Screenwriting : What makes a screenplay rise to the top of the pile? by Helene Nash

Mindboggling conflict with biting irony, looking for grey tones in a very dark world. Or if you want to call it that: The unbearable lightness of being.

If I only knew...

I'd say most scripts are exactly that - scripts...yes, some are good, some bad, but you don't see a movie in them...once u do, well...you know the story...

Keep them coming! And if they start reading, what makes them continue to read it?

Hi, Helene Nash. How are you?

A script that has a great concept, a script with a subject that interests them, a script that is affordable to produce, a script that's entertaining, and a script that's easy to read.

To answer your question, Helene Nash ("if they start reading, what makes them continue to read it?"), a producer might keep reading because there's mystery (they want to find out what happens), the script has interesting/exciting/complex characters, the writing stays solid throughout the script, the conflict raises, the stakes raise, etc.

A character-driven experience that keeps them asking "what's next?" as it unfolds in a 'surprising yet inevitable' sequence of events, a freshness, a je ne sais quoi, a relationship to the zeitgeist that suggests remuneration.

A unique voice (which is the hardest thing to fake).

Helene, I've been told that if a script's first page (if not its first ten pages) gives execs something to like, then the script rises to the top.

That's written well. I would think based on writing a few hits.. Some you can just feel the difference. Some stories are Attractive. If the story is written to make the reader connect the story to their own life and experiences.. and grabs you and makes you think of alot more, before reading past the logline. Whats Your Answer?

What happens next....

An intriguing concept, vivid characters, solid dialogue and witty writing. Smart humor, too (I write comedy features).

Based on my experience it has everything to do with the executive connecting with you the writer as I have a narrative which does not follow any of the screenwriting rules which I pitched to an executive at a major network who loved the story and my connection to the story. I am currently writing a series bible for the executive at their request.

Hi Helene, are you looking for new screenplays?

A) That it is a well told story that has a point.

B) That it is realistic from an Audience vs Budget POV

C) That the writer knows how to write. This is a huge topic on its own.

These are my top three

Obviously it has to be a page turner or it's going to be in the round filing cabinet within a page or two.Beyond that I think it's got to connect with the producer at a personal level.And at the same time it needs to work at a logical level for the producer.ie is it right for our production company,could it atract a name star,is it affordable,is it even shootable,is it marketable to our audience through our distribution model etc etc.I'm sure you've forgotten more of these things than I will ever know.I think writters should take every opportunity to talk to producers and directors. as they are the decision makers in this business.

The script with a lot of white space probably gets picked up. If a reader connects with the characters and/or is intrigued with the concept or hook in the opening pages, they'll continue to read.

Hi Helene! A story that's unique and original. Is highly visual. Contains a clear source of conflict. Has a strong commercial appeal. Instantly grabs the reader's attention.

What makes you pick up the physical script to read it? Could really only be a title that somehow grabs you, assuming you do not have the background material handy.

If you do have the logline, pitch or query in mind, it could be because you have reason to think that the script fits a specific slot in your slate.

As for the follow-up question, what makes you keep reading? Based on the comments from people who kept reading mine: Engaging & clear writing, wanting to know what happens next, believable characters.

It must grab me. I thought I was the only one who still printed the hard copies, I never even mentioned I do this :)

@Happiness (what a great name!), I do the same usually. Go somewhere without distractions to read, pen in hand. Worked as an editor for a long time, and nothing beats actual paper.

merchandise potential (selling toys at Mcdonalds), track record like a best-selling book adaptation, filmmakers/auteurs with box office receipts/audience following, backdoor nepotism

Indubitably everything that's in the first ten pages of the screenplay. If there are all the required elements, you pick it up, otherwise you don't.

Backdoor nepotism - that's the way to do it.

A unique voice, themes that resonate and interesting characters with meaningful transformations. A bonus for me is good non-verbal communication between characters and between characters and the audience.

I have no clue. If I did, I'd be selling right now.

So many spot-on comments! Thanks for all your thoughts.

