Schellhardt Laura. Screenwriting for Dummies
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Plan ahead. Don’t wait to see how much time each day allows you; plan
your work time in advance. Set up a weekly schedule, if not a monthly
routine. A schedule is important. Chisel out the time.
Show up. The muse is just another word for the imagination, which, if
you remember, is a muscle. If you tell yourself that you’re going to write,
that muscle prepares to do so. If you don’t show up, you confuse that
muscle and therefore the process, and it will be that much harder to
write the next time.
People often ask me, “Do I have to write at the same time every day?” Ideally,
yes, because it makes the process easier. If you write at the same time every
day, your mind eventually shifts into writing mode at that time. You find your-
self prepared to write before you even sit down. However, schedules these
days are fierce and often don’t permit continuity. If this is the case, choose
another scheduling goal. Do you have a few hours? Promise yourself that
you’ll write for two hours regardless of when they occur. Setting a page
requirement is another option. Promise yourself five to ten pages a day and
fill those pages when you can. It may take some doing, but with these tips in
mind, you’ll be off and running, or should I say, and writing. Of course, you
should also write when the muse appears, whether she’s on schedule or not!
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Part I: So You Want to Write for Pictures
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Part II
Breaking Down the
Elements of a Story
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In this part . . .
A
n idea does not a story make (not necessarily
anyway). But a strong story might result in a solid
first draft, so this part is dedicated to developing a story
strong enough to transfer painlessly onto the page. Where
does the story start? Who’s involved? What’s the conflict,
and why do we care? These are a few of the questions
facing every writer with a premise. The following chapters
provide examples, techniques, and projects to guide you
toward some answers.
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Chapter 5
Unpacking Your Idea
In This Chapter
Sparking your interest
Identifying your audience
Creating backstory
Identifying your story’s tone
Projects to move you forward
S
o, you have an idea for a screenplay. It interests you; you’ve mentioned it
to your friends, and it interests them. You’re convinced that it may even
interest people other than your coworkers and immediate family. Fantastic —
now what?
An idea is just a glimpse at the whole story. Your imagination sparks, and for
a moment, an entire chain of events presents itself. Unfortunately, unless you
have a sense of how to pin those thoughts to a page, they may disappear
again. Your next step involves fanning that initial spark into a flame and then
into a fire. Thus, an idea becomes a story; a story becomes a script.
I Have This Great Idea. Now What?
Can you identify which part of your idea excites you most? Do you know why it
may excite someone else? Any idea of what type of script you have and what
keeps the action moving forward? These next few paragraphs highlight
what steps the screenwriter must take before beginning the writing process.
Pinpointing your interest in the idea
Before you tackle writing an entire draft, think about why and how you dis-
covered the idea in the first place.
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Picture it: You’re enjoying a night on the town with friends when suddenly, an
attractive somebody catches your eye. Your heart skips a beat, and your
mind begins to race; in other words, you’re hooked. You must get to know
this unique somebody new.
Freeze. Before pursuing this mysterious stranger, ask yourself two questions:
Why this person, and why now?
What attracts us to another individual is generally clear: his blue eyes, her
contagious laugh, the way he tilts his head when he smiles. The journey
toward a story isn’t so dissimilar from the scenario just depicted. You’ll be
excited by your first idea. Your heart may race; your breath may catch; you
may want to run out and alert the media. Flirting with an idea is a wonderful
feeling, but it’s also temporary. Just like forging a relationship, completing an
entire script takes effort and determination — not to mention hours of time
spent at a computer or notepad. You’re about to commit yourself to that
effort, so pinpoint why your idea’s great while it’s still fresh in your mind.
While trying to locate your interest in the idea, ask yourself these questions:
Was my idea sparked by
An event? If an event sparked your idea, how did you discover it? Was it
an article that you read in a newspaper, a story relayed to you by friends,
or did you witness the incident firsthand? Recreating the scene helps keep
your initial excitement alive. Also, be as specific as you can in what you
remember. For example, you’re at a football game when it starts to snow.
The crowd begins to leave, but you notice one fan in the front row cheer-
ing the team on despite those walking past him. This incident alone may
spark an idea for a story, but look carefully. Is it that general image you’re
intrigued by, or the fact that he cheers louder the harder it snows, or is it
the way he refuses to take his eyes off the field? Isolating the details may
provide information that you’ll need later.
A person? If a person caught your eye, your imagination may be creating
a character. Try to recall the person in question. If you read about her in
a book, you may be able to find out more through historical research. If
it’s someone you know, you may be able to watch her more closely,
interview her perhaps. If it’s someone you glimpsed in passing — a
woman feeding pigeons on the Cathedral steps, for example — you’ll
need to think carefully about why that person grabbed your attention.
Was it her physical appearance —how her hair matched the matted
feathers of the birds? Her vocal tone in calling them to her? Or was it
something that she did? Eventually, you’ll be creating characters for
your own script, so practice recreating the people you observe now.
A conversation? Sometimes, you can grab an idea from something you
overhear. Whether you’re eavesdropping or debating a point with a friend,
conversation sparks very vivid images. Why? Generally, the conversa-
tions that I remember are those told with great conviction. They’re
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Part II: Breaking Down the Elements of a Story
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already interesting, which alleviates the need for me to make them so.
