of the next act where they will be confronted by the situation at hand.

The end of the first act usually offers you the opportunity to present a cliffhanger to keep the audience invested. You actually want to do that at the end of the first three acts for the same reason.

ACT TWO

After ACT ONE, you'll then start a new page with the centered ACT TWO heading.

Act Two is where you introduce the "A" story (as well as any "B" and "C" stories). This is where the characters are dealing with the conflict in full swing.

• They're struggling with it.
• They're figuring out how to get through it.

Much like the beginning of the second act of a feature film script, the characters often still have some hope or chance. By the end of this act, the audience feels like the characters may figure things out — until, that is, another hook is introduced that flips that hope or chance on its head, forcing the characters to face the fact that they may not succeed.

ACT THREE

After ACT TWO, you'll then start a new page with the centered ACT THREE heading.

Act Three is where the characters are at their lowest point, and the bad guys or conflict is winning. Where the second act gave the audience, hope that they'd figure it out, the third act is usually where that hope was proven to be false. By the end cliffhanger of this act, audiences will want to tune in to see how the characters will prevail despite such odds against them.

ACT FOUR

After ACT THREE, you'll then start a new page with the centered ACT FOUR heading.

Act Four is where the characters, against all odds, begin to prevail again. They start to take action, triumph and win. They've learned from their missteps in the first and second acts, and now they're applying the lessons learned to confront the conflict in full force.

ACT FIVE

After ACT FOUR, you have the option of starting a final act with the centered ACT FIVE heading.

Act Five can work as a closure for the episode. For TV pilots, it can also act as a gateway into the rest of the series. You have the option of ending your TV pilot (or any episode) with a fourth act, or you can also end the fourth act with a significant cliffhanger or hook and then use the fifth act to close things up with a finale.

TV Pilot Structure Variations

Some pilot scripts like the 70-page The Sopranos, the 55-page Mad Men,  and the 61-page Game 0f Thrones don't have act breakdowns at all.

HBO's The Sopranos and Game of Thrones never had any commercial breaks — as is the case with all premium cable and streaming platform series. That's not to say that those scripts don't accomplish the same type of structure explained above — minus the aesthetics of act breaks.

In the case of the Mad Man pilot, it was written on spec by the writer to use as a sample to attain assignments on other shows. It was eventually rejected by HBO, Showtime, and others but was embraced by AMC, a basic cable network with commercial breaks.

The Lost pilot script is unique because it was written as a 97-page pilot script. Essentially debuting as a feature-length pilot. It does have act breaks, but due to the feature-length script, the page number for those breaks is different (the first act goes for 27 pages).

Read More: 65 TV Pilot Scripts That Screenwriters Should Study

Half-Hour-Long TV Pilot Structure

Take all that you've learned above and adapt it to a half-hour situation comedy series. Yes, there are 30-minute drama/genre series episodes out there. However, most half-hour TV pilots usually fall under the sitcom umbrella.

Because sitcoms are half-hour episodes, the structure and page counts in the general TV pilot structure are obviously condensed.

Four to Five acts (see above) become a simple Three Act structure (sometimes two acts) that represent a more standard beginning, middle, and end story structure, with the teaser or cold open working as the beginning.

Half-Hour-Long TV Pilot Page Count Structure

As is the case for hour-long TV pilots, the page counts vary.

If you're an established writer or showrunner, a half-hour sitcom script can be as long as 44 pages. For novice writers, the general guidelines and expectations are 22-25 pages, which allows you to get under that 30-minute gauge.

Keep in mind that sitcoms are, more often than not, dialogue-heavy, which would account for the increased page counts.

Half-Hour-Long TV Pilot Act Breaks

With half-hour-long television series episodes, you will break the story down into three acts.

• Teaser/Cold Open (2-3 pages)
• Act One
• Act Two
• Act Three
• Tag (optional)

TEASER/COLD OPEN

This brief scene opens the episode with a stand-alone funny moment that may or may not also introduce the main plot point of the episode. You'll recognize a TV episode's teaser/cold open by the scene that appears before the opening credits.

Here's a cold opening for the Emmy-winning sitcom Brooklyn Nine-Nine:

ACT ONE

Act One is where you introduce the conflict the main character will be facing throughout the episode. You can also introduce "B" and "C" Story elements as well.

ACT TWO

Act Two is where a series of additional conflicts and obstacles stand in the way of the focus character and their goals. They fail time and time again, creating hilarity in the process (since this is a comedy).

ACT THREE

Act Three is the resolution of the conflict(s). The focus character has learned from their failures and struggles in the second act and must now use that knowledge to overcome or hilariously succumb to the conflicts.

Note: Some sitcoms employ only two acts.

TAG

In sitcoms, you can also use a TAG scene at the end. Tags are bookend scenes usually included after the episode's story has played out. This is where one last gag or character moment is offered. They usually only take up a page or two.

It's also advisable to learn about the differences between the two types of sitcoms — Single-Camera and Multi-Camera.

Read More: Single-Camera Vs. Multi-Camera TV Sitcom Scripts: What's the Difference?

3 Additional Ways to Learn TV Pilot Structure and Format

The best additional tools you can utilize to learn about TV writing are:

• Use Screenwriting Software - Whether it be the industry-standard final draft or one of the other equivalents, the software will do most of the work for you from a formatting standpoint.
• Read Television Scripts - Find a series that is close to what you are writing, find the pilot script for it, and emulate it as much as possible. One of the best places to go is The Script Lab because it offers you a free library of pilot and episode scripts for many, many shows.
• Binge-Watch TV Series - With all of the streaming available now, the best possible resource is watching episodes. For network and cable shows, you'll see where the act breaks are as far as where they would normally cut to commercial. For premium channel shows (HBO, Showtime, etc.) and streaming platforms series (Netflix, Amazon Prime, Apple TV, etc.), you'll have to simply time code it — one minute equals one page — and pay attention to the various changes in the story.

All TV pilots will have variations in format and structure. It's not an exact science. However, as an undiscovered screenwriter, it's best to adhere to the general guidelines and expectations as closely as you can.

Also, understand that most TV pilots don't sell on spec. There's a big difference between being a feature film writer and a TV writer.

Learn About Those Differences Via ScreenCraft's The Different Lifestyles of Feature Screenwriters and Television Writers! 

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Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter's Creed, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

The post How To Structure a Great TV Pilot appeared first on ScreenCraft.

We get our ideas from many sources — news headlines, novels, television shows, movies, our lives, our fears, our phobias, etc. They can come from a scene or moment in a film that wasn’t fully explored. They can come from a single visual that entices the creative mind — a seed that continues to grow and grow until the writer is forced to finally put it to paper or screen.

They may inspire screenplays, novels, short stories, or even smaller moments that you can include in what stories you are already writing.

Read More: Dead Poets Society's Tom Schulman on How to Write an Oscar-Winning Drama

More info coming soon  |  Remind Me

101 Drama Story Prompts

1. Long-lost twins find each other.

2. A father deals with the death of his whole family after a tragic accident.

3. A mother struggles with grief after losing her oldest child.

4. A recently divorced man returns to his hometown and reconnects with his childhood sweetheart.

5. A rich executive realizes the error of their ways and sells everything to travel the world.

6. A family discovers the truth about ancestors.

7. A father and son go on a safari to reconnect.

8. A family befriends a homeless person.

9. Parents learn that their college-age daughter has disappeared.

10. A man befriends the drunk driver who killed his parents.

11. A mother wants to realize her life-long dream and train for the Olympics.

12. A father is tasked with coaching his son's soccer team, even though he has never played the sport.

13. A teacher deals with returning to school after a mass shooting.

14. A group of teen friends decides to stop their partying ways after a friend dies after a party.

15. A little boy struggles to fit in with the kids living in his new neighborhood.

16. A family that loses everything in a fire must rebuild their lives.

17. A family must adjust to the PTSD of the father after returning home from war.

18. An estranged family is reunited.

19. The President of the United States and his family go incognito to live a normal life.

20. A famous family goes incognito to live a normal life.

21. A group of friends goes on a quest to bury a time capsule after one of their own dies.

22. A family travels to the American Frontier to find their new home.

23. A star baseball recruit struggles to decide whether he should take a scholarship or go pro.

24. A teen comes out of the closet in the rural Midwest.

25. Siblings learn that their parents were Soviet Union-era, sleeper agents.

26. A family on a wilderness retreat takes in a wounded bank robber.

27. A rich and affluent family loses everything and must live in the ghetto.

28. A group of families decides to move out of the city and live in a commune, cut off from the corrupt society.

29. A family sells everything to buy a sailboat to sail around the world.

30. A family finds a wild wolf pup.

31. Siblings start a successful business after their parents lose their jobs.

32. Two brothers do everything they can to ensure that their family gets to keep their house.

33. Two sisters navigate the difficult world of teen angst as their parents navigate the difficult world of keeping up with the Joneses.

34. A family decides to buy their own island.

35. Newlyweds spend their honeymoon together, only to learn some deep and dark secrets about one another.

36. A racecar driver dies, and his family struggles with grief.

37. An African-American family escapes the crime-ridden ghetto and moves into the suburbs.

38. A woman travels the world in search of love.

39. A family on a canoe trip is whisked away down the Mississippi River during a horrible storm and flood.

40. Kids discover an underground mine shaft and are trapped within it.

41. A bullied boy struggles to stand up to the bullies that torment him.

42. A bullied girl struggles to stand up to the mean girls of the school.

43. A family must survive when their plane crashes.

44. A family is willed in an old castle.

45. Two divorcees meet in a diner as one waits for a bus.

46. A man and woman fall in love during a layover.

47. A sailor decides to sail into the ocean where his brother was lost at sea years ago.

48. A town must survive the worst flood in history.

49. A lawyer goes up against the government.

50. Overwhelmed parents leave their kids home and go for an adult vacation.

51. A small farm family avoids the invading armies of World War III.

52. An outcast nerd decides to organize an alternative Prom for other outcasts.

53. An Asian-American teen living in the rural south struggles to realize his dream of becoming a country music singer.

54. Athletic siblings from a split home face up against each other in the state tournament.

55. A dog struggles to find the right human family.

56. Puppy siblings separated by pet adoption escape bad homes to find each other.

57. Siblings in an orphanage escape and find their beloved aunt and uncle.

58. Past prison cellmates find each other after thirty years.

59. A WWII veteran struggles to return to normal life.

60. Two groups of kids from rival gangs are forced to live together in a house.

61. A boy from a rich and spoiled family wants them to live without their mansion, belongings, and money for a year.

62. A rich boy and poor girl convince their families to switch places for a year.

63. A family sailing the ocean waters must overcome the worst hurricane in history.

64. A grief-stricken cop that killed a teen struggles to reconcile with the family.

65. A mentally-challenged student wants to make the football team.

66. A physically-challenged student wants to letter in every sport in high school.

67. A dog trainer takes in an abused dog and trains it to compete in a dog show.

68. A woman that spent 30 years in prison returns to her hometown.

69. A father struggles with becoming a stay-at-home dad.

70. A woman that grew up in a family of football star boys decides to become the high school football coach.

71.  A family struggling in life sell everything to move to Hawaii.

72. A local town bands together as miners are trapped in the local mine.

73. Parents deal with their son robbing a bank and being on the run.

74. A city family inherits a farm.

75. A riverboat captain and his children attempt the first trip down the Mississippi River.

76. Childhood friends have reunited after thirty years apart.

77. The son of a poor family struggles to attain a sports scholarship so he can go to college.

78. A teenage girl decides to join the football team.

79. A World War II-era family starts a minor league baseball team to uplift the town.

80. The high janitor that students make fun of is actually a war hero.

81. A family adopts a puppy after losing the family dog.

82. A family is tasked with going on a unique scavenger hunt at the behest of the grandpa's last will and testament.

83. A girl overwhelmed by middle school drama decides to be homeschooled.

84. A farm family nurses a wild wolf back to health.

85. Siblings mourn the death of their father and inherit his business.

86. A grumpy executive is forced to live with his family after a stroke.

87. A family must find each other after the worst earthquake in human history.

88. A family discovers that they are the descendants of Hitler.

89. A girl with Asperger's Syndrome befriends a horse.

90. A disgraced boxer begins to train youth boxers.

91. A disgraced professional baseball manager starts a baseball team of inner-city kids.

92. A wilderness firefighter is trapped on a mountain.

93. A stay-at-home mother deals with empty nest syndrome.

94. A successful female executive leaves her career to spend quality time with her husband and children.

95. A young student has a crush on their teacher.

96. Former middle school best friends decide to have an old school sleepover after they've all gone their separate ways in high school.