For me, it begins with who submitted it. If it's from an an agent, manager or producer, etc., who called me about the writer/script before submitting it and I was intrigued by the what they said, then that script(s) goes into my take home bag. Developing for a studio or large production company, the in-house (people and companies who have first-look deals with us) producers, directors and on-screen talent submissions rise above everything else. Sometimes I'm asked to read because the agent or manager thinks it fits what I'm looking for (they usually know even though it changes all the time), or maybe they think I will "really like" the style or any one of another dozen things. (Got to hand it to the agents and managers; they work their butts off for you.) Occasionally I am asked to read as a favor because it's a new client they are crazy about. I say "take home" because there's really no time to read new material during the day - if I am reading during office hours, it's a draft for a project that's already in development or a sample for an open assignment (but even these usually come home with me).

Next, it's the cover letter's description, regardless of it's a log-line or a one-sheet.

Then it's the title and the first page.

If it looks interesting, I take it home.

Unless there's some kind of pending deadline or the writer is getting a lot of attention around town (in which case I read them quickly), these scripts usually travel back and forth for a good week or so before I get to them.

What keeps me reading is everything you have all commented on - it's about the style, the subject, the characters, the plot, I ask myself "do I care", and so much more.

If I am not drawn in by page 5 or 10, I make a few notes and let the rep know it's a pass and why.

If it's a great piece - as a sample or available project - I make some notes, call the writer's rep and let them know so a meeting can be arranged.

For info on preparing for one of these meetings, check out a blog I wrote for Stage32 https://www.stage32.com/blog/An-Insider-s-Guide-to-Your-First-Meeting-wi...

Helene Nash thank you for pulling back the curtain and showing us how you work. It is helpful and inspirational!

How do we get more people like you in charge?? Really Cool to See YOUR thoughts. Whats your thoughts on the projects that are just like the others already out?? Like How each tv channel has a mirror show?? Someone got a green light for a copy. ? Or How everyone writes murders like its the cool thing?? I think in over 350 projects Ive written, I have under a dozen dead bodies. I feel the Market needs to Feed to the Youth, and Leave Death. I like knowing people like you, higher up, really care about the content. I try to only write things not done before, I'm glad to see Im not the only one.

I used to think it was when people simply deliver what they think others want...Maybe that is still true. Now after the scars and scrapes of life have taken their toll, I am more inclined to believe there is an unmistakable quality about a good story idea that has been persistently worked until all the cliches and "isms" are gone - but in its place our own spirit and authentic life story. Cheers Frank PS This at least is my experience with The Baron script.

David Ramey Gordon re:mirror shows, green lights on copies, etc., the majority of these that we see aren't intentional (although I have to think the singing competitions are). If there's a hot, true story, there's usually a rush to secure rights initially, and depending on whose rights are secured, different production companies may approach the same story from different angles - then it becomes a race to release the project first. Generally, however, if we know another company is already developing something we are considering, we are far less likely to pursue it.

I truly believe their personal interests and forecasting production budgets are heavy influencers. Onward and upward.

the most important questions for a studio executive would be: who sent me the SP, what talent is attached to it, and how much trouble will I get into if I don't read this right away.

Michael: define trouble.

It must be a compelling well developed story presented in a generally accepted industry format.

By trouble I mean accountability. Everyone you want to read your script will owe someone a response. Who that someone is makes a difference.

The story or plot tries to convey something to the audience. The screenplay accomplishes this by using characters, dialogue, locations, sound etc. A good screenplay meticulously uses various elements to convey the moral / message / emotion the story has.

The reality: what's the source? Who's it from? Time is precious, and this is a pre-screening process.

Reading a screenplay and picking it up for development are really two different things. Budget, for example, (unless it's off the charts), is really not an issue in what is picked-up for development. Do we love it? Will it draw A list talent? Will it draw an audience? Is it all-around GREAT? Bingo.

