Screenwriting : Advice for a nervous screenwriter... by Nicholas Carlson

There are three different things at play here.

Format.

Style.

Structure.

The first is where you most want to adhere to the standards. Your question isn't really about the formatting.

The second is the style in which you USE the first. Do you bold this or underline that. Do you use PRE-LAP. Do you use Narration V.O., etc. Style is personal but also to a reader it's subjective so someone may not care about employing a certain style while someone else might.

The third is story structure and that is HOW you tell your story. Is it Memento where the story is told in reverse? Does it follow a three act structure? Again, those are also personal choices but the key is, does it "work" or is it a mess? Many times someone ignoring structure isn't doing so because they're telling a compelling story in a unique way. It's many times someone who is struggling to get their story told in a cohesive or way that makes sense or allows the reader to understand what's going on. (like some person magically appears halfway through the script in a deus ex machina kind of of way and disappears and never appears again.) They're trying to tell a structured story and not succeeding.

Master all three and employ them to craft your narratives that leave the reader satisfied.

I'm going to do a disservice to your original post but everything boils down to a simple question that oversimplifies a very complex and hard thing to master.

How much work are you asking people who read your screenplays to engage in just to read it?

The harder you make it for them to read it, understand it, the more you push people OUT of your story. You have to make it easy for them to read, understand and beyond that, you have to want them to keep reading and engage them.

Chad nailed it. Avoid comma splices and write solely in present tense and active voice. Do that, a close edit pass when done, follow Trottier for formatting, and you'll be ahead of the pack.

Nicholas: How many scripts have you written?

First, follow the "rules" and learn how to write it the way the industry wants to see it. (The "traditional" way.) Then break the rules to fit your style. I agree with Dan above, too. READ A ZILLION screenplays.

No matter how you write it, someone, somewhere, will tell you it's wrong.

But someone out there will tell you it's right, too.

Just write it. Write many of them. Take classes. Watch webinars (right here on the platform). Read books. And don't overthink it. Honestly. It's all good and you got this.

Nicholas, you are apparently asking the million dollar question. I have asked it myself, both here and through other forums. I have never received a specific answer to my question. Like you, I have found the same articles. "Always do this." "NEVER do this." I saw a promo for Aaron Sorkin's Masterclass where he opens by saying a line from a script "Damn it! How could this have happened?" He follows it with "Here's something important to remember about dialogue. No one ever in life starts a sentence with 'Damn it.' " So, right off the bat his first piece of advice is something I know for a FACT to be untrue! (He's apparently never raised teenagers.) Successful writer? More than I'll ever be. But it's another case where the advice contradicts the laws of the known universe.

More frustrating still is the forum answers that seem to be full of pithy comments and vagaries. "You'll figure it out." "Maybe it's you." "Here, pay for this course taught by a guy who has never sold a script or been hired to work on someone else's." You wind up with tons of advice that conflicts, or no real advice at all.

Here's what I have been told recently by someone I just connected to last night. This is someone who works as a script doctor, is a screen writing instructor at a major university, and has sold scripts of his own as well as helped develop others that were sold. Ready? There is essentially no hard and fast "Here's the format" rule or standard. His advice is that it is the art of telling a story in as few words as possible. He's currently reviewing one of my scripts in order to try to better answer my question. If you'd like to connect to me, I'll be happy to pass on what I find out.

Like you, I struggle with parts of my film being action that requires the reader to develop a visual image in order to include it at all. What I have been told by various actors (who are making their living at it) is to minimize parenthetic direction wherever possible. It's more the job of the director and the actor to come to an understanding of how to portray the scene.

As writers, that goes against everything we're trying to do. We want them to have OUR vision of how OUR story is told. One writer told me that success as a screenwriter is essentially getting used to saying "Soulless bastards killed my story" while you stand in line at the bank.

All I can do is pass along what I find out and hope that it sheds some light on it for you.

