Are you among the sea of aspiring screenwriters, frustrated in your efforts to break in?
Everywhere I go, I’m confronted with the angst of aspiring screenwriters as they scream,
“Give me a path to follow! Tell me what school to attend, what conference to go to, and
I’ll do it. I’ll pay any price. Just tell me what to do.” But these wails
fall on deaf ears, cut off by the ever-present glass barrier between them and the people
who can change their lives.
As a group, struggling writers obsess over getting read, landing an agent or getting sold as a
measure of their success and worth as a screenwriter and they hold onto that self-defining dream with the tenacity of a Pit Bull Terrier. Stop it! Focus on honing your skills. If you absolutely can’t live until you get read, read my article, Breaking In: Not Without Pain, and go out and network. If you work at it properly, you can probably get read, but
that will still leave you feeling frustrated and empty when it leads nowhere.
Even if you are a better writer than everyone in the business, statistically you still have no
shot at selling a script. The odds are stacked against you — way against you. Consider the
adage, “Anyone can be President, but not everyone can.” Well, the same is true for screenwriting.
Each year, more than a million new scripts are written, but only an infinitesimally small number get sold,
fewer get made and fewer still are distributed. This is the overpowering reality.
Even if you do get read, you’ll probably hear nothing back because they won’t call you to
say, “No thank you.” And the reason they won’t call is that they know when they say,
“No,” you will ask, “Why? What’s wrong with it? What can I change?” They
simply don’t want to walk down that road to justify their decision. It’s messy. As a result,
they don’t call, or, if forced to respond, they will say something innocuous like, “It’s
a good story, but it’s not something we’d produce.” It’s as plain as that.
So, let go of the all-consuming preoccupation with getting read, landing an agent or selling a script.
Lay out realistic, progressive goals. Prepare to fight for your very life because you’ll have to beat
out all the other aspiring writers who believe their talents, ambition and clever stories exceed yours. And
ENJOY THE JOURNEY. If you insist on trying to break in, you’d better have a passion for writing and
telling stories because therein, alone, lies your happiness, sense of control and accomplishment. Focus on
the one thing that is empowering: become a solid writer.
Back to goal setting. What is a productive goal? It is one that is in your power to achieve. Now,
granted, your ultimate objective may be to get read, to land an agent or to sell a script, but these
should not be goals because you can’t control their achievement. Think of these objectives as
the potential by-product of the work you perform in achieving your goals. In other words, break this
overall objective down into achievable, progressive milestones.
Now, before I lay out a specific list of goals (as suggestions), we need to talk about
laying a solid screenwriting foundation. Master The Basics. Learn to write scripts that are
clear, grammatically correct, 105 - 110 pages, properly formatted and tell compelling stories.
And I do mean “master,” which does not mean that you learn just enough to be able to
lean brashly against the wall, full of yourself, quoting magnificent truisms from books or lectures.
Just because you can spout wonderful, insightful one-liners doesn’t mean that you truly
understand and can execute the philosophy behind them. So, get beyond the rhetoric.
Here are the basics for writing good spec scripts
- Learn to write crisp, clean and succinct sentences. Be clear and precise — and short.
Write in an active voice (cut out the “-ing” words). For example, instead of writing
“John is walking to the door,” write “John darts to the door.” This has
more energy, is more compact, makes a choice in how he walks and creates a visceral visual image.
The first sentence is vague, lacking a writer’s voice. Be specific. Make a choice. ANDÖget
rid of the “we see” in the action description, and no scene numbers in a spec script.
Nothing screams amateur like having scene numbers in a spec script.
- Use good grammar. If your grammar is shaky, take a class or read a book on the subject.
- Learn the basics of classic structure. See my series of articles in Script titled “Structure
Wars.” Read all the books on screenwriting that you can get your hands on. Learn how to weave plot and character into compelling stories.
- Don’t direct the director (in a spec script). By this, I mean, do not use camera angles. They insult
directors who read your material because, in essence, you are telling them where to place their cameras. Let them
visualize how they would shoot it. That is far more engaging than having you do all the work for them. On top of that,
writing in camera angles eats up page real-estate. Use your pages to tell your story and not to try to appear
to be a sophisticated, hip screenwriter. If you want to bring attention to something, find ways to do it in prose.
For example, an inexperienced writer might write this:
| It’s dark as we PAN across a thick jungle surrounding a tall mountain. ZOOM IN on a farm house nestled ever so neatly into the dark green foliage of trees and bushes. There is nothing going on here. We see no movement, and we hear no sounds.