Yea, i agree there are alot of singing karaoke contests. I've been pitching for a new song contest, but I dont mean like that though.. i mean like. its a Hospital, copy of Er. a Law and Order copy, a police copy of Law and Order. . a fire copy of law and order.. a courtroom copy of law and order.. on each station not a cable channel. I know its not your fault, im stating what it is. Theres a madness too it for a writer looking in. What is the level on completion that you personally will stand, or prefer. Like.. A person sends a tv show. yea you need pilot complete.. maybe even 20+ episodes.. or where do you draw the line. back at page 10/? What amount do you personally suggest. Cause any story you can end and the person has to be like.. thats too short. but its technically completed. based on looking thru loglines in here. Im blown away sometimes how in a opening line.. they grab me. Where I'm interested in helping write on it. And what about looking for co-writers to help add or finish a project that would be getting a writer team to continue it into a show anyway?? Like i have multiple ideas that a writer team are needed. At what point do you cut off the writing and look for a producer. Then like you were saying.. find a producer in your niche of idea. Is it pretty much anyone SAG or Union wont even look at a outside? Is it solely look for a indie producer in that genera? What about when its things like.. I have a to be filmed live show. Where it would use many guests and a main .. and need to be relevant and hitting on jokes and lines as well as the subject matter. Nobodys doing that since Cheers. How much do you personally need to make a decision on something like that? Youre so great going thru and answering these. I knew who you were when I read your name.

Helene Nash those are great insights. I appreciate it. What do you see as the primary draws for A list talent?

Great discussion everyone!

David Ramey Gordon - that's a lot to unpack! Great questions, long answers. Maybe it's time for another blog post!

Helene Nash First of all, this is a great post, and the information you have generously shared is precisely what writers seek from industry professionals. So, thank you.

MY BIG QUESTION

I consider myself a newbie compared to some of the writers here on Stage32; however, since turning my focus to writing what I know -my life- opposed to what I thought I knew -everything- my script request rate has skyrocketed. These days, I only develop low-budget, high-concept scripts based on true stories (some loosely) and often look to incorporate teachable moments into a universal theme. Subsequently, a handful of scripts have landed on the desk of major streaming platforms, and I have a potential meeting with Kenya Barris -creator of Black-ish- for a pilot inspired by my family, titled 'The Parent Club'.

Do you believe I've just been lucky, or is there an unspoken secret for success in writing scripts that expose the highs and lows and vulnerabilities in our lives?

This question is more geared towards helping new/undiscovered writers because seldom does a new writer write a $100m budget script and see it produced.

Great subject like no other?

That's a great insight @Naithan Hilaire! I have been thinking of focusing on my own experiences in my scripts recently. But it is at the same time a scary thought. In the end, you are kind of exposing yourself in a vulnerable way. But I believe you are right in saying that it is closer to being successful if it is something you know truly and deeply.

That question is next to how to become a millionaire?

Must be undeniably emotionally compelling story that should be made NOW for some reason.

I have more experience in novel reading and writing, but so far, what I perceive as a good text is simply a story that draws me in really well and makes me forget I’m actually reading a text.

From what I have read and learnt there are a multitude of factors that determine whether a script will be read or pushed aside. The most important aspect is the quality of the writing. No way around that. If the writing is not correctly formatted, has grammatical errors, with minimal white space chances are it will be cast aside. But quality of writing goes beyond these things. You need to have that hook right at the start that makes the reader want to keep reading. This can be a compelling concept or an original idea that hasn't been seen before. But all that aside it's fundamentally the characters that keep the reader interested. Are the characters relatable? Why do we care about them? What will happen to these characters? If the characters are dull no crazy concept will get the script read beyond a couple of pages.

Having said that there are numerous other factors involved as well. Perhaps the script is well written but is not what that particular reader is looking for. Or the studio is unable to facilitate the kind of project you envisioned. Or you happened to present your work at the wrong time. Regardless, I feel it's important to write what you want to write about as it will make your scripts more powerful and engaging since you have that personal connection. When you are passionate about what you write about it will show in your script and with your characters. Not every idea works for every reader. Some will connect with your writing and some will not. But if you can really hone in on experiences and stories that the majority of people experience or have experienced that increases your chance for a continued read. Write what you're passionate about and others will feel the same when reading your scripts.

The key is to avoid the frickin' pile. Get an Agent and or attach bankable talent to your screenplay might help you get your scripts read without getting stuck in that pile of crap.

I don't know. What I do know is some people would not share their answer to that question.

I don't do piles. I prefer neat stacks.

Hi Helene Nash ! Thank you for the insight! I think it's important to know what producers look for when they pick up a script. Would you read a script sent by a screenwriter directly or only if represented? Thanks and have a wonderful day.

In my opinion, what strikes the most, at times is the concept linked also with the structure, while other times is a certain and rather abstract feeling of something fresh you’re reading. That’s what makes a screenplay stand apart.