LOL Phil about teenagers. I took Sorkin's class and it was fairly useless because he never varied from what he does instead of general storytelling techniques (beside a devotion to "Poetics").

Stick to the basics of formatting. Definitely a must. But don't lose your story or your voice. No one wants to read a shell. Personality is a must.

Go read/look at a ton of scripts- current TV shows, films.....best way to "see" how it's done. And how differently it can be done.

Follow writers on Twitter. Example; Gennifer Hutchison did a 20 minute Twitter Q&A today....it was fun and informative.

Head spinning yet, Nicholas? :)

I won't say "don't read other scripts," but I've found the advice to read a bunch of them to create conflicts as well. I figured it would be a good jumping off point to read scripts of films in the same genre I was writing. I found a number of differences in formatting styles, parenthetic inclusions and direction, and various other things. I always hear "Stick to the basics."

Now, I would love a reliable source to tell me just what the hell the actual basics are, and why so many scripts that should stick to the basics seem to differ so much? For every supposed rule I've heard, I find a script that breaks it.

The only rule I've heard that I really want to believe is "If your script has a good solid story, the details are less important." Then I was flipping channels one night and landed on "Dude Bro Party Massacre, Part III."

I am apparently God's little hacky sack.

There are no rules only writing tools. So, don't be nervous, Nicholas. Learn how to use those tools effectively. How best to do that? Find solid resources from different people and places—webinars, podcasts, books, read 1000+ scripts, perhaps find a mentor, ask questions, take a class, etc. Then... digest it all. See what works best for you and discard the rest. Because there are no perfect black-and-white answers. There is, however, a lot of nonsense out there. You just have to dive in, roll up your sleeves, go to work, and learn it for yourself. For new writers worried or confused about formatting, I often recommend this nugget—The Screenwriter's Bible by David Trottier. It's a great reference book to help with any questions that you may have. But get the hard copy, not the e-book. ;) And keep in mind, screenwriting is not just about how a script looks or a writer's style, it's all about the substance of the writing itself. You gotta learn how to craft a great story too. :) Hope that helps!

The basics are built into Final Draft.

I think if you're here and contributing then you know the basics.

Except that he's not here as a contributor, he's here asking a legitimate question.

"The basics" that are built into FD simply make them available. It is not and indication of when or whether to use them. One of the specifics he addressed is parenthetical direction, and when It is appropriate to use it. Other than my own reference to having similar questions, nobody is even addressing it. But it's a good example to the kind of non answer to a direct and reasonable question. One of the early suggestions was to read 1000 scripts and if that didn't work, read 1000 more.

My personal take as far as the direction goes is use it only when absolutely necessary. Use it as description of elements that are strictly visual or otherwise critical to conveying your scene, but not to convey actor emotion or execution of a line.

I know that we all want to help, but I think we need to make certain the answers we provide are actual helpful, as well as relevant. And if they aren't, then I think we should limit ourselves to "Yeah, I wonder about that too."

It's just another way of saying "Keep guessing and figure it out for yourself."

Don't be nervous. Just write more and the rest will come with time.

In regards to parentheticals, I dont use them unless absolutely necessary. I view them as telling an actor how to act. Not letting them interpret the scene.

Deanna, I would agree with your assessment, and that's how I used them. Then I was told by a producer and several actors that this is exactly when NOT to use them., I personally don't understand why else you would need them. But I was told not to direct from my desk.

I saw we convene a conference, decide as writers how a script should look, and just tell the rest of them that this is simply how it's going to be.

We could book the banquet room at the Holiday Inn in Nicea.

I see parentheticals used in every produced TV script I read. Not obsessively, but effectively....I use them. Not obsessively. But effectively. And I stay consistent with what is effective. (don't be scared of parentheticals :D )

Here are my five favorite nuggets of screenwriting wisdom:

1) Use screenwriting software - Free or not, any of it will help with proper formatting.