PAN over to A DOZEN MILITARY TROOPS hidden in the vegetation. They are sitting very still, ready to pounce at a moment’s notice. They are all wearing HAZARDOUS MATERIAL SUITS and carrying AK-47’s. All the men are packed to capacity with knives and ammo and grenades. CLOSE ON BRAD, the Platoon Leader, who is looking through bulky night vision goggles. He is scanning the farm house, making sure that no one has noticed them.Secure in the feeling that no one is alerted to their presence, he starts signaling to a squad of his men. They start running toward the farm house. FOLLOW the SOLDIERS as they move into positions along the front of the building, next to the front door. Once in place, they stop, waiting for instructions.TIGHT ON a SQUADMAN who removes a DEMOLITION PACK from his back pack. When he has the charge ready, the SQUAD LEADER starts signaling him to go to the door. The man starts walking to the door. ECU as his hands carefully and quietly place the demolition pack on the door handle. After he has set the charge in place, PULL BACK to FOLLOW him as he returns to his place alongside the other men. The Squad Leader is now ready and starts signaling the Platoon Leader that everything is in place.We FOLLOW the Squad Leader eyes as he looks at the Platoon Leader for instructions. ECU the Platoon Leader as he looks at the house. This is a war-hardened, deadly serious face. He’s concerned that someone might see them before they are ready to go in. When he feels the time is right, he starts signaling the Squad Leader.We SWISH PAN to the Squad Leader as he starts signaling the man controlling the door demolition pack. The man pushes a button and the door charge EXPLODES. It is blown to pieces. Wood and parts of the door frame fly through the air, some pieces pelting the squad members along the house. A BURNING EMBER lands on one soldier who casually flicks it off like a pesky ant. None of the men flinch at the sound of the explosion.
The Squad Leader starts signaling his men, and they rush into the building in a precision manner. We FOLLOW them
into the building as |
This action can be rewritten more actively and more succinctly as:
| Thick jungle and mountains back a simple farm house.
Armed MILITARY TROOPS, dressed in full-body jungle HAZARDOUS MATERIAL SUITS, are staged. Hidden. The Platoon Leader scans the residence through a night vision device.
No activity. He signals a group of THREE MEN who move in quickly, taking up positions along the front of the building. One man slips an explosive charge over the door handle and retreats back to his position.
After one final scan of the area, the Platoon Leader signals.
The door charge EXPLODES, blowing the door inward, and the troops surge inside.
|
Look at the page real estate that you can now devote to something more important or use to simply cut your page count down. So, unless you are going to direct the script yourself, cut this crap out. Professional readers see this and think, “amateur.”
- Likewise, don’t direct the actor (i.e., limit your parentheticals in dialogue). You don’t need to tell the actor or the reader how every line is to be emotionally delivered or to call out every articulation of the character’s hands. If the writing is clear, the emotion and tenor will usually be self-evident. For example, if the dialogue is in caps or ends in an exclamation mark, you don’t have to write “(shouting).” This emotion is implied by the exclamation mark and UNMISTAKABLE IF IT’S IN CAPS! Now, I’m not saying that you are not to use parentheticals. Just be judicious in their use. Again, don’t waste the page real estate.
For those not familiar with the use of parentheticals in dialogue, here’s an example:
CRAIG
(angry, pointing a finger at her)
You want to get it on? Let’s go.
LEXI
(yelling)
You jumped the gun!!! I had everything
under control.
CRAIG
(yelling back)
I had to have that information immediately!!!
LEXI
(getting into his face)
And I would have had it to you!
CRAIG
(beet red with anger)
When? A week?! Two Weeks?!!
(beat)
I had a mission underway! Men in the field!
Waiting! Vulnerable!
That information was
critical to a much larger operation!
LEXI
(beside herself)
You never told me that you accelerated
the time table!
CRAIG
(yelling)
A decision was forced on me, and I acted!!! |
Get rid of the parentheticals and lose all those exclamation marks, especially the mixed punctuation (!!?). It’s bad writing, and it’s all unnecessary if the dialogue is clear and well-written. See how the scene flows and how the emotion rings through without telling the reader every emotion, without all those slammers (!)
CRAIG
You want to get it on? Let’s go.
LEXI
You jumped the gun. I had everything
under control.
CRAIG
I had to have that information immediately.
LEXI
And I would have had it to you.