97. A Post Civil War-era Union soldier returns to his southern hometown.

98. A beloved school teacher loses his family as the community bands together to become his new family.

99. A mob boss goes into the witness protection program and struggles to adjust to life in the suburbs.

100. The life of a girl is told as she grows into an adult.

101. A family decides to move into a lighthouse and take on the daily duties within.

Share this with your writing peers or anyone that loves a good dramatic story. Have some prompts of your own? Let us know on Facebook and Twitter!

WANT MORE IDEAS? TAKE A LOOK AT OUR OTHER STORY PROMPTS!

What Entails a Drama Concept?

Drama can be best defined as a state, situation, or series of events involving interesting or intense conflict of forces. While other definitions can be found, this is best applied to the cinematic context of film and television.  Screenplays and teleplays focus on situations or series of events that involve interesting conflict — with the best kind of drama containing conflict that is intense and cathartic.  Conflict is everything in film and television. Without it, there is no story to tell. Nothing is interesting about a character that doesn't struggle in some way, shape, or form.

Drama is also recognized as a specific genre of storytelling featuring realistic characters forced to deal with true-to-life issues and conflicts.  Yes, there is drama found in superhero movies, spy thrillers, and suspenseful horror stories. However, a drama — as defined by genre definitions — is a story that is embedded explicitly within reality, often involving characters that audiences can identify with because the conflicts they face are everyday struggles.

Read More: The Single Difference Between Cinematic Drama and Melodrama

Please note: Because we’re all connected to the same pop culture, news headlines, and inspirations, any similarity to any past, present, or future screenplays, novels, short stories, television pilots, television series, plays, or any other creative works is purely coincidence. These story writing prompts were conceived on the fly without any research or Google search for inspiration.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies.

The post 101 Riveting Drama Story Prompts appeared first on ScreenCraft.

We have compiled a massive list of romance story prompts to help get your creative juices flowing so you can start conceptualizing your romance story.

Let's go!

Enter Now  |  Final Deadline in 22 days

101 Romance Story Prompts

1. A woman's date goes horribly wrong and meet-cutes the waiter.
2. One character thinks their relationship is a fling — the other thinks it's destiny.
3. Mutual friends set up a blind date.
4. A guy is auctioned off for a date at a company fundraiser.
5. Two characters at a vintage record store listen to the same record in the same listening booth.
6. A guy looking for an engagement ring for the wrong girl falls for the ring saleswoman.
7. A character goes on an online date with someone that lied about their looks.
8. A woman falls in love with the twin of the man she just dumped.
9. A man arranges for a random woman to call him during a date as an Escape Call — they fall in love.
10. Opposites attract when two characters pretend to be dating and fall in love.
11. Two characters are stuck on a Ferris wheel together and fall for each other.
12. A man delivers flowers to a beautiful woman that's being wooed by the wrong guy.
13. A fling goes south when one of them offers the other character a drawer in their apartment.
14. Characters meet their in-laws and discover that each has dated the other's sibling.
15. A woman discovers an old mix tape made by her high school boyfriend — she tries to reconnect.
16. Despite going on what are considered traditional dates, two people don't believe they're actually dating.
17. A couple breaks up and each is on the rebound.
18. A man uses his brother's baby to attract women.
19. Someone asks another out as a dare and ends up falling in love with them.
20. A man bets his female childhood friend that he can make her fall in love with him in two weeks.
21. A man asks his twin brother to fill in for him in the relationship after he grows tired of it.
22. Two people have a secret relationship.
23. Two people are stood up on their dates and end up falling for each other.
24. A teacher falls for her student's single parent.
25. A woman is always a bride, never a bridesmaid.
26. The third wheel of a couple struggles to find love.
27. The third wheel of a couple ends up falling in love with one of them.
28. Characters fall in love when the Tunnel of Love at the fair breaks down.
29. Two people that know each other only from an online fantasy football league meet for the first time.
30. A woman doesn't know her type and ends up seeking out every type of person to find her preference.

'If Beale Street Could Talk'

31. A woman seeks out the model that was used for a popular romance novel series.
32. One secret agent falls in love with another.
33. A popular character falls for an unpopular character.
34. An unpopular character learns that the popular character they had a crush on is not who they want to be with.
35. A character falls in love with an angel living on Earth for a limited time.
36. An angel falls in love with the human they are assigned to watch over.
37. A celebrity falls in love with a regular person.
38. Cupid is actually an angry relationship therapist.
39. A popular girl is highly attracted to nerdy types.
40. A popular guy is highly attracted to nerdy types.
41. The drama teacher's budget is reallocated to the football coach's program.
42. A chemist-by-trade finds a way to manipulate pheromones to make people attracted to them.
43. Two people drink a love potion that makes them fall madly in love.
44. An older woman is attracted to a much younger man.
45. A younger woman is attracted to a much older man.
46. A character falls in love with a fictional character, only to see them come alive.
47. A female coach's team budget is taken over by a male coach's budget.
48. A man who travels a lot falls in love with a flight attendant he always sees.
49. A woman who travels a lot falls in love with a small-town man that has never left his small town.
50. A woman falls in love with her AI phone.
51. A nanny travels abroad with the family she watches over, only to fall in love with a local.
52. One character must overcome a physical or emotional scar to find love.
53. There's a misunderstanding between a couple that is destined to be together.
54. A woman is attracted to both a man and a woman and must decide which one to choose.
55. A woman who was shamed by a bully in high school falls in love with him at the reunion.
56. A character comes home for the holidays.
57. A career-driven woman inherits a small-town property.
58. A businessman whose car breaks down while traveling cross country falls for a rancher.
59. A businesswoman whose car breaks down while traveling cross country falls for a rancher.
60. A character falls in love with the first human-looking android.

'La La Land'

61. A couple that thought they were divorced is not.
62. Enemies in business fall in love.
63. A fake engagement leads to love.
64. A big city character falls for a small own character.
65. A small-town character falls a big-city character.
66. Characters are trapped in a confined location and fall in love.
67. Friends of a couple enjoy disliking each other but soon fall in love.
68. A character unknowingly falls in love with a ghost.
69. A grieving character falls in love with their deceased significant other's sibling.
70. A rich girl doesn't want her rich lifestyle anymore.
71. A rich guy doesn't want his rich lifestyle anymore.
72. Identical twins agree to change lives to see if sparks fly with the significant others they've grown tired of.
73. A character falls in love with their abductor.
74. A character is learning a new skill under the teaching of another — they fall in love.
75. There's a love triangle and only true love will prevail.
76. One character gets a makeover and finds love.
77. Characters have a marriage of convenience and agree to seek love elsewhere.
78. Medical industry co-workers fall in love.
79. A character falls in love with the police officer that saved them.
80. One character is actually a mystical creature living a normal human life for a short time.
81. The new girl in town finds love.
82. The new guy in town finds love.
83. The mysterious stranger in town attracts locals.
84. Police officers assigned as partners fall in love.
85. A character wins the lottery and falls in love.
86. A character thought dead returns home to the surprise of those that have moved on.
87. A rock star falls in love with a local during a music festival.
88. A runaway bride finds love elsewhere.
89. A runaway bride discovers that the groom she ran from is actually the right one for her.
90. High school sweethearts reunite.

'Happiest Season'

91. High school best friends reunite, only to discover they should be a couple.
92. A rich character hides their true wealth to find true love.
93. A werewolf falls for a vampire.
94. Single parents find love together.
95. Soul mates finally find each other against all odds.
96. A character falls in love with someone that is terminally ill.
97. A character falls in love with someone that is traveling in time.
98. Two characters that had a fling discover that they're having a baby together.
99. Characters fall in love at a wedding.
100. Characters are accidentally married.
101. Two characters vowed years prior to marrying each other if they had not yet found love.

If you loved our list of romance story prompts, take a look at our other genre story prompts!

Should You Write in the Romance Genre

The romance genre — specifically the romantic comedies that are so popular right now on platforms like Lifetime and Hallmark — is booming. Those two cable networks produce dozens upon dozens of titles each year for their networks and streaming platforms. Why? Because audiences love them. They love the familiar. They love the formulaic. Both of which offer an easy and laid-back viewing experience at home. The networks that are producing and distributing them have created platforms more accessible to undiscovered screenwriters.

Only the top 1% of working screenwriters make a living writing for major studios and production companies.

Read More: How to Create Engaging Romance in Movies

Most working screenwriters could be referred to as blue-collar screenwriters — those that are signing non-Guild low-five-figure contracts for channels like Lifetime and Hallmark. Yes, there's a script market for Direct-to-Streaming action, science fiction, and horror thrillers that former A-list stars (and plenty of B, C, and D-list stars as well) make a living from, but nobody makes more movies per year than Lifetime, Hallmark, and other smaller networks and streaming platforms.

These are places where a screenwriter can build a resume of onscreen credits and compile a few noteworthy low-five-figure contracts that add up to a sustainable career as a paid screenwriter.

Even Netflix has seen the potential of these romance flicks. You can now see a steady flow of Lifetime-like and Hallmark-like titles produced and distributed on the Netflix streaming platform.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers.

Follow Ken on Twitter @KenMovies

The post 101 Romance Story Prompts appeared first on ScreenCraft.

The expectations are high, the competition is immense, and the degree of difficulty in breaking in is high and intense.

Not everyone can make it. In fact, most people don't.

However, somebody has to make it. Most screenwriters that end up with successful careers come from outside of the Hollywood system. Matter of fact, unknowns make it each and every year. But how do you know if it's worth the effort, given the odds against you? How do you know if you're even right for the job?

With those questions in mind, here we present 101 reasons you should or shouldn't become a screenwriter.

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Reasons Why You Shouldn’t Become a Screenwriter

1. You're hoping to win the lottery with one script
2. You don’t like taking notes and directions from your bosses
3. You only want to sell your pitches to Hollywood
4. You can't handle the competition
5. You're cynical about Hollywood and why they aren't making your movies
6. You don't want to keep writing scripts while you wait to sell one or get hired for an assignment
7. You're not willing to put in 5-10 years before seeing your first contract
8. You don’t make an effort to network
9. You're afraid and paranoid about showing your script to anyone
10. You're too focused on preaching what's wrong with Hollywood movies and not focused enough on showing how you can make a difference

Okay, now let's focus on the positives.