Also, it’s easy to get a sense of people by what they choose to say and
how they say it. An overheard conversation may well become a scene in
your script or suggest several characters, so try to remember what you
heard and how it was said. (I detail more exact ways to document those
pieces of information in the next section.)
An image or location? You may find yourself inspired by an isolated
image or an environment. Again, ask yourself what specifically draws
your attention here. David Mamet’s play (later a film) Glengarry Glen
Ross was inspired by time spent in a real estate office. The details of
that location — the fluorescent lights, the peeling wallpaper, the ciga-
rette stains on the chairs — all informed the final product. Memorize the
details of your image, from the placement of objects to the sounds and
smells of a locale. They may color your eventual story.
Another art source? Perhaps other artistic mediums provoke you: pho-
tographs, paintings, literature, other plays, or films. Scan each selection
you find. What fascinates you about it? The use of shadow, the texture of
paint, a fleeting moment with a character? Your work may begin where
another artist’s ends. The Oscar-winning script Shakespeare in Love
was the result of a number of Shakespeare’s plays and several imagina-
tive writers.
Documenting your interest in the idea
After you’ve narrowed down the origins of your idea, document them in some
way. You’re not unlike a detective in this sense; you’ve found clues to your
story, so you’ll want to refer to them later on. Here are a few suggestions on
how to document your idea:
Write it down. The sooner you capture the moment, the more details
you’ll recall later. Write down everything that occurs to you — the time
of day, where you were (or are, if you’re that fast), what you noticed
first, and so on. If you’re an artist, sketch the image if you like. Memories
tend to fade, so keep a notepad with you at all times (especially in the
car and by your bed) and write quickly.
Record it. If you’re lucky enough to have a video camera or a tape
recorder when an idea hits you, by all means, use it. Obviously, you
don’t want to invade another person’s privacy, but if you’re privy to an
interesting conversation, it’s always better to capture it firsthand. Some
people carry a small tape recorder around with them so that, should
something strike them as funny or appropriate to the piece they’re writ-
ing, they simply record it and write it down later. It’s also safer to take
notes this way while driving.
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Take a picture. Having a camera ready is never a bad idea. Your cell
phone (if it has a camera) works well for this activity, too. Like scrib-
bling in your notebook, snapping photographs of what catches your
attention may become second nature. Because photography is a visual
medium, it may also help you to see the world as a filmmaker might.
Acquire the source. Pocketing part of the moment may also help jog your
memory. For example, if you’re out walking and you notice a ring lying on
the sidewalk, let your imagination go. Thousands of stories may come to
mind: a lover’s quarrel, a lost family heirloom, and an attempted proposal
to name a few. You might keep the ring to remind you of those story ideas
later on.
When you’ve become adept at pinpointing where your idea began and docu-
menting the source, you may notice a pattern in the subjects you’re drawn to.
People may interest you; locations may not. Sounds may capture your atten-
tion. Perhaps you find yourself collecting paintings of children, workmen, or
landscapes. That pattern may suggest where your strengths lie as a writer or
what kind of stories you’re drawn to right now. For the time being, be diligent
and remember that knowing what drew you to your story in the first place
will keep you writing long after the initial excitement over the idea wears off.
Getting to Know Your Audience
Screenwriters write for an audience. Sometimes, that audience is small and
defined; sometimes, it’s a general age group; sometimes, it’s your Aunt Betty
or people like her. Whoever it may be, that audience and your awareness of it
keeps your writing clear, efficient, and honest. Writing is a form of communi-
cation, so it’s important to determine who you’re talking to and why they
might want to listen.
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Part II: Breaking Down the Elements of a Story
Extending an idea into a story possibility
If you’re interested, this project motivates your
imagination and generates story options. Find
something or someone to observe. When you
notice a change in the behavior, in the environ-
ment, or in the image, come up with three pos-
sible reasons for the change to have occurred.
For example: You observe a girl on a park bench.
Periodically, she pulls her hair in front of her
face, as if hiding. Here are three possible rea-
sons she does that:
She’s concealing a scar she received as a
child.
She’s avoiding an old flame who just walked
into the park.
Her behavior is a secret sign between her
and another person in the park.
Those are just three possible motivations that
may lead to a story idea. Now, you try it.
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Matching the story to the audience
Even if your goal is to write a script that delights audiences of all types and
ages, you may want to consider who it will realistically reach. If your story
involves violence, it probably isn’t for children. Similarly, certain kinds of
audiences are statistically proven to frequent certain films. It may be advan-
tageous to know who you’ll probably sell the most tickets to when it comes
time for your movie to be released.
The following sections cover some questions to ask yourself when identifying
your audience.
What do you like about your story?
Generally speaking, if you’re excited about an event you’ve witnessed, some-
one else will share your enthusiasm. The more passionately you can recount
that event, the larger your audience will be. I know very little about the stock
market, but the whirlwind energy of the trading-room floor makes me wish that
I did. The movie Wall Street transformed that energy into a box-office hit.