CRAIG
When? A week? Two Weeks?
(beat)
I had a mission underway. Men in the field.
Waiting. Vulnerable.
That information was
critical to a much larger operation.
LEXI
You never told me that you accelerated
the time table.
CRAIG
A decision was forced on me, and I acted. |
- Read tons of produced scripts. Try to find the spec script, if the produced script came from one. Study the writing styles of the screenwriters that you respect most.
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Learn proper spec script formatting. See my book The Screenwriting Life or any of the number of screenwriting books or magazine articles on the subject. Don’t be shocked to find differences of opinion. You will because script formatting is part art and part fixed rules. Read scripts written by the best screenwriters in town. Pick up their techniques, and incorporate them in your style. Mimic at first, and, over time, you will develop a unique style.
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Learn how structure is modified for the various genres.
- After you’ve finished your first script, write another script and then another, and so on. Every time you start a new script, your skills and knowledge should be on a higher plane. You should have a more complete understanding of what to improve upon the next time. Otherwise, you are just repeating the same bad writing form.
- As a new writer, don’t get bogged down rewriting and rewriting the same script. This is not new learning. Move on. Later, when you have honed your skills, if you still love a particular script, go back and re-envision it. But when you are learning, move on and tackle a new story. However, just writing script after script without learning, without growth as a screenwriter, is not the best use of your time. Writing is important, but you also need to be growing as a writer and an artist. Constantly ask yourself, “How can I create more compelling characters and stories? How can I make my writing more powerful?”
- Write, write, write and write some more. You only learn by doing. Reading about screenwriting only gives you head knowledge. For example, you can’t become a world class tennis player only by reading and watching. You have to get out on the court, build muscles, develop muscle memory and endurance and discover the kill shots unique to you that will win matches. Writing is no different. What are your kill shots? Allow yourself the opportunity to grow and learn. Be willing to fail by writing scripts that don’t work completely and learn from that experience. In other words, learn by doing. AND BUILD UP A LARGE BODY OF WORK.
Here are some additional tasks to consider
Submit to competitions. After you master these basics and you have that winning script, submit it to the competitions.Write query letters. Learn to write a powerful query letter. If you’re not in the system, search for companies that accept scripts from writers without representation, and write to them. There are many who are looking for material outside of the closed loop of A-list writers and agents.
Network. Become a student of the business; that is, learn the politics. Play the game. If you’re scared or repulsed by the thought of playing the political game and your people skills are weak, work on those. Talent alone is often not enough to break in. Politics and people skills are always going to be part of a career in this business, so work on them.
Master dialogue. Watch movies that inspire you. Study the dialogue.
Master creative exposition.
Read the trades, and keep up with what’s happening.
Find a mentor, seek out seasoned writers within your circle of friends and ask them to read and critique your scripts. Ask them to be brutal, and don’t take the comments personally. Learn what works and what doesn’t.
Here are some specific goals for a beginning screenwriter
- Read one feature-length produced script per week. If you have never written a screenplay before, start by reading. You can find these on-line, in bookstores and in some specialty shops. Check the Script magazine website for links. I suggest that you try to get the original spec script or first draft as well as the final draft. I have numerous scripts in the first version. For example, I’ve got “Pretty Woman” when it was titled “$3,000,” a very dark anti-fairytale about a hooker who is a six-year veteran of the streets and a drug user. The original story ends tragically, a far cry from the movie that was ultimately produced.
- Dedicate time to write each day, and stick to it! Whether the amount of time you can devote is 30 minutes or several hours, set a schedule. This should be a consistent time of day. Routine is important. Some people get up early and write before going to their day job. Some, like me, prefer to write late at night.
- Read one book on screenwriting or writing each month. Make a list of books, and read them. If you talk to ten screenwriters, you’ll get ten lists with little in common, but the point is, make a list and start reading. Here is my beginning list (alphabetical by author):
- Buy a script formatting program. (I use Movie Magic Screenwriter 2000.)
- Come up with a story idea. (Set a date to complete.)
- Flesh out the characters and the events. (Write an outline. Set a date to complete.)
- Write the first draft. Break this down into daily goals, such as a certain number of pages a day.
- Get your script critiqued. At first have family and friends read it and critique it. Later you might want to consider paying to have a professional critique your script. (Set a date to complete.)
- Improve the story. (Set a date to complete.)
- Get another critique pass. Take a second pass with your family and friends (or screenwriting group). (Set a date to complete.)