Reasons Why You Should Become a Screenwriter

1. You love movies
2. You love episodic series
3. You can spot common character arcs in movies or tv shows
4. You can spot common story arcs in movies or tv shows
5. You can interpret themes and messages in movies or tv shows
6. You can see where the stories could go
7. You can see where the stories should go
8. You can see where the stories could have gone but didn't
9. You can see where the stories of supporting characters could go but didn't
10. You can easily conceive sequels to movies you just watched
11. You can easily conceive what happens in the next episode of a series you just watched
12. You can problem-solve what movies or series did wrong
13. You can write compelling concepts and loglines for movies and TV shows
14. You have a unique sense of humor that makes people laugh
15. You tell the best stories to your kids
16. You tell the best stories to your younger siblings
17. You tell the best stories to your peers
18. You're interested in being a part of an uncommon breed
19. You want the chance to play God or Creator by creating worlds, characters, and circumstances that didn't exist before you started writing
20. You want to feel the ultimate rush of creating a story and characters from scratch
21. You want to feel the ultimate rush of finishing a feature script and seeing your full movie in your head
22. You want to feel the ultimate rush of having others see your movie in their head after reading your script
23. You want to feel the ultimate rush of seeing your words come to life on the big or small screen
24. You want to play in a world of magic
25. You want to change lives by telling compelling and inspirational true stories
26. You want to change lives by telling compelling and inspirational fictional stories
27. You want to get free therapy by expressing yourself and working out inner and outer conflict through writing
28. You want to offer free therapy to others that have dealt with similar things you've gone through, and you're writing about
29. You want to work in an office space of your choosing
30. You want to work from home without having to go into an office
31. You want to work on your own time and create your own hours
32. You want to live your wildest fantasies through the eyes of your characters
33. You want to make sure that you'll never ask yourself, "What if I had tried..."
34. You want to collaborate with people that have made the movies you love
35. You want to collaborate with talented people from around the world
36. You want to inspire and connect with people from all walks of life
37. You want to entertain and connect with people from all walks of life
38. You can visualize stories well when you read books
39. You can visualize stories well when people are sharing them with you
40. You can visualize the unique and imaginative descriptions children make when telling their stories
41. You can remember your dreams in a vivid fashion
42. You can describe those dreams in a way that people can understand
43. You can watch a movie trailer and see the many directions that the presented concept could go
44. You can describe visuals easily
45. You can describe things with clarity, using fewer words and sentences
46. You can discipline yourself easily
47. You can meet deadlines
48. You can find time to write throughout the days, weeks, and months of the year
49. You can adapt to the wants and needs of others
50. You are open to changes and suggestions through a collaborative process
51. You like to collaborate with others
52. You can hand over a project and let other people interpret it
53. You can accept that film is a collaborative medium
54. You can accept changes that you don't agree with
55. You can be patient with your career
56. You're willing to let scripts that haven't drawn attention gather dust on the "shelf" as you write more
57. You're willing to revisit older scripts you've written and look upon them with a new perspective
58. You're able to keep your head out of the clouds
59. You can accept that your first screenplay probably isn't going to sell
60. You can accept that your second screenplay probably isn't going to sell
61. You can accept that your third, fourth, and fifth script likely won't sell
62. You can hope for the best that they do but be prepared for the likelihood that they won't
63. You can retain that hope, knowing that it could happen for you, all while moving forward
64. You can accept that most spec scripts are not sold
65. You can accept that most script contracts are assignments
66. You can take someone else's idea and deliver on their vision by using your storytelling skills
67. You can find ways to bring new ideas to familiar ones
68. You can make the familiar seem new
69. You can blend genres in creative ways
70. You can choose your battles wisely when working with others
71. You can be as objective as possible with your own work
72. You're ready, willing, and able to write outside of your comfort zones
73. You have a strength in writing about a certain genre
74. You're ready, willing, and able to apply that strength and adapt it to other genres
75. You're willing to work a regular job to support yourself as you write on the side
76. You're willing to submit your work to the scrutiny of others
77. You're willing to accept industry guidelines and expectations
78. You're willing to navigate through those guidelines and expectations
79. You understand why format matters
80. You are willing to explore the many story structures you can utilize
81. You're willing to constantly grow and evolve as a writer
82. You're willing to go the extra mile to pepper your scripts with twists, turns, and added depth
83. You can resist worrying about people stealing your ideas
84. You can tell a visual story without directing it with specific camera angles, camera movement, etc
85. You can stay disciplined and write a draft in three months, not three years
86. You can learn to write fast and well
87. You can display confidence in your writing
88. You can avoid being arrogant and egotistical about your writing
89. You can get to a point where you don't have to rely on others to read, review, and offer feedback for your scripts before you submit them to anyone
90. You can handle rejection with grace and learn from it
91. You can accept that Writer's Block is BS, and when you're a pro screenwriter, there's no time for it

Takeaway

Becoming a professional screenwriter requires a combination of natural talent, honed skills, and dedication. While some aspects, like creativity, may come naturally, others can be developed through practice. It's important to take the time to assess your motivations and determine if screenwriting is the right path for you. Whether it's mastering the craft, honing your storytelling abilities, or finding your voice as a writer, the journey of a screenwriter is both challenging and rewarding.

 Read More: How to Write a Screenplay: 10-Step Guide

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, and Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter's Creed, and many produced Lifetime thrillers. 

Follow Ken on Twitter @KenMovies and Instagram @KenMovies76.

The post 101 Reasons You Should (and Shouldn't) Become a Screenwriter appeared first on ScreenCraft.

Tactics are best defined as an action or strategy carefully planned to achieve a specific end.

A set compilation of actionable tactics creates an effective screenwriting process. With this process in place, you can take control of your screenwriting destiny. If you are disciplined, structured, and motivated in your screenwriting process, you'll be an effective and successful screenwriter — or at least better the odds of breaking through those Hollywood walls with force.

With that in mind, let's now delve into the tactics of screenwriting that will help improve your dialogue.

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Why Less Is More With Dialogue

The first step to unlocking the mysteries of writing great dialogue is the lack of dialogue.

Action speaks louder than words. Ironically, when we're told to search the world around us for realistic dialogue, we quickly realize that if we are truly going to convey realistic communication, we must realize that we learn the emotions of others not by direct language exchange but by outward actions and physical reactions to those around us.

If someone is angry, most people wouldn't outright say:

"I'm angry and this is why..."

Instead, they sulk, look away, shake their head, retreat, or react with signs of rage.

If someone is sad, most people don't say:

"I'm sad and this is why..." 

Instead, they sulk, stare at the ground silently, have tears in their eyes, weep, sob, or run away.

Nothing is worse than reading or hearing on-the-nose dialogue that shoves meaning in the audience's faces.

Read More: How to Avoid Writing On-The-Nose Dialogue

A lack of dialogue is often your best bet. The key to writing great dialogue for a script is to refine it by cutting out unnecessary lines rather than trying to force in clever one-liners or speeches. The goal is to find a simple, powerful phrase that perfectly captures the scene's essence.

Here's where our pro screenwriting tactic comes into play. If you utilize these three basic steps as you write(as opposed to after), you'll save yourself a lot of editing and time.

Techniques for Writing Dialogue To Improve Your Script

To meet professional contract deadlines and save time during the editing process, try incorporating these proven tactics used by successful screenwriters when writing dialogue. These techniques can help you write better and faster, especially when working under tight deadlines of 4-8 weeks for a first draft. They can also be very useful while writing on spec as well, allowing screenwriters more time to focus on story and character arcs instead of sometimes tedious editing and trimming.

Write the Scene With No Dialogue

Film and television are visual mediums. The power of implication and subtext in dialogue can be more impactful than the words spoken by characters. What many professionals do is embrace this philosophy during the writing phase, as opposed to waiting until the first draft is done and then having to go back to edit and trim during the rewriting phase.

How do you accomplish this?

It's fairly simple — but also forces you to be a bit more creative in each scene you write.

Write the scene with no dialogue — all action. Instead, do your best to focus on moving the story forward with visuals and actions rather than leaning on the dialogue to do so.

It will be tough. Some scenes naturally call for exposition and back and forth between characters. However, when you challenge yourself by accomplishing what you intend with each scene without using dialogue, you're forcing yourself to use a more cinematic narrative.

For some scenes, this practice sounds impossible. Challenge that initial reaction because most of the time it's your survival instincts trying to make things easier on you. The best scenes in film and television were usually ones that required some ingenuity and imagination.

Read More: 10 Things to Delete From Your Dialogue Scenes Right Now

If the Scene Needs Dialogue, Write One or Two Lines

When you realize that a given scene needs that extra element, challenge yourself to accomplish what needs to be accomplished by achieving that goal with just a sentence or two. It's about finding that diamond in the rough that encapsulates the moment at the core.

Here are two versions of the same scene from a spec script that garnered meetings at Disney, Warner Brothers, Sony, Universal, and Dreamworks.

The overwritten version is an example of too much dialogue (it's also an example of too much scene description as a side lesson). The correct version represents what you can accomplish in a scene by getting to the core of the scene's intentions using as few lines of dialogue as possible. As you can see, we've gone from ten sentences to four.

Overwritten Version

Correct Version

As you can see, we've gone from ten sentences to four. Each section of dialogue was reduced drastically, with fewer sentences in each dialogue block or fewer words per sentence (or both).

This tactic helps put focus on writing just one or two lines (give or take), as opposed to waiting until the rewriting process. It will save you time. You won't need to later go through a whole draft cutting dialogue down to find those gems. They'll already be there.

It may sound daunting, but once you make this tactic a habit in your writing process, it will become instinctual and swift.

Read More: 35 Most Overused Lines of Dialogue in Screenplays

Eliminate Unnecessary Exposition

What Is Exposition?

The problem with exposition in screenplays is that many screenwriters don't really know what it is, and when writing dialogue, it can easily be left out or miswritten.

Exposition is comprised of those pieces of vital information — often shared in dialogue — that is necessary for the audience to know and understand for character arcs and plot points to make sense.

These nuggets of information usually exist outside of the direct narrative. They, therefore, are difficult to properly insert into the story and plot seamlessly without halting all story and character momentum.

But that doesn't mean exposition is bad. An exposition is an essential tool for storytelling. It's sometimes necessary.

What Is Bad Exposition?

It's an old (but true) adage — screenwriters should show rather than tell. But sometimes, exposition is needed. When screenwriters use expositional dialogue as a crutch to save on time, pages, and effort, there's a problem. From time to time, they don't even know that they're doing it.

• When characters talk about pivotal events and information rather than the screenwriter showing the audience through the live narrative
• When characters learn pivotal information by reading aloud to themselves from papers or computer screens
• When screenwriters use the crutch of TV and radio newscasts to share detailed information about plot elements

The problem with exposition — good or bad — is that it is utterly boring and lacks drama. There's no action, no suspense, no plant, no payoff, and no compelling beginning, middle, or end. It's just an information dump that slows any narrative momentum down.

How Can You Avoid Writing Bad Expositions?

The first step is to be aware of exposition — what it is and why you need it. Half of the time, you don't need it. If it's not partial to the story, plot, and character arcs, ditch it. But when you do need it, write it well.

Spread Exposition Thin, Not Thick

Exposition is better if spread out thin, as opposed to laying it on thick.

When you use monologues, extended scenes, sequences, and undramatic moments of characters reading information aloud (including background characters like newscasters), that's laying it on thick.