Using the information you’ve collected on your story so far, clearly define
three things that you love about your idea. I call them “those three things.”
Those three things keep cropping up when you talk about your idea and
never fail to re-ignite your enthusiasm. Does your story take place in Italy,
a location that enchants you? Is your main character a brooding young man
with a secret profession? It may be something as vast as the landscape or as
minute as the image of children running across a beach — if it excites you,
write it down. You will return to those three things later for inspiration, scene
ideas, and tone. They will also help define your audience.
Who shares your taste?
The quickest way to discover your audience may be through a quick scan of
your social circles. Who among them holds similar views on entertainment,
politics, or personal relationships? Who might share your interest in those
three exciting things that you’ve discovered in your idea? The people you
identify and people like them will undoubtedly make up a large portion of
your audience. If those people vary in age, gender, and social makeup, your
story may have a universal or mass appeal. If they all resemble you in form
as well as opinion, you may be writing for a target audience.
A target audience is a film industry’s best guess as to who might spend money
to see your film. This statistic is generally compiled through surveys and test
audiences, and by comparing your script to others of similar subject or genre.
Remember that films are marketed in a variety of ways. The audience you
attract determines that marketing approach.
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Who might your target audience be?
Identifying your target audience is really a matter of understanding what kind
of people like your kind of film. Take a look at this list for some ways that you
might approach finding out:
Compare your idea to existing stories. It’s never a bad idea to know
what films are similar to yours in subject and what kind of interest they
generated. If you’re writing a story about a man-eating crocodile, you
may find it helpful to know who liked the movie Jaws.
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Part II: Breaking Down the Elements of a Story
The pros and cons of focusing on audience
Locating your target audience may help clarify
your story, but it may also hinder your creative
freedom. The following two lists suggest possi-
ble arguments in each direction.
Pros:
Your target audience may help you market your
script. Think of audiences as customers. If you
know who your customers are, you may know
how to reach them when it’s time to sell your
product. If children are your target audience,
you may advertise during Saturday morning
cartoons; if avid sports fans are your target
audience, you’ll advertise during the Super
Bowl.
Your target audience may suggest research
possibilities. Target audiences enjoy similar
things. If you know what they like to see,
you’ll know where to look for existing inspira-
tion. If children are your target audience, you’ll
have an assortment of literature, cartoons, films,
video games, and reference books to research
while gathering ideas for your own script.
Your target audience may help answer ques-
tions on tone, conversation, and subject matter.
You’re bound to find a handful of films out there
that resemble yours in some way. Watching
them may provide examples and inspiration on
how to approach writing yours.
Cons:
Your target audience may distract you from
your original story. Investigating stories similar
to yours, cinematic or otherwise, may be detri-
mental to your storytelling. You may doubt the
power of your story in comparison to others. You
may also find other writers influencing what you
come up with.
Your target audience may cause you to stereo-
type your characters. Discovering what types of
people target audiences are drawn to isn’t diffi-
cult. If you become too eager to please an audi-
ence, you may fall back on writing stereotypes
and clichés instead of people.
Your target audience may affect the depth of
your dialogue. Target audiences see similar
films, and similar films often sound alike. In
trying to please your audience, your choice of
language may lose its unique edge by catering
to what they’re used to hearing.
Bear in mind that films with the same audience as
yours may be radically different in story and not
at all threatening to your process. You may see
your story so clearly that researching someone
else’s film couldn’t possibly alter it, or you may
think it best to write this first draft without distrac-
tion. In any case, the main difference between
your script and everyone else’s is that
you
are
writing it, and eventually,
you
will decide how
much an audience will affect your writing choices.
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Know which category of film your idea fits into. Take a walk through
your local video store and jot down the categories around you.
Assuming that your story becomes a movie, which becomes a DVD,
would it eventually be shelved under Comedy or Romantic Comedy?
Drama or Suspense? Adventure or Sci-Fi? Those categories come
equipped with their own audiences.
Pitch your idea to different types of people and record their response.
Mention your idea to people you don’t know very well, and a pattern
may emerge in their responses. If the same type of people — all women,
all teenagers, all children — respond in a positive way, they may be your
target audience.
A pitch is a brief summation of your movie concept that emphasizes its excit-
ing and novel qualities. Pitching an idea isn’t unlike selling a product; it
requires a dynamic presentation and a solid knowledge of your story’s strong
points, such as its tone, genre, and what existing films it resembles. It may
also include what actors you envision for the roles and who your audience
will be. I discuss the pitch in greater detail in Chapter 20.
Connecting with your audience
Certain story elements are almost always appealing to large audiences, and
many of them date back thousands of years. Here are some surefire ways to
connect with an audience. See whether they exist in your own idea.
Passion
People go to the movies to see life painted in bold strokes. I don’t go to a
movie to see stories that are less interesting than my own; I go to lose myself
in worlds of greater adventure, comedy, and truth than my own. In other
words, I’m after passion. Look at the following list of universal passions and
see whether they exist in your story idea:
Love
Hatred
Joy
Hope
Greed
Envy
Awe
Fear
Betrayal
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