- Network with other screenwriters. Do this in person when possible. Use the Internet to augment your in-person meetings. Join a screenwriting group. Look for ways to meet new people, and set a goal of attending and making new contacts.
- Write another script and then another script, and so on. Lew Hunter’s rule of thumb is that it takes six to seven scripts (new and different stories, not rewrites) to “get it.” Give yourself that time to master these basics. Don’t rush out there with your first attempt.
Goals for the semi-pro screenwriters
(You should have at least three solid writing samples to show). In addition to the above actions:
- Read the trades daily.
- Send out 10 query letters a week. Write and mail ten query letters a week to agents. This means you have to set a goal of making a list of agents and agencies, get their addresses and write to them. Script has wonderful articles on this subject.
- Read three produced, feature-length scripts a week (or teleplays if TV is your area of interest). Stay on top of the every changing marketplace. If you’re interested in writing for TV, learn the unique formatting for your show of choice. Formatting will vary from show to show. It’s the art of the process.4. Have a professional editor correct bad grammar and spelling. After you have finished your script. Before you send it out. Have it checked. (See what I mean?) (Set a date, and put aside funds, if necessary.)
- Set up a table read for your latest effort. (Find a place and actors. Get them copies of the script ahead of time. Set a date to complete.)
- Absorb the comments, and improve your material.
- Apply for advanced classes in screenwriting, ones in which writing is a critical part of the program. UCLA has an excellent on-line professional program. It’s a little expensive, but it’s exceptional, and they have an annual contest for the students, the winners of which are written up in the trades. This is one of the smallest contests you can enter that gets attention from agents and production companies. Decide what classes you want to take, raise the money, and apply.
- Enter one contest each quarter. Make a list. Note the date that you have to submit by, and meet that deadline. (FYI, for me, the Nicholl is the most prestigious.) Enter more if that is your desire.
- This year, I applied to the Warner Bros. drama writing program. I polished off a “JAG” script and submitted it to the program. If you want to do this, find out the entry deadline date, and meet it. (Set a date.) (BTW, they have a comedy writing program as well.)
- Network like a son of a bitch. Be on the lookout for opportunities to meet new people in the business. Do this in any practical and socially acceptable way you can. If you’re not in LA, go online, and meet people. Go to screenwriting groups, and meet people. Attend industry events, and make contacts. Talk to people whenever and wherever you can, and make contacts. I can’t stress this aspect of the business enough. This is vital to your success. Admittedly, a proper goal should have a time limit (a date to accomplish it by), but for me, this is one of the most valuable aspects of my career building process. It’s something I do on a daily basis, but I don’t have a goal of meeting a set number of people per day or week. My goal is to be open to new experiences and approach successful people whenever possible and, again, socially acceptable.
Goals for the Pros
Ask me when I get there. When I’ve done it, I’ll give you my opinion.
Final Thoughts
So many factors have to come together in just the right way for a script to sell or a career to take off. Many of these elements are out of your control because making a sale has partly to do with the story, partly to do with your writing skill and a whole hell of a lot to do with timing and who gets excited about the project. Only your story, skill and networking are in your control. Keep your focus on those three, and the rest have a better chance of happening.
Before submitting this final version, I had it read in my weekly writers’ group. I listened to their comments and then reworked the article. Then I sent it to my editor. So I do what I have suggested above, even on free articles.
Among the wonderful comments, one writer-producer wanted me to stress the need to be flexible and cognizant of budget. If you should get beyond getting read and get into substantial discussions with producers, be prepared to rewrite for a limited budget. I know that it’s best when you first start writing to focus solely on your story and cut off any self-criticism that deals with budget. But be prepared as a professional writer to have to change locations and events to help the producers make your story.
This is where the collaborative nature of making a movie impacts on you as a writer. And you will have to be up to the task, or your script won’t get made or it will be given to another writer to rewrite. Be prepared to be professional enough to be a team player. All the artisans from the costumers to set designers to the special effects artists have to deal with budget restraints. It’s part of the reality.
Whether you are a beginning or more experienced screenwriter, you should now have more than enough information to create your own list of goals that will put you on a path out of the darkness. And, I’ll hit you one more time with this: none of these goals is selling a script, getting one read or being signed by an agent. By continuing to meet my personal goals, I’ve achieved finding representation, getting read by both major studios and A-list production companies and having a script optioned. And I have open doors all over town for anything new I write.
Good luck, and, as Lew always says,
Write on! |