2) Have a clear beginning, middle and end to your story - Some writers have so many sub-plots intertwined into their main one that the whole screenplay loses focus. Writing a logline before you even start can help.

3) Do not direct - No shot direction, as few parentheticals as possible, no action/descriptions longer than 4 lines and make sure that each word counts.

4) Make your dialogue as real as possible - Dialogue depends on the character. People do not all speak the same. Some talk more formal due to education, and some can barely complete a full sentence. Region, time periods and slangs also play a part.

5) Do not let dialogue drone on for more than a few sentences. One character with half a page soliloquy will bore everyone to tears.

Sticking to these nuggets have gotten my scripts into contest finals more than once.

Good luck.

Phil B. and Nicholas, here's the thing... there are exceptions to everything (which is perfectly fine) and whatever it is you are questioning; it wholly depends on the specific context whether or not to use or not use a specific tool. And frankly, overuse or misuse of any tool or element is bad writing. So place blame where it belongs—blame bad writing not writing tools. You must learn how to use tools effectively, especially those that may have a strong impact—too much of a powerful spice ruins the pot, does it not? ;) Plus any use of a tool, say parentheticals, often boils down to the need for clarity in a specific scene or line, or personal opinion and taste, and/or personal writing style. This is a highly subjective field. Because if it works it works. And those who tell you to "never do this" or "never do that" are oversimplifying, and are ignoring context and the real world full of gray areas—hence your confusion. Always take reductionists with a grain of salt and try not to think in rigid, black-and-white draconian "rules," instead think tools and how best to use them—a shift in perspective. So... never... say never, I guess? LOL! ;)))))

About parentheticals... please see Laura Scheiner's comment above. I've already mentioned The Screenwriter's Bible as a great resource, but another great resource is John August's website, blog, and podcast with Craig Mazin, called Scriptnotes. Here's a couple of links from his blog about parentheticals: https://johnaugust.com/2003/using-parentheticals, and https://johnaugust.com/2010/are-parentheticals-over-used. ;) Again, hope that helps!

Wow, all this feedback! Thank you all so much - a lot of great advice here. I'm just now trying to digest it all - may take a while.

Nicholas, what are your favorite films? Pick a couple, read their screenplays, also find your voice, characters you connect with, stories also. Last get a screenwriters. Program/software, I use Magic . Good luck, buddy.

Why I'm a screenwriter: To lazy to work, to nervous to steal - you're well on your way kid.

Just work hard my man. And good things will happen to you. And also never give up my man.

I’m instantly turned off by a script if the formatting is wrong. It makes the script hard to follow and makes it harder to connect. So format is the first thing I see when I look at your script. My eye is trained to visually analyze the script by format with one glance. While formatting is HUGE, story is still king!

P.S. The use of parentheses should be used sparingly.

So, Krista, can we ask that you give us some insight here as somebody on the receiving end? The tip on the parenthetical is great, and I appreciate it. I've also been cautioned to minimize character direction, and long blocks of action. How long is too long a block of action when there's no other way to convey it because there's no dialogue? How much should we refrain from armchair coaching? Is there a good line in the sand as far as separating the reader being able to "view the movie in ther head," and simply including too much?

Love to know your thoughts.

It would be interesting to see these freewheeling scripts written with tools and no rules. I'd wager they follow conventions closely anyway.

One of the most prevalent script issues isn't formatting it's a passive protagonist. Sometimes with a simple or non-existent goal which may or may not place easy to overcome obstacles in the protagonist's way. This makes a story which meanders from situation to situation with little interest in, or sympathy for, our hero. Next in line is, as Dan noted, terribly overwritten (or badly written) Actions and I would add blocks and blocks of Dialogue. So, formatting isn't King, it's a Prince.

It occurs a strange reversal is afoot. If someone reads a script and the formatting stinks then the story is suspect. The reversal is in the form of writers concentration on formatting in lieu of an effective story. If using software formatting is semi-automated. In Final Draft hit Enter Enter at the end of a line and select what's next. It's practically a no-brainer.