There are certainly ways to utilize those expositional tools well, usually by keeping their usage — and the accompanying information — brief. When it's brief, it's subtle and fits into the narrative better. It can be worked into the story and character arcs as turning points, reveals, plants, and payoffs.

Too many screenwriters lay the exposition on thick through on-the-nose dialogue because they fear that the audience won't pick up on more subtle information.

You must trust the audience or script reader and respect that they've been to movies and watched series episodes. They know when to pick up on certain information, and they'll appreciate a little trust with you spreading it thinly and weaving it into the narrative instead of forcing it on them with large information dumps.

Inject Exposition With Compelling, Engaging, and Surprising Moments and Reveals

As good as Inception was, it suffered from overextended scenes of exposition — with Ellen Page's character seemingly conceived as nothing more than a way for the characters to explain away the difficult science and rules of dream-sharing technology and dream espionage.

But the script made up for that by pairing necessary extended exposition dumps with big moments in the script.

This scene with Leo DiCaprio explaining dream espionage to Ellen Page was growing tiring until the reveal that they were, in fact, in a dream.

The expositional sequence continues with them discussing the finer points of dream building. Again, normally this would be bad exposition — and it still is arguably borderline, mind you — but the script continues to distract us from the exposition by revealing compelling, engaging, and surprising moments.

Ellen Page's character could be seen as nothing more than an excuse to allow the audience to understand the peculiarities of the plot and tech through her eyes. But thankfully, her character worked by weaving her and the exposition into eye-catching visuals and reveals.

Have Characters Argue About the Exposition

Conflict is everything. The problem with exposition is that it lacks conflict — it's just bland information.

So the easy fix is to create conflict by having two or more characters react differently to the shared or revealed information. If you can't conjure a better way to share exposition and find yourself in the trap of using characters to recite it in dialogue form or reading from papers or screens aloud, then the next best thing is having that information cause conflict between two or more characters.

Take a look at this scene from Aliens. While this was a sequel to the original Alien, the writer still needed to summarize the first film's events in case audiences hadn't seen it or couldn't remember the details. Beyond that, the narrative needed more information to set up the atmosphere and setting that would come with the mission Ripley would be asked to join.

Normally, this information dump would slow the story's momentum to a halt, but the writer was wise enough to create conflict between the characters. The company executives are questioning her story (the information), and she is struggling to convey the danger at hand.

Those that saw the first film know what happened and don't necessarily need a rehash of the events. However, the narrative requires it and uses that exposition to create one of the central themes and conflicts of the overall film — greed versus logic and ignorance versus reality.

As written and produced, the expositional scene creates one of the best conflict scenes within the story. Those that saw the first film understand Ripley's utter frustration. Those few that hadn't seen the original understand that Ripley feels very strongly about what she saw and experienced. The company executives are on the opposite end of the spectrum. They come off as suspicious of her account. That's a great conflict.

Takeaways on Writing Dialogue

In conclusion, when it comes to writing dialogue for your screenplays, less is often more. Instead of cluttering your script with excessive dialogue, try writing the scene with no dialogue at all. If the scene truly requires dialogue, keep it minimal, with only one or two lines. Additionally, eliminate any unnecessary exposition that doesn't advance the plot or reveal character traits. By following these tips, you'll be able to create powerful, impactful dialogue that will elevate your screenplay and make it stand out.

---

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, and many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers.

Follow Ken on Twitter @KenMovies

The post The Best Pro Tactics for Writing Dialogue appeared first on ScreenCraft.

From that list, we feature some of the major things to avoid when marketing your scripts to literary management companies, production companies, and literary managers. Let's uncover the dos and don'ts of how you should be going about submitting your scripts.

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Don't Ask if They Accept Queries

"This happens five times a day."

If you have access to a contact's email address, just go ahead and send out a simple, short, and sweet query to them. Do your research first, though. Check the company websites and see if there are any declarations stipulating that they do not accept unsolicited queries.

While many management companies do accept queries, most agencies do not.

The point of the advice is that management companies have a lot of email correspondence to deal with. Asking them a question like that when you could be just sending them a short query with your logline just adds more work for the interns, assistants, managers, and executives.

Don't Email or Call Asking for General Career Advice

Management and production companies work long hours amidst a fast-paced schedule of correspondence through email, phone, Zoom, and in-person meetings. Taking the time to go back and forth answering general career advice questions with up-and-coming screenwriters isn't what these companies do. They are there to find screenwriters that are ready to work and have scripts that the company is interested in developing.

Yes, if you've queried them and if they are interested in signing you on as a client because of that query (and the scripts you share as samples of your work), they will guide you on your screenwriting career and journey. But only then.

Read More: 3 Things Your Short Scripts Should Have in Order to Sell

Don't Email or Call Asking to Grab a Coffee and Chat

Much like #2, these companies run a business with many emails, calls, and meetings to attend. Unless you're a client or potential client that they are interested in, they won't have the time to sit down to hear pitches or answer general career questions.

Don't Demand to Schedule a Meeting

Believe it or not, some people have the gall to demand meetings. They email offices. They call offices. And sometimes, they even show up at offices (see below). This is unprofessional and inappropriate.

Read More: The Fastest Way To Give Your Spec Scripts a Killer Hook

Don't Show Up Uninvited

"Has happened a few times and was a bit scary."

You may have read some screenwriting books from the 1990s that told tales of screenwriters showing up to agencies, management companies, or production companies uninvited to pitch their scripts. Those same books may have heralded the practice as a way to stand out amongst the crowd.

Don't do it.

It's unprofessional and inappropriate. And can be very scary for those within the office.

You show up only when you're invited to do so.

Don't Call an Executive or a Literary Manager's Office to Pitch

"Annoying."

There is a time and place to pitch. And that time and place are not on personal or office lines of a company's executives and managers. They are busy with their daily tasks. They don't have time to take random calls for unsolicited phone pitches.

Don't Physically Mail Your Scripts (Or Any Documents)

"Automatically trashed."

Agencies, management companies, production companies, networks, and studios will not open any unsolicited materials sent to them via mail, fax, delivery service, or in-person drop-off. There are too many legal reasons to discuss. Just don't do it. It's a waste of paper and your time. They won't be read.

Read More: How to Use Scene Breakdowns to Discover What Make Scripts Tick

Don't Attach Files to Your Email Query for a Literary Manager

"If there is a file attached, I automatically delete the email. Just like you would if you got an email from someone you didn't know with a file attached."

For the same reasons above in #7, don't attach any type of file to the initial query email that you'll be sending to a literary manager or production company. The best thing to do is make your quick pitch via the query and then see if the logline interests them. If it does, they will request the script (after you've signed a release form). This prevents people from being able to say that a company stole their idea.

Don't Focus Your Marketing on High-Level Reps Who Only Rep A-List Writers/Talent

"They're unlikely to read a query or want to rep up-and-coming writers. It's possible but unlikely. And this is about focusing on the best rate of success."

Higher-level agents, managers, and producers have the luxury of working with already-established talent. Because there are so many people trying to become professional screenwriters (literally hundreds of thousands), industry insiders need to use various vetting processes to find talent. And a big part of that is through referrals from people they trust.

Your best rate of success is to go through the hundreds upon hundreds of mid-level reps that represent thousands of professional screenwriters that are making a living writing script. The point is there's a better rate of success focusing on that level. Those are the reps that are looking for new talent to develop and bring up.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, and many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers.

Follow Ken on Twitter @KenMovies

The post 9 Do's & Don'ts From the Perspective of a Major Literary Manager appeared first on ScreenCraft.

It was iconic screenwriter William Goldman that said:

"Nobody knows anything... Not one person in the entire motion picture field knows for a certainty what's going to work. Every time out it's a guess and, if you're lucky, an educated one."

It's the educated aspect of that quote that we're focusing on here. You can't predict what's going to hit. But you can use data analysis to better your odds.

Fandango has released its annual Most Anticipated Movies Survey. For their 2023 offering, the digital ticket sales company focused on the movies and performances audiences are most excited about in the coming year. They polled 5,000 moviegoers. Let's look at the results and see what we can learn about screenwriting from their findings, all while discovering this year's most anticipated movies.

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2023's Most Anticipated Movies

Guardians of the Galaxy Vol. 3 (2023)

Most Anticipated New Performances on the Big Screen in 2023

Margot Robbie in Barbie (2023)

Most Anticipated Heros in 2023

Keanu Reeves as John Wick in John Wick 4 (2023)

Most Anticipated Villains in 2023

Jonathan Majors as Kang the Conqueror in Ant-Man and the Wasp: Quantumania (2023)

Most Anticipated Family Films in 2023

Halle Bailey as Ariel in The Little Mermaid (2023)

Most Anticipated Horror Films in 2023

Scream 6 (2023)

Most Anticipated Live-Action Comedies in 2023

Channing Tatum as Mike Lane in Magic Mike's Last Dance (2023)

Most Anticipated Action/Adventure (Non-Superhero) Movies in 2023

Transformers: Rise of the Beasts (2023)

Most Anticipated Superhero Movies in 2023

Jason Mamoa as Arthur Curry in Aquaman and the Lost Kingdom (2023)

Okay, that's all great and interesting information for movie buffs. But what can screenwriters really learn from the survey?

All-time Favorite Movie Genres That Never Get Old

Yes, every single one of the Top 10 most anticipated movies of 2023 is either a sequel, prequel, or based on iconic intellectual property (Super Mario Brothers). You can't play in that sandbox as an undiscovered screenwriter. It may take you well over a decade to get to a point in your screenwriting career when you can be involved in those conversations regarding studio assignments.

However, one part of the survey reveals some interesting and truthful data. Fandango asked filmgoers participating in the poll what their favorite movie genre is. The survey provided the Top 5 Movies Genres regarding audience anticipation.

There are two dynamics displayed here:
1. What do audiences want
2. What do movie studios and production companies seek because of those audiences' wants

You can only write what you want to see when trying to break through as a screenwriter. It would be best if you also explored movie genres that Hollywood is willing to pay for. But not all genres are ones newcomers can break through with, so here we will offer simple breakdowns of what those genres mean to screenwriters.

Top 5 Movies Genres of All Time

Dave Bautista and Madelyn Cline as Duke and Whiskey in Glass Onion: A Knives Out Mystery (2022)

When you scroll through streaming libraries, the comedy section is usually full of titles.

While comedy is the most prolific genre in Hollywood, it is also one of the most difficult to sell on spec.

The hard truth is that it's a challenging genre to sell on spec. Those scripts will be complicated to sell if you're not an established comedy writer, auteur, or popular stand-up comic.

Why?

Comedy is subjective, and what may sound hilarious to you may read as bland to a dozen script readers. You may love slapstick comedy, but that script reader may prefer the dry humor of Wes Anderson.

Action concepts and clever use of thrills and explosions are relatively universal when reaching an audience. On the comedy side of things, differing types of humor can be very niche.

Read More: 10 Styles of Comedy Screenwriters Can Master!

The struggle with writing comedies is that you face the barriers of subjectivity. While every script struggles with that, comedic scripts take it to the next level.

You can overcome this by focusing on the core concept. Most successful comedies are "fish out of the water" concepts. You take a character out of their usual surroundings and throw them into places that are unusual to them — and hilarity ensues. The characters' conflicts drive the comedy as they acclimate (or don't) to their new, unfamiliar, and uncomfortable surroundings.

