Since I started offering my script coverage services, I've read a lot of samples by aspiring professional screenwriters.
And, typically, the writing of the script itself is not the issue.
The dialogue feels natural and characters specific. The action lines are engaging.
But, the thing that takes a script from "Your writing is good" to "This sample is good" is a clear premise.
So often, I read pilots or features that feel like an amalgam of moments without any real driving force that give the reader a sense of what it is they're reading.
If you can show your readers what your story is about quickly, like in the first 10 pages, your sample will improve exponentially!
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For YEARS, I used the Save the Cat beat sheet template when writing my features. But, I'm currently working with a director who thinks about story using the 8 sequence method, and I liked that too!
So, I created a new template that marries both... and then some. (🧵)
To me, the most helpful way to visualize a script is as a bell curve, with the midpoint being the arc's apex. In fact, when I'm starting a new project, I literally draw a bell curve, and mark it up with my big, broad story beats.
The Save the Cat beat sheet is basically an extension of this story bell curve. I appreciate that the "beats" are really simple to follow. For example, the "Fun and Games" section is described as "trailer moments," and "Bad Guys Close In" is our falling action.
This is the part of the process where the timeline varies the most. If I'm going out for an OWA or pitching on a company's IP, this stage is quicker, like a few days.
If I'm working on my own spec, it varies because--
--Paid work takes priority. Typically, I'll use weekends or down days to think about my own projects.
Going at that pace, this stage can take a month or more and mostly looks like watching and reading comps, jotting down random scene ideas, and long walks in the park.
5 Things I Would Never Do As A Professional Screenwriter:
1. Publicly talk trash about a movie/TV show 2. Post a logline of an unfinished project 3. Worry about formatting issues 4. Write a spec for free based on IP I don't own 5. Post about meetings online
(A 🧵)
1. I would never publicly talk trash about a movie/TV show.
The industry is very small. Like, scarily so. Save your criticisms for the group chat because someday, you might want to work for/with someone involved in the project you publicly trashed.
2. I would never post a logline of an unfinished project.
I believe it's the execution of an idea, not the idea itself, that matters. But if someone resonates with the idea, and you don't have something executed, seems like a great way for someone to take that idea!
Here's my typical feature pitch blueprint:
-Teaser scene
-Logline/Comps/Tag Line
-"Why me?"
-Act One plot with 1-2 set pieces
-Act Two plot with 2-3 set pieces
-Midpoint set piece
-What's driving the Act 2B tension
-Finale set piece
-Q&A
(1/12)
TEASER: This is usually what I envision the first scene of the movie to be. Starting with a teaser immediately draws the reader in, sets the tone of the film, and allows me to verbally paint a picture of the kind of storytelling they'll be getting if they hire me. (2/12)
LOGLINE/COMPS/TAGLINE: Pretty self explanatory--I'm basically showing the execs how they could verbally market the movie. I love adding a tagline if I've thought of one too--gets them thinking of what the movie poster could look like. (3/12)
Lots of chatter on the timeline about LOGLINES--why they're annoying to write, why they're important to write--but I didn't see any advice on HOW to actually write them!
So, here's what works for me. Hopefully it can soothe your logline-writing anxiety! A THREAD:
First, the basics:
-A logline is a short (1-2 sentence) premise of your story.
-In my USC screenwriting classes, I learned that the perfect length of a logline was 26 words. (Why 26? IDK. I'm sure 24 or 28 words work equally well. The point is not to get too lengthy)
-Unless it's a biopic and the protagonists/villans are well-known people, don't include character names in your logline.
-Give us the concept, aka the PROMISE OF THE PREMISE! Not the plot points.
-Intriguing, but vague is good. Convoluted is not.