While I didn't like it all that much, the "A Quiet Place" script got lots of buzz for its radical formatting. Fine. But the story is heartbreaking and adventurous. The father scarifices his life for a family under siege and the Mother steps up to protect her child. We sympathize with the family due to the son's death and the tenuous nature of defeating a seeming unbeatable foe. It's not because there were pages with one word.

The secret to a great script is the ability to see the writer in the work Something intimate and universal. As Michael Hague says, "Where are you in this script?" Of course some genres don't need this, notably action films. But there's usually a low point for the hero is an action film.

My two cents: What I find so interesting is that when the word "tools" is mentioned in place of "rules" people seem to think that means no formatting (free-wheeling) or not knowing how to write a screenplay—the power of labels, right? When "tools" is mentioned it actually means to learn and know formatting, very very well, and it encourages people to utilize all writing tools, to know them more thoroughly, open-mindedly—to not just follow "the rules." You are the writer. All tools are available to YOU no matter who you are. So learn to use them effectively. It's just a shift in perspective—a healthier one in my humble opinion. (Man, where's William Martell when I need him?! Lol! :))) Anyway, what you, Dan G, just, for example, may consider as "rules" I consider them in terms of "how best to use a tool"—good known practices. Instead of "rules," consider "effective use." We probably agree on what those good practices are, but we are just coming at those practices from different angles. :)

Here's the problem with "rules" and "rule following": you can follow all "the rules," tick every prescribed box, and still end up with a bad screenplay. The word "rule" implies (or rather promises) there's one right way to do something when we all know that is not true—hence all the confusion, certainly for those new to screenwriting. There are exceptions, different creative contexts and situations, and different opinions on everything. It's a subjective field. So you gotta learn this stuff for yourself and form your own understanding of them—develop your own barometer for what is good writing and what is bad writing. Plus some "rules" are pure nonsense—just someone's personal taste. What people (readers/producers/execs/etc/etc/etc) truly respond to is the intangible qualities of writing. Formatting—while very important!—is just the baseline, the basics, what's on the surface. It's the substance of the writing itself that is truly telling. Considering substance is what keeps me up at night. Lol! So, yes, learn the tools for formatting and then move on to other writing tools... there is so much more to craft than formatting! A music composer knows and utilizes the tools for creating music—notes, scales, keys, measures, etc, etc, etc—but it's how they use them that creates a wide variety of music, is what people respond to. ;)

I was fortunate enough to see Cream a few years back when they played in NYC. Clapton holds a guitar like many guitarists, yet he channeled something beyond notes and chords like many others play. What he added was great emotion.

Those are big ifs, Laura.

Agreed, but how many of these pass over your transom. What's the single biggest issue you find?

The biggest issue I find is my confidence and goals outpace my current abilities. I see that a LOT in others as well. But I'm working on getting my abilities up to the level to match my confidence and goals and to the level I would consider industry standards for a professional. I'm in it for the long haul.

There ya go.

Write.

Jenna Hogan And rewrite and rewrite and rewrite.

Til you find gold. Then you can stop ;)

Katya Stiletti thank you for the link. Michael's quite amazing. Watched for some hours.

Doug Nelson … too... perhaps!!

Formatting and structure are fairly straight forward. The one thing you truly have to be wary of is story telling because that's the more individual aspect of the process. You can use parentheticals, that's fine. You can use contractions, but keep in mind the story you're trying to tell. Is it taking place at a time when people would be using contractions? How are people in the story you're telling supposed to speak? And, of course, Dan is right. Reading an ass ton of scripts just to see how they're written, the format, the structure, whatever, is good. You don't want a nonlinear script like a Tarantino on your first time out, nor do you really want to take story writing advice from Aaron Sorkin, or Stephen King, or anyone else, because you're not those people. That process of story telling works for them. That doesn't by any means mean it will work for you. Baby steps. Get down the format, the structure, and then find your own stories.