• Big (a child in an adult world)
• Tootsie (a man in a woman's world)
• Liar Liar (a lawyer who cannot lie)
• Crocodile Dundee (an Australian bushman visiting New York)
• Free Guy (an NPC within a videogame becomes self-aware)

Read More: 101 Hilarious (Or Slightly Amusing) Comedic Story Prompts!

Those small, quirky comedies that the spec market is saturated with usually only see the light of day if they are produced through the independent market. But the high-concept comedies are the ones that draw interest on spec.

Read More: High Concept Comedy: What It Is and How to Write It!

Animate/Family

Writing for animation takes a lot of work. It would help if you generally were an animator or in an animation house's story development team to get an animated screenplay purchased and greenlit for production.

For more information on that dynamic, read ScreenCraft's The Simple Guide to Writing Animated Screenplays!

But the family movie genre, in general, is a massive draw for Hollywood. The movie-going experience is often a family affair. And because of that, Hollywood does its best to cater to the broadest audience possible regarding family — trying to offer something for everyone. This is what Hollywood refers to as a four-quadrant film.

Hollywood breaks up its marketing strategy markers into four quadrants:

1. Males Under 25
2. Females Under 25
3. Males Over 25
4. Females Over 25

Four-quadrant films are movies that hit all four of those demographic quadrants.

With most releases, studios and distributors try to target at least two of those quadrants. The screenplays sold on spec should try to hit at least two as well — to make the scripts more desirable and increase the odds of them getting picked up by studios and production companies.

Most animated movies are four-quadrant films. Even most superhero movies offered up by Marvel are four-quadrant efforts as well.

While breaking through via animated and superhero movies is difficult — if not outright impossible for a newcomer — the family genre is still a four-quadrant possibility to explore.

Ryan Reynolds and Walker Scobell as Big Adam and Little Adam in The Adam Project (2022)

Look no further than Netflix's successful Ryan Reynold four-quadrant film The Adam Project.

After accidentally crash-landing in 2022, time-traveling fighter pilot Adam Reed teams up with his 12-year-old self for a mission to save the future.

The film wasn't based on any pre-existing intellectual property. It was a spec script sold in 2012 and eventually rewritten and developed by the film's star.

Yes, it had a hefty production budget of $116 million. However, because the concept was so strong — and also because of its four-quadrant dynamics — Netflix took the risk. If you can find a contained, high, concept family story, your odds of breaking through are even more significant.

Read More: How to Write a Four-Quadrant Family Film!

Drama

Aubrey Plaza as Emily in Emily the Criminal (2022)

So what can you do with your powerful fiction drama?

You can make the film yourself in the independent market (easier said than done, for sure), or you can market the script directly to those studio specialty companies or the production companies owned by acclaimed dramatic actors looking for a significant role.

The contest, competition, and fellowship market is an excellent place for those scripts, especially if they have a specific Drama category. Excellent writing gets you noticed in that respect, opening possible opportunities for your other scripts that may have a more marketable genre or concept.

Horror/Thriller

Horror is the most profitable genre because most horror scripts cost less to produce. And audiences love a good scare.

Much like the action-adventure genre, horror movies offer audiences a thrilling experience. For whatever reason, people love to be scared. Primarily because they get that adrenaline rush knowing that, in the end, it's all fake, and they're not going to suffer any consequences from the horror they've just experienced, beyond sleepness nights and apprehensive walks in the dark.

Read More: The Neuroscience Behind Horror Screenwriting and Filmmaking!

• The original Halloween had a production budget of just $325,000. It made $47 million. Adjusted to inflation, that's $181 million.
• Get Out was produced for just $4.5 million. It went on to gross $255 million worldwide.
• Split was produced for just $9 million and garnered $278 million worldwide.

Caitlin Stasey as Laura Weaver in Smile (2022)

Horror is easy money compared to other genres. Scares cost less because audiences are more afraid of what they don't see in the dark, unlike the visual spectacles of CGI.

But that doesn't mean you can just write the latest haunted house flick and expect it to scare people into buying it. The horror spec market is concept-driven, like comedy, and new and different takes also drive it on familiar horror tropes.

And because this market is so popular, with everyone trying to get in on the action, you have to stand out with a strong, compelling horror concept or a new and original take on what's already been produced.

If you can accomplish that, the horror genre is an easy way in.

Read More: 101 Terrifying Horror Story Prompts

The second easiest is the horror genre's cousin, the thriller.

Thrillers give viewers heightened feelings of suspense, excitement, surprise, anticipation, and anxiety through the numerous and overlapping subgenres like mystery thrillers, suspense thrillers, horror thrillers, psychological thrillers, etc.

These types of stories hinge on the tension created, accompanied by the anticipation of how the protagonist will prevail over the seemingly constant thrashes of conflict thrown at them.

Whether it's The Fugitive, The Bourne Identity, Memento, Rear Window, or The Davinci Code, the thriller genre — and its many subgenres — are huge draws for the audience.

But if you plan on competing with the best, you need to craft a script with ongoing conflict and ever-evolving twists, turns, plants, payoffs, and reveals every few pages.

Read More: 101 Great Plot Twist Ideas to Elevate Your Script!

Thrillers put the audience on an emotional rollercoaster ride instead of the more visceral rides that action-adventure takes the audience on. They challenge our intellect rather than our senses.

They're the best scripts to read, but only when done right. So you need to be ready to bring your A-game to keep readers interested, invested, engaged, and compelled.

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The post What Fandango's 2023 Most Anticipated Movies Can Teach Screenwriters appeared first on ScreenCraft.

Let's first debunk the common myth that most successful writers write for up to or beyond eight hours a day. And that myth usually implies that the writer is typing most of that time.

We've heard this myth in books, interviews, and panels. And let's be frank — it's BS — nobody types for eight straight hours on a regular basis. You may sit in front of your laptop for that amount of time, but you're not actually physically typing. If they were, they could write a typical novel (around 70,000 words) in three days (60 wpm x 8 hrs = 28,000 words per day). And when you equate that to the average number of words in a screenplay — between an estimated 7,500 and 20,000 words — yeah, no screenwriter is writing a single script in one writing session either (again, anomalies aside).

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With screenwriting discussions always leading to how much time you should write during your writing sessions, little is discussed about an even more important element within that writing session — the writing break.

Let's go over different types of writing breaks, what they can do for you and your screenplays, and how they are essential to learning how to write a screenplay.

What Is a Writing Break?

A writing break is a pause in work. It may be for minutes, hours, days, weeks, or months (we'll cover everything below). Regardless, it's where you step away from the computer or laptop and disengage yourself from the task at hand.

Robert Pozen, senior lecturer at the MIT Sloan School of Management and author of Extreme Productivity: Boost Your Results, Reduce Your Hours, told Fast Company:

“When people do a task and then [take a break], they help their brain consolidate information and retain it better. That’s what’s happening physiology during breaks.”

Most productivity researchers agree that breaks are vital to all working shifts. It allows you to refresh and re-engage in the task at hand.

Writing Breaks By Minutes

Productivity researchers offer excellent breakdowns of an ideal number of minutes of productive work.

Pozen comments:

“Don’t think of breaks in terms of taking a set number a day, such as 12 or five. The real question is, what is the appropriate time period of concentrated work you can do before taking a break?"

There are a few different professional suggestions regarding the minutes of writing breaks when it comes to productivity.

75 to 90-Minute Writing Sessions

Pozen states that working for 75 to 90 minutes takes advantage of the brain's two modes:

1. Learning or Focusing
2. Consolidation

Kevin Kruse, author of 15 Secrets Successful People Know About Time Management, points to the work of Tony Schwartz, founder of the Energy Project. Schwartz coined the practice as a pulse and pause process, essentially expanding energy of productivity and then renewing it.

"His research shows that humans naturally move from full focus and energy to physiological fatigue every 90 minutes."

Yet how do most battle that fatigue? Kruse says:

"We override them with coffee, energy drinks, and sugar… or just by tapping our own reserves until they’re depleted."

Instead of burning yourself out by depleting your natural reserves or masking your fatigue with sugar and caffeine, you can simply, yes, take a writing break.

75 to 90 minutes can be a very productive writing session.

52-Minute Writing Sprints

Most novice screenwriters usually write as their secondary (or third) focus during each day.

• Most have day jobs.
• Some have multiple jobs (including school).
• And don't forget family duties as parents or siblings.

If you can't get a full hour and a half fit into your busy day, maybe a shorter writing session of 52 minutes is a good option. Finding under an hour of writing time before your day starts or before your day is about to end is a bit easier than finding a full 90 minutes.

The software startup, Draugiem Group, used a time-tracking app called DeskTime to track productivity. The study showed that working in 52-minute sprints (with a 17-minute break in between) increased productivity.

"The reason the 10% most productive employees are able to get the most done during the comparatively short periods of working time is that they’re treated as sprints for which they’re well rested. They make the most of the 52 working minutes. In other words, they work with purpose."

And that's a fantastic point, as far as looking at your writing sessions as sprints. When you have more time, that just means more time to procrastinate and let your mind wander. There's an urgency to the session when you have under an hour. You write with more purpose.

25-Minute Bursts

And then there is the Pomodoro Technique, developed by Francesco Cirillo, who named it after the tomato-shaped kitchen timer he used. His technique focuses on short bursts of work in 25-minute intervals with five minutes of break in between.

This technique is more well-suited for single tasks that require complete focus. For screenwriting, you can use this technique to focus on the following:

• Conjuring a specific scene.
• Rewriting a particular sequence you've been struggling with.
• Polishing the dialogue of a critical scene.

These 25-minute bursts can be used a la carte throughout your whole day.

• You can utilize short bursts during your work shifts during lunch breaks.
• You can fit in a short burst of writing during breakfast before your day shift.
• You can get another writing burst in before you head to bed.

The point is to find the best session, sprint, or burst time for you within your schedule and situation — while always making sure that you have an extended writing break in between.

If you're on a professional assignment with a tight deadline, your burst may actually have to be 75-90 minutes, with your sprint as a couple of hours and your writing session consisting of a few hours.

Writing Breaks By Days, Weeks, and Months

Taking a writing break from your screenplay is vital to the creative process. As mentioned before, when you step away from your writing sessions, you're helping your brain consolidate and retain information better. As you go about different business and leisure during your breaks, your brain constantly tries to process the information and visuals you've had running through your head during your writing process.

• It's putting pieces together.
• It's making sense of the scenes, characters, actions, and location.
• It's processing a consistent tone, atmosphere, narrative, and voice.

When you walk away from the screen, your mind is still writing. When you come back, it's refreshed and rejuvenated.

Day Breaks

Another popular myth is that you need to be writing every single day. You don't. In fact, it's probably better that you work in full days off from writing, whether it's a couple of days during the week or taking the whole weekend off.

Remember, you can still be "writing" on these off days.

• Visualize your next scenes during daydreaming, driving, walking, running, exercising, etc.
• Figure out options for potential twists and turns (and their story ramifications).
• Replay scenes you've written and see if they play out visually.

Writing isn't necessarily typing. Since screenwriting is for a visual medium, you should see these scenes and moments in your head before you type them onto the page.

Spreading your writing sessions out between day breaks can be highly effective for your visualization and story/character problem-solving.

Week Breaks

You don't want to take weeks in between writing sessions. It'll take multiple months to write a single script, and it's best to train yourself to write like a professional. And professionals, under contract deadlines, don't have six months to write a script. Pros generally have 4, 8, or 12 weeks to finish a draft (depending on the contract).

Week writing breaks are more reserved for breaks in between drafts. When you finish a draft of your script, the worst thing you can do is go right into the reviewing/rewriting process. You've already spent one-to-three months working on your script, and if you dive back into it, you're going to start suffering from paralysis of analysis.

Once a draft is complete, take some time away from it. How much time will depend on your situation.

• If you're writing on spec (not under contract), take a couple of weeks away from your script.
• If you're writing on assignment through a strict deadline, work in a week where you can step away from it.

What does this accomplish? You can revisit the script with fresh eyes by doing a full review through a cover-to-cover read. Experience the script not as the writer amidst deadlines but as a script reader looking for a good read.

When you take these week(s) long breaks, you will see every glaring issue with your script that you couldn't see during the initial writing process.

• Grammar and spelling errors
• Plot holes
• Dialogue issues
• Exposition issues
• Format issues

All of that and more.

Stepping away for a week or two between drafts will be a true difference-maker in your script and rewriting process.

Read ScreenCraft's 7 Ways to Master the Art of the Rewrite!

Month-long Breaks

Each script is a baby, and it needs your undying attention and focus. While it may sound romantic or badass that you can jump from one script to the next with little-to-no breaks in between, it's not advisable if you can avoid it because the more focus you can put on one, the more nourishment you'll be able to give to each.

So once you've finished a script, before you move on to the next, take a good month before you start typing any script pages for the new one.

Read ScreenCraft's 5 Ways You Can Determine If Your Script Is Done!

Each script needs to exist within its own universe. If you're quickly jumping from one script to the next with no break in between, you're not giving the next script a fair chance to blossom and shine.

The development and visualization part of the screenwriting process is so important. You need to do the necessary front-end work. And that can take some time.

Read ScreenCraft's 5 Front-End Tasks to Complete Before You Start Your Screenplay!

If you're a pro bouncing from one paid gig to the next (congrats), there's usually a buffer time you can negotiate in between contracts. A single month isn't hard to acquire in that respect. And, sure, if you're an in-demand pro, you may have to forgo that writing break (and you're an in-demand pro, why are you reading this?). But if you're like most out there, you're writing on spec. You can make the time. It's worth it.

Focus on Writing Sessions, Not Amount of Writing Hours

Here's the final takeaway we'll leave you with — don't worry about trying to write X amount of hours per day. Instead, focus on X amount of writing sessions per script.

Writing sessions can be any number of hours you dedicate to sitting in front of that screen to mentally and physically write your script (visualizing and typing).

It doesn't matter if you have multiple-hour sessions, 75-90 sprints, or 52-minute bursts (whatever variance to each that fits with your schedule) — each of these writing sessions is how you can dictate how long it takes for you to finish that script.

Trying to make a specific hour count each day (that whole eight-hour thing) isn't going to be sustainable for most. And each time you sit down to write may produce different productivity results.

• You may sprint for an hour and suddenly have ten pages because you did the front-end work.
• You may only have 25 minutes but manage to write an amazing pivotal scene thanks to great visualization.
• You may go on a bender and write for a couple of hours and have twenty pages.

Other variables include your schedule, mindset, ability to focus amidst work, school, life duties, etc.

Regardless, make sure you're getting enough writing sessions per week to stay disciplined. You could easily finish a single script within just ten writing sessions — all while embracing the screenwriting hack of using writing breaks effectively.

If you're looking for a proven pro writing process that embraces writing sessions over writing hours, check out ScreenCraft's The 10-Day Screenplay Solution: Learn How to Write Lightning Fast!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter's Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies

The post The Most Underutilized Screenwriting Hack: The Writing Break appeared first on ScreenCraft.

What are the most common script formatting faux pas that script readers see in scripts submitted to contests, fellowships, studios, production companies, and management companies? We'll tell you!

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10 Script Formatting Mistakes to Avoid

Title Page Unnecessaries

Cluttered title pages are some of the most common script formatting issues for a script. Novice screenwriters sometimes feel the need to offer more information. Hollywood doesn't care. Those elements aren't useful to them. And they don't help you, the screenwriter.

While including these elements in the formatting of your title page isn't going to make or break your chances, you can avoid making a bad first impression by looking like an amateur.

What Should the Title Page of a Script Include?

Your title pages should have three elements:

• Title
• Written By Credit(s)
• Contact Information (Yours or Your Representation)

That's it.

What You Don't Need on Your Title Page

• WGA Registration Numbers — There's no use for it to have any presence on any page of your script. The companies don't care. The executives don't care. The readers don't care. It's only meant to be used during any arbitration — and hopefully, you never have to deal with that.
• Copyright Numbers — Again, those numbers are only necessary to share if arbitration or any lawsuits are active. It's a waste of title page space and, again, a clear sign of a newcomer.
• Personal Mailing Address and Multiple Contact Numbers — The only contact information on your title page beyond the title and your name is one email address and maybe one single phone number. If you have representation, your manager and agent contact information should be on the script. That said, in the end, it's perfectly fine to have just the title and your name. The communication for the submission obviously went through some form of email correspondence, so the contact between you (or your reps) and the person reading your script has already been made.
• Logline or Synopsis — They already have the logline, and they don't need a synopsis. Having a synopsis attached can backfire because it gives readers an excuse to either skim or not thoroughly read your script. You want them to experience the screenplay as they would be watching the movie with fresh eyes.
• Character Breakdowns — This is an element clearly adopted from stage plays and is not necessary nor wanted.

Scene Numbers

Scene numbers are utilized for production purposes only — with the small exception of screenwriters including them in drafts while on professional paid assignments for collaborative reference points.

There's no reason to have any scene numbers present within the script when you're writing on spec (under speculation that someone will acquire and produce it). Having them isn't a deal-breaker, but again, you want to avoid any red flags that you're an amateur.

CUT TO Transitions

There is absolutely no reason to have any CUT TO transitions between scenes. Every time your script moves from one Scene Heading to another, it is assumed that the camera will "cut to" that new location. You will see this transition format element utilized in older screenplays.

During the first few decades of film, screenplay transitions were cues to the editing team that communicated how transitions between shots were to be handled.

CUT TO was a simple direction that stipulated the literal cut from one scene to another — usually, but not always, referring to a location change as well. In older scripts, you would find such a transition between every new scene.

Contemporary screenplay format doesn't utilize this transition anymore because it wastes space. And it's a highly distracting (and annoying) format element for readers, drawing their eyes to the right margins when they want to be able to focus on the left margin scene headings and scene description.

Camera Directions

The director and editor will decide when to go to a Medium Shot, Master Shot, Closeup, Dolly Shot, Zoom, etc. It's not the screenwriter's job to dictate where and how the camera moves. Instead, screenwriters are there to give the reader broad strokes of what they are supposed to visualize. Anything more that can ruin the pacing of your screenplay.

The Use of "Continuous" in Scene Headings

Continuous is a legitimate screenwriting format element. However, many screenwriters overuse it. And even more screenwriters don't understand the proper usage. It can be frustrating for a reader.

Including CONTINUOUS in the DAY or NIGHT position of the Scene Heading denotes that two scenes are happening in real-time — as in one character exiting one room and then entering another. Sadly, most novice screenwriters overuse this and also end up directing the action.

The better option is to use SAME, denoting that these actions of the character entering and leaving are happening at the same time. Even then, it's beginning to fall into overwriting or overly-busy script formatting territory.

Avoiding the need to CONTINUOUS (or SAME) is preferable, especially when brief scene description can give the reader the explanation they need.

Simple is always the best option.

That said, if you're writing action that has story-pivotal moments requiring the use of CONTINUOUS in your scene headings, just make sure it's necessary — and you're using it correctly.

Read More: Screenwriting Basics: The Key to Writing Correct Scene Headings!

What Are Master Scene Headings and Secondary Scene Headings?

Master scene headings offer the core location that any given scene is in, be it a house, bar, stadium, car, train, plane, building, etc.

Secondary scene headings showcase secondary locations within that master scene location. Characters may move to kitchens, bathrooms, hallways, and bedrooms located within that master scene location — all within what is intended to be the same scene.

Once a master location has been set by writing a basic master scene heading, you want to write a proper secondary scene heading if the character is still within that master location but has moved into a particular room within that location.

Example of a Master Scene Heading and Secondary Scene Heading

Here is a simple example of a sequence utilizing a master scene headings and secondary scene heading:

The IRISH PUB is the master location and is established within the first scene heading. The very next location is written as a secondary by adding two dashes and showcasing a BATHROOM that is within the IRISH PUB.

After the IRISH PUB has been established, if the next scene heading was INT. BATHROOM - DAY, that BATHROOM could have been in any other location. By writing it as a secondary heading with the inclusion of the already established master location (IRISH PUB) before it, the writer is communicating to the reader that this bathroom is indeed within the location that had already been presented — thus, it offers a more natural visual transition for the reader to envision. It's all about the specification. And this script formatting comes into play during pre-production and production as well, as the script supervisor and line producer (and their respective teams) will need to use the scene headings for proper location designations.

The Overuse of CAPS in Dialogue

Screenwriters often overuse CAPS in their dialogue, which likely means that they don't know how to utilize them properly. Putting words or lines of dialogue in full CAPS should be done sparingly. The usage usually denotes that there should be an exaggerated emphasis on whichever words are in CAPS. Most of the time, dialogue in CAPS is telling the reader that these words should be yelled or screamed, well beyond dialogue lines that use exclamation points.

There are two issues the over-usage of this script formatting element presents:

1. The screenwriter is directing the eventual actor's performance.
2. The reader assumes that every dialogue piece in CAPS should be screamed or yelled.

If CAPS is being used sparingly, there's no issue. But too many screenwriters use CAPS to put over-emphasis on too many words or lines of dialogue, making the intended effect less impactful.

The Overuse of CAPS in Scene Description

It's a common mistake to put every action movement or motion in CAPS.

Jack MOVES towards the dense treeline, HOLDING a survival knife. He HEARS something within the woods. He quickly KNEELS DOWN and LISTENS.

This practice can actually have a negative effect on the read of your screenplay. When CAPS is used to feature an action or important object, you're telling the reader that this is a vital part of the story that needs to be highlighted. Reader's eyes are trained to recognize essential elements within the scene description.

But when nearly every action is featured in CAPS, it creates a distraction that makes it difficult for the reader to process the overall scene description. They will find themselves wondering what's important and what's not.

You should only feature the most critical actions using CAPS.

Jack MOVES towards the dense treeline, HOLDING a survival knife. He HEARS something within the woods. He quickly KNEELS DOWN and LISTENS.

Jack moves towards the dense treeline, holding a survival knife. He HEARS something within the woods. He quickly kneels down and listens.

By not putting every little action in CAPS, you can also extenuate the action that you do feature a little more.

Jack moves towards the dense treeline, holding a survival knife. He SUDDENLY HEARS SOMETHING WITHIN THE WOODS. He quickly kneels down and listens.

Only use CAPS when you want to point out something significant or special within the story.

Including Special Effects/Sound Effects

Most screenwriters have read scripts that utilize script formatting terms to denote when special effects and sound effects are present.

SPECIAL EFFECTS

VISUAL F/X

SOUND F/X

These elements aren't necessary for spec scripts. They are used for production drafts.

In production drafts, these terms communicate a visual or audio cue that will be created with the need for either practical special effects, sound effects (non-digital), rendered computer graphics (CG), or digital sound effects.

That's not your job to dictate that as a screenwriter. Just tell us what we're supposed to be hearing and seeing. It makes for an easier read.

Read More: Screenwriting Basics: Everything You Need to Know About CAPS!

Overly-Busy Script Formatting

Having an overly-busy screenwriting format is the most common mistake screenwriters make. As we mentioned before, the master scene format is there for a reason.

Stick to the basics to tell your cinematic story in the most effective way.

• Location Heading
• Scene Description
• Character Names
• Dialogue.

That's all you need. Anytime you're asking yourself (or mentors) how you would write this type of scene or that, chances are you're trying to direct the scene through camera angles, camera movement, and shots. Again, that's not your job. You should be able to tell you're cinematic story using only the master scene format elements.

Sure, there are additional script formatting nuances (see below links) that have story elements requiring additional format elements, but if you can overly-busy script formatting throughout 99%, you're on a good track to creating an amazing read — and every read is vital to your success as a screenwriter.

For some additional format nuances, read the following ScreenCraft posts:

• Screenwriting Basics: How to Write an Effective Montage
• Screenwriting Basics: How to Write Cinematic Phone Conversations
• Screenwriting Basics: How to Write Cinematic Fight Sequences
• Screenwriting Basics: How to Make Dream Sequences and Flashbacks Work

Why is Script Formatting Important?

The purpose of contemporary script formatting is to have a universal aesthetic that everyone can easily navigate through the key phases of cinema — development, pre-production, and production.

That's why the film industry employs the general master scene format.

It offers an easy-to-decipher format to communicate and interpret the audio and visual dynamics of the screenplay. Screenplays are blueprints for movies. They are not like novels, which are literary stories unhindered by collaborative interpretations of the text.

Novels do their best to describe the visuals — often in detail not necessary or acceptable in screenplays — but rely only on the reader's creative mind to conjure the images.

Whereas screenplays exist to tell hundreds of collaborators (producers, executives, distributors, financiers, directors, actors, editors, cinematographers, and crew) what needs to be heard and seen to portray the screenplay's story. They are then tasked with bringing those audio and visual elements to life. It's only after that process (development, pre-production, and production) that audiences get to see the results.

So, yes, the way we format screenplays does matter.

How to Format a Script

The general formatting of a screenplay is actually reasonably simple. We've covered all of the details in our guide: How to Format a Script!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter's Creed, and many produced and distributed Lifetime thrillers. Follow Ken on Twitter @KenMovies

The post Formatting Flubs: 10 Script Formatting Mistakes to Avoid appeared first on ScreenCraft.

For screenwriters, a new year comes with a renewed chance to evolve and grow in their craft and career. It's time to ask yourself:

• What are your screenwriting goals?
• What are you going to do differently in your screenplays?
• What can you do better?
• What are you going to do differently in your marketing approach?
• What did you learn from past years?

With that in mind, here we present 101 New Year's resolution ideas you can implement in your screenwriting journey — this year and beyond.

Enter Now  |  Final Deadline in 22 days

101 Screenwriting New Year's Resolution Ideas

1. Write in a genre that you haven't written before.

2. Tackle a genre that scares you the most.

3. Take on a subject that intimidates you.

4. Write about something more personal in your life.

5. Write about something less personal that's more fun.

6. Try to write a script that's under 110 pages.

7. Try to write a script that has little-to-no dialogue.

8. Go through all of your spec scripts and proofread them.

9. Go through all of your spec scripts and try to cut ten pages.

10. Go through all of your spec scripts and cut down long dialogue blocks to one sentence.

11. If you've only written feature scripts, try writing a pilot.

12. If you've only written TV pilots, try writing a feature.

13. Turn your feature script into a TV series.

14. Turn your TV pilot into a feature.

15. If you usually take 6 months or more to write a script, write one in 3 months.

16. Try to write a whole screenplay in just 4 weeks.

17. Try to write a screenplay in just ten writing sessions.

18. Learn ways to write good exposition in your screenplays.

19. Gender switch what a routine male character would normally be to a female lead.

20. Gender switch what a routine female character would normally be to a male lead.

21. Switch what a routine supporting character's gender would be to that of another.

22. Change the location of your Earth-based thriller to another planet.

23. Change the location of your script set on an otherworldly planet to Earth.

24. Shift the time period of one of your present-day scripts to the future.

25. Shift the time period of one of your present-day scripts to the past.

26. Make the concept of your thriller a high-concept comedy.

27. Place a romantic comedy within the realm of a horror movie.

28. Develop a screenplay inspired by the scariest thing you've ever experienced.

29. Develop a screenplay inspired by the most inspiring thing you've ever experienced.

30. Develop a screenplay based on a dream you once had.

31. Develop a screenplay based on the worst nightmare you've ever had.

32. Search your family's past generations for a compelling story.

33. Talk to your grandparents or great-grandparents to learn about their lives for potential ideas.

34. Watch a movie from your parent's childhood.

35. Watch a movie from your grandparent's childhood.

36. Watch a movie from your great-grandparent's childhood.

37. Watch a movie that doesn't normally fall under your genre preferences.

38. Binge an old TV series.

39. Shoot a trailer for your most exciting spec script.

40. Organize a table read of one of your screenplays.

41. Swap scripts with a writing peer and each take a stab at rewriting the other's script.

42. Take that book you've been writing and write it as a screenplay instead.

43. Turn your screenplay into a novel.

44. Partner with an artist and turn your screenplay into a graphic novel.

45. Choose a screenwriting project that requires a lot of research and dive into it.

46. Choose a project that requires no research and dive into the script.

47. Before you begin your next script, create a film score playlist that you listen to while writing.

48. Learn a different part of the filmmaking trade.

49. Read an acclaimed book about film editing and apply those principles to how you organize your scenes.

50. Find the screenplays for your favorite movies online and read them.

51. Go through older scripts of yours and read them cover-to-cover.

52. Then revise them as needed and submit them to competitions and fellowships.

53. Find a true crime series to binge and create a fictional script inspired by those events.

54. Find a true crime in the news headlines and write a script inspired by it.

55. Take a supporting character from one of your favorite movies and imagine a movie revolving around them (to get the creative juices flowing).

56. Take a supporting character from one of your screenplays and write a script around them.

57. Turn a villain or antagonist in one of your scripts into the protagonist.

58. Find a character or story in the public domain and write a new script adaptation.

59. Record a video pitch of your high-concept screenplay and have it ready if someone responds to your query.

60. Take a month or two to focus solely on writing and sending email queries for your feature script.

61. Take a month or two to focus solely on writing and sending email queries for your TV pilot.

62. Develop and write a visually-stunning series bible for your TV series idea.

63. Learn how to create an excellent pitch deck for your feature scripts.

64. Write, revise, or rewrite outstanding loglines for all of your feature spec scripts.

65. Write, revise, or rewrite outstanding loglines for all of your TV pilot scripts.

66. Organize a writer's retreat.

67. Go on a vacation or weekend retreat to someplace you're writing about.

68. Take a trip to Los Angeles and tour the studios.

69. If you are in Los Angeles, make an effort to go to the Writers Guild of America and visit their library.

70. If you haven't already, find a writing partner and try to collaborate on a script together.

71. If you've only written with writing partners, try to write a script on your own.

72. Take an online course to learn something new that you want to write about.

73. Take the Method approach and walk in the shoes of a character from your scripts for a day.

74. If you're writing in the true crime genre, see if you can arrange a ride-along with local police.

75. If you're writing a screenplay about the military, see if you can visit a military base.

76. Go through all of your scripts that have been rejected and see what you can do better.

77. Go through all of your scripts that have been rejected and conjure better movie titles for them.

78. Find a new writing space.

79. Treat yourself to a new writing desk.

80. Try to work in some time for exercise amidst your writing schedule.

81. Before each new script, take a month to visualize the story, scenes, and sequences before you type a single word.

82. Pick your best script and get professional script coverage done for it.

83. Then when you're ready, make the decision to stop relying on other people's feedback to finish a script.

84. Watch a MasterClass from an acclaimed screenwriter and director.

85. As a fun exercise, conceptualize or write a sequel to your favorite genre movie.

86. Learn a skill that a character of yours is a master at.

87. Take one of your old scripts and apply a different story structure to it.

88. Create a script competition/fellowship submission schedule for the whole year.

89. Seek out new screenwriting books that you could learn from.

90. Challenge yourself to write a compelling single-location thriller.

91. If you have slow-burn scripts, find a way to start your script from a climax cliffhanger.

92. Work out a plan to write 3-5 screenplays in one single year.

93. Develop titles, loglines, and a short synopsis for each of them.

94. Write a one-page pitch for all of your current scripts.

95. Seek out entry-level places you can pitch yourself for paid screenwriting assignments.

96. Start a blog about the writing experience (to keep you inspired).

97. Start an Instagram page about the writing experience (to keep you inspired).

98. Take a break from screenwriting and go on an adventure that has nothing to do with your scripts.

99. Do this in between screenwriting projects.

100. Then come back and reread your previous project with fresh eyes for that rewrite.

101. Sit down and write 101 writing prompts and see what new ideas come to you for the next script.

Read More: 6 Obscure New Year's Films to Steal From (or Screenwriting Lessons for the Year Ahead)

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many produced Lifetime thrillers. Follow Ken on Twitter @KenMovies

The post 101 Screenwriting New Year's Resolution Ideas To Try This Year appeared first on ScreenCraft.

Writing a script can be an arduous process for beginning screenwriters. However, when you learn the basic steps that need to be taken during the development, writing, and rewriting of a screenplay, things can get quite a bit easier for you.

While there is no single surefire way to go about writing a script, having a structured process to work from helps to simplify the undertaking, allowing you to focus on conjuring the best concepts, characters, and stories for your screenplays.

With that in mind, here we present a simple, straightforward, easy-to-follow yet detailed guide on how to write a screenplay in ten structured steps. Be sure to explore the accompanying links found within each step for more elaboration, information, tools, and professional knowledge that will help you get through this process.

Screenwriting Terms You Need to Know

Before we dive into the first step, let's go over an important term you'll need to know: spec script.

What is a Spec Script?

A spec script is a screenplay written under speculation that it will be acquired by a studio, network, or production company for the purpose of production and distribution. In short, you haven't been paid to write it. You're writing the screenplay on your own accord with the hopes of selling it to the film and television industry for production.

What Are the Pros of Writing a Spec Script?

The benefits of writing on spec include the following:

• No one looking over your shoulder.
• You write what you want when you want.
• You write the screenplay how you envision it, while hopefully following general industry guidelines and expectations to increase your chances of selling it.

As a beginning or unestablished screenwriter, writing on spec allows you to hone your skills and work on your craft through the development, writing, and rewriting process, unhindered by contracted deadlines and pressure from executives.

What Are the Cons of Writing a Spec Script?

But there's a catch to this freedom — you're not getting paid yet. You are working under the speculation that what you write will be received well enough for the powers that be to invest their valuable time and money in packaging, selling, producing, and distributing your cinematic story.

The Difference Between Writing on Spec and Writing On Assignment

Writing "on spec" and writing "on assignment" are different. Let's go over a few ways in which they differ.

Writing on Spec

Spec scripts are actually the least lucrative way to earn a living as a screenwriter. A majority of the screenwriting contracts in the film and television industry are paid writing assignments, where a screenwriter is hired to write from a pitched concept, a rewrite of a script they own, source material, or existing intellectual property owned by the hiring company.

When a screenwriter is being considered for a screenwriting assignment, their spec scripts are actually utilized as writing samples to help studios, production companies, and networks determine if the writer is a good fit for the assignment.

Writing on Assignment

When you write on assignment, the process is a little more structured by contract variants and mandates.

• You likely need to write development materials like synopses, treatments, and outlines as part of the collaboration process with the powers that be.
• You have development executives, producers, and directors reviewing your drafts and giving you notes that you will need to apply.
• You have strict deadlines that need to be met.

But with writing assignments, you're getting paid to write — which should be the goal for anyone wanting to become a professional screenwriter.

Spec scripts can be passion projects for screenwriters. Writing assignments pay the bills.

So while you're writing on spec, no, you're not bound by tight deadlines and time constraints. However, it will help you to train yourself to write like a professional under general industry deadlines and guidelines so you can be ready for success when it comes.

Read ScreenCraft's 5 Things to Expect During Paid Screenwriting Assignments!

This 10-step guide will help you build the structured process you need to get you ready for that success. As we mentioned before, there's no single way to write a screenplay. Every screenwriter will have their own wants, needs, strengths, weaknesses, and preferences when it comes to how and why they write their scripts. Use these proven steps as the foundation for your writing process, and we promise that you'll be a few steps closer to your goal of selling your screenplay — or being paid to write on assignment — and seeing your words come to life on the screen.

Step #1: Get Screenwriting Software

Screenwriting software is essential for screenwriters. The software is a necessary tool that aids the screenwriter in writing under inescapable format constraints and helps to later ease the collaboration process between screenwriters, directors, producers, development executives, actors, and film crews. Because of the importance of that collaboration — and the ease of which is offered to you — it is highly recommended that the first step of your writing process is acquiring and utilizing screenwriting software.

What Screenwriting Software is Best?

Many options are presented when it comes to which screenwriting software package you choose, each with different variances of cost, tools, and features.

There are free or lower-cost options that offer you the basic format tools, and there are more costly options that represent the industry standard and have more additional development and collaborative features.

• Final Draft is the industry standard. It's much more costly than free options, but you can get it as low as $199. It will be the best money spent for your screenwriting process.
• Celtx is the most popular lower-cost option, but screenwriters should know that when you do get to the level where you're writing under paid assignment contracts, most studios, production companies, and networks prefer Final Draft files when it comes to reports, file types, and collaborative features that they request.

Read ScreenCraft's The Ultimate Guide to Screenwriting Software to learn more!

Do You Need Screenwriting Software?

Short answer, no. You can absolutely use any old word processor to write a script, but that means you'll be responsible for maintaining any and all formatting standards. Every margin, every indent, every italicized text — it's up to you to make sure it's all correct. And there are plenty of script formatting mistakes that new writers make consistently even with software!

This is primarily what makes screenwriting software so attractive and necessary for so many writers — it takes care of all the formatting so you can focus on the best part of the process — storytelling.

"Is the script format really that important?"

Yes. And there are specific reasons why.

Screenplay Format 101

Screenplays are not like short stories, novellas, or novels. They have a specific format that screenwriters need to adhere to because film and television are collaborative mediums.

Furthermore, scripts are both auditory and visual blueprints for eventual cinematic features and episodic television episodes, so the format exists to create an easy-to-visualize and easy-to-adapt cinematic story filled with locations, dialogue, and actions that directors, actors, and film crews can bring to life from script to screen.

Learn the History and Evolution of the Modern Screenplay Format!

Master Scene Format

The master scene format is the essential script format that you should follow. It represents the best way to interpret visuals and dialogue from your creative mind to the page for others to decipher as easily as possible.

Screenplay Format Elements

The screenplay format elements of Scene Heading, Action, Character Name, Parenthetical (used few and far between), Dialogue, and Transition (used sparingly) are all that you need to tell a cinematic story meant for the big or small screen.

Here's a quick breakdown of each of these elements, as well as a visual guide on what they look like on the page:

• Scene Heading: Also known as the "slug line," these headings communicate the setting of a scene, including whether it takes place inside or outside, the location, and the time of day.
• Action: This describes the action that can be seen or heard.
• Character Name: This indicates the character that is delivering the dialogue.
• Parenthetical: This provides context or instruction for the dialogue delivery. (Use these sparingly and only when necessary.)
• Dialogue: This represents the words delivered by actors.
• Transition: This marks the change from one scene to another. (Use these sparingly and only when necessary.)

There are subtle variances in the format — musicals, for example, are formatted a little differently — but the master scene elements are the most universal formatting guidelines to follow for all cinematic platforms.

Screenplay Margins

Each margin settings for these master scene elements include:

If there are any format "rules" that cannot be bent, they are represented by these margin settings, which help formulate the basic and universal script page size and aesthetic.

When you purchase and utilize screenwriting software, you avoid having to worry about any margin settings. You can deliver what is needed in that format front by the push of a button or two as you write.

Because the screenplay format is much more technical compared to writing short stories, novellas, and novels, some beginning screenwriters look upon the format with anxiety. It doesn't have to be that way. If you follow the basic screenplay elements and utilize screenwriting software to ensure that you're adhering to the strict margin settings for each, you can focus more on telling great stories with strong and compelling characters.

For a more detailed breakdown of how to format a script, read ScreenCraft's How to Format a Script!

Step #2: Come Up With A Great Story Idea

Okay, you've got your screenwriting software and you're ready to start writing, only... you don't have a story idea.

Or maybe you do but you're not sure if it's up to snuff. It's very easy to just roll with the first idea that comes to mind. But that's often the first mistake that most beginning and unestablished screenwriters make.

Either way, let's go over some concepts and tools that'll make it easier for you to come up with a great story idea.

Find a Great Concept

As the great Crusades Knight in Indiana Jones and the Last Crusade once said:

"You must choose. But choose wisely."

The most common phrase that you'll hear in Hollywood development offices is concept is everything. Yes, everyone also wants great characters, compelling drama, high stakes, twists and turns, and engaging stories. But in the end, it's the concept that sells the project.

What is a Story Concept?

Concept is everything.

• It's the logline (see below) that gets you in the door.
• It's the central concept that sells the project to distributors.
• It's the great idea that is sold to the audience.

It's the great story idea.

That great idea does need to be delivered in amazing fashion by a great script packed with engaging and empathetic characters. You need to deliver on the promise of your great story idea by writing an outstanding screenplay that explores the character and story dynamics of that concept. But, make no mistake, you need to choose the concepts of your script very wisely.

Do You Need to Have a Great Concept?

Screenwriters need to understand that, sure, there is a market for smaller character pieces and quirky character-driven comedies and dramedies. However, those are more popular in the independent film market through auteur films and indie flicks that are discovered through the film festival circuit.

When you're writing on spec in hopes of selling your script to Hollywood, you need to do your best to find concepts that stand out from the rest. The spec market is highly competitive. Regular run-of-the-mill dramas and quirky character pieces don't represent lucrative investments for studios, production companies, and distributors. They need and want concepts that draw audiences to the theater — or get them to click while they're searching their streaming platforms for something to watch.

What are some ways to find those great ideas?

How to Come Up With a Great Concept

While there's no single secret to finding a great concept that will get studios and producers to bite, there are many creative ways you can explore potential ideas and see if they are compelling enough to encompass a whole screenplay.

Story Prompts

Sometimes reading and writing simple story prompts is the easiest way to get those creative juices flowing.

You can explore "What If..." scenarios, "This Meets That" story hybrids, or story prompts based on true stories that would make for compelling screenplays.

Read ScreenCraft's 101 Story Prompts Series to get your creative juices flowing!

Watch Movies

And believe it or not, you can also turn to what may be your favorite pastime as a cinematic storyteller and movie lover — watching movies — to get your creative mind flowing. It's pretty common to be watching some of your favorite flicks — or new ones that engage you — and find your mind wandering to elements within those movies that weren't fully explored. Or maybe your imagination begins to wonder how a certain story or character could have been handled differently.

For example:

• What if the story of THE SIXTH SENSE focused not on the people that could see ghosts, but rather on the ghosts themselves as they try to reach out to people to solve the mystery of their death?
• What if GOOD WILL HUNTING was a thriller where the government forced a character like Will to use his talents to break secret codes?
• What if the aliens in any alien abduction movie are actually humans from the future trying to find a cure for a pandemic that's killing off the human race?

Choose Your Genre Wisely

But sometimes it's not enough to just have a great idea. Writing that idea within a specific genre is also a big decision-maker for the impact your idea has on Hollywood when you start marketing your eventual script to studios, production companies, and distributors.

"Well, won't the movie concept dictate what the genre is?"

Not always.

Case Study: Armageddon vs. Deep Impact vs. Don't Look Up

In ScreenCraft's How to Choose the Right Movie Genre for Your Concept, we put this notion to the test by offering a general concept.

An asteroid is going to impact the earth, and a team is being sent into space to stop it before kills humanity as we know it. 

That's a great idea for a movie. It's almost a great logline as well. But it doesn't necessarily dictate the genre and subgenre. In 1998, two movies debuted with that very same premise — Armageddon and Deep Impact. But both were very different films written under very different genres and subgenres.

• Armageddon was an action comedy mixed in with science fiction adventure.
• Deep Impact was a drama mixed in with science fiction.

They handled the same premise in many different ways.

• Armageddon focused on big laughs, sweeping romance, high-octane action, and special effects-driven space adventure. Yes, it certainly had dramatic moments, but the action, thrills, and special effects sequences overshadowed them.
• Deep Impact focused on the drama of losing loved ones amidst the genuine and scary thought that our world could end due to circumstances out of our control. Yes, it had trailer moments of major tsunami floods killing millions, but the focus was on the drama.

A more contemporary take on the idea of people struggling to survive during an impending and eventual asteroid impact would be Best Picture nominee Don't Look Up, an apocalyptic political satire black comedy.

Play with Genre

Placing your great story idea into different genres — and the various story, character, and setting elements usually found in those different genres — is a masterful way to find something both familiar and unique, two elements that Hollywood insiders (and audiences) love when choosing which screenplays to move forward on.

What is the takeaway when it comes to finding great story ideas?

• Choose wisely.
• Be creative when you're exploring options.
• Have fun with it.
• Make lists of potential ideas to choose from.
• And inject those ideas into different genre possibilities.

Read ScreenCraft's What Screenwriters Are Up Against in Every Genre!

Step #3: Write a Logline

If concept is everything in Hollywood, the logline is the thing that sells the concept in the shortest time possible. Think of them as the short and sweet literary forms of coming attractions. So, you could say that loglines are really, really, really important.

What is a Logline?

A logline is the simple 25-50 word (give or take) preview that captures the core dynamics of your concept. It's what sells your concept. It's an ultra-powerful sentence that can hook a reader and force them to read your script.

What Are the Elements of a Great Logline?

The purpose of a logline is to inform the studio, production company, and distributor:

• The main character(s)
• The world they live in
• The inciting incident
• The major conflict they must face
• The stakes at hand

A great logline should include these elements.

How to Write a Great Logline

You're not telling a story in a logline. You're presenting the core concept of your script. You don't need to delve into twists, character arcs, and plot. You're simply conveying the core idea — the initial seed from that which the plot, characters, twists, turns, and ensuing conflict grows.

The basic formula that you can start with — once you've chosen the idea you want to develop — will help give you the foundation of what needs to be in a logline.

• When [INCITING INCIDENT OCCURS]...
• A [CHARACTER TYPE]...
• Must [OBJECTIVE]...
• Before [STAKES].