Screenwriting : What wrong screenwriting ideas have you came across? by Victor Titimas

The idea that a screenwriter can go pro without any coaching/mentoring/pro feedback.

I'm sure there are exceptions. Always are. But I'd bet they're few and far between.

Agree with Shawn. Screenwriting Year 7 for me. I had someone email me just yesterday, wanting me to read their screenplay and "help make it a movie." Like, it's true, I am Jack and I do know where the Giant lives, but I haven't got a beanstalk (access) in my backyard just yet. Credit is King -- not content, in this town... Brad Pitt could walk into a studio and scribble down any of our well-formulated ideas on a ketchup napkin and sell it. This is the skyward stalk service that Stage 32 provides, which makes it so invaluable. How long have you been writing? I asked. "This is my first one," the answer came back. I mean, what do you say? It's like taking a single axe whack at a Redwood forest tree and telling everyone you think you have one ready to fall. A thousand more WHACKS, please. At the same time we want to be encouraging. We all took that first slice at the tree, and probably with an equally dull blade. Now, where are those beans... ?

Mr Speake speaks the truth. But many folks want to hear the fairy-tale stories like Shane Black, or the dude who wrote Miss Sloan. It's Hollywood. Gotta sell the dream.

Totally agree with Shawn. The lie is that ANYONE can write a screenplay... well actually, that is true. But very very very few can write a great screenplay. If you havent been mentored, helped, taken classes, read books, read scripts, gotten notes, etc., and you think youve written a great script... Youre lying to yourself.

I generally disagree with Danny - but He's got it (w)right this time. Anyone can write a screenplay but very few write it properly. Of the very few who do, nearly none have any idea of the complexities involved - but, hey someone wins the lottery every now and again.

I once saw a 1st-timer script written by a music industry celebrity. A major studio had picked it up and it did make it to screen. The screenplay was all IN CAPS. Yes, you heard me right. THE SCREENPLAY, INCLUDING THE DIALOG, SLUG LINES, ACTION LINES AND DESCRIPTIONS WERE ALL IN CAPS LIKE THIS! CAN YOU EVEN IMAGINE YOU OR I GETTING GREENLIT FOR A SCRIPT IN ALL CAPS OR EVEN READING A SCRIPT SUCH AS THIS? Again, it can be very much about networking and who you know... or don't know. My personal top suggestion for getting movement in the Industry -- -- network... network... network.

I believe people should write screenplays so they look and read like screenplays but is who you know that counts the most.

thanks doug... i think? haha

Danny - you're welcome - I think.

Dan - Absolutely dead on! The basic craft of writing a script is reasonably simple to master; so why do so many fail to master it? As a reader for a couple of LA agents, I warn screenwriters that if your script is not in an industry standard format: It goes unread and directly into the circular file. PERIOD!

The biggest one that is damaging (true for novelists too) is the biggest myth in writing: "Just do it. Just write ... the story will write itself." Oh boy. Big trouble.

Come on people. Everyone learns differently. There is no right or wrong way to learn. I read half of a how to book and just started writing screenplays. However my goal wasn't to write a great screenplay it was one that would make me money. Most great screenplays win contests but never get made.

That anyone can be a screenwriter. It is an incredibly small group, and no one deserves entry.

The idea that you have rules to follow. Of course you should understand the basic rules of storytelling, but I've read so many "screenwriting rules" out there, only to find out my favorite screenwriters gave no shits about them. Know the rules, but don't be their prisoner.

At least 10 or so years ago, I thought that you needed many years of experience before you could even think of getting anyone to work with you. But that's a general idea I had about the film industry in general; not just screenwriting.

Needless to say that prevented me from trying to find people to collaborate with. Once I realized i'd been conning myself, I made the moves to secure talent for my first short and jumped at the chance to work with established players (whom I could -and did- learn from).

My apprehension came from a place of fear and inexperience.

If a 'writer' can't write a pro story, it doesn't matter who the 'writer' knows. I haven't met one 'person in the know' who's gonna jeopardize their career for a friend's shoddy writing. I've got scripts due yesterday in Hollywood with 'friends'. Just because we're friends with TJ and SUMMER doesn't mean anything when I pitch. Friendship just got me close enough to pitch the loglines face-to-face, people. Here's how it went down in my 'Real World Hollywood Meetings' in Jan... After the pitch at TJ's Nightclub, TJ didn't say, give me whatever you got, buddy. He said, we'll see what the script looks like. Exact words, face to face, with T.J. SCOTT, director of many tv series, including LONGMIRE, where we met TJ on set as extras. I'll say it again for the doubters. "We'll see what the script looks like." Now this can be a game-changer for me. And there's no way that script is going to TJ and the other exec interested in MAD MOUNTAIN without DANNY MANUS and company beating up the story craft. This is just how I roll. About the guys with buddies who take whatever from them. I don't know pros like that. My friends aren't like that - at all. It's craft first with everyone I've met in the industry so far.... Now that I think about it. IT'S WHO YOU KNOW might actually be a myth.

I agree you have to write well written screenplays to meet people that can make a difference. It takes both to succeed but it does start with a well written script. How you learn to write one or how create the script doesn't matter as long as it is a good one.

Mr Speake, you're following the Taylor Sheridan game plan. Seeya at The Oscars in 2020. Bad MFer :)

The worst idea is that because X movie has got great reviews/profits the safest bet is to write a script similar to X movie.

One rule that isnt wrong but is followed wrongly, is "write what you know". Most writers think this means write about you, your life, your job, your friends, your divorce, etc... it does not.

That flashbacks are a no-no. Misuse is bad but properly used can be useful to essential.

Whether you have a diamond under your arm or a lump of coal, it doesn't get sold (or optioned) unless you know the jeweler. That takes networking. The most phenomenal writing sample or original spec won't get a looksee unless it gets to a reader. Of course, you can walk straight into an ordinary pawn shop or jeweler storefront. But try walking into a network, studio, or on an Industry lot with your diamond script. Yes, Spielberg did it. That was then. Yes, after you find that connection who is willing to hip-pocket you and use that industry Ace card in their back pocket, risking their sometimes personal relationship with an A or B-lister, who enjoys them by the way, for never having hit them up for an industry-related favor... it is definitely imperative you have an above board script! But even the most talented, yet unproduced script VOICE can't get looks unless the script is slipped to someone in the Industry by a connected someone who has an uncle in the business or can get past the mailroom. There are exceptions, however, and you may be one of them. One of the networks I did get into see (through a referral and connection) did like my concept, yet told me before they even read my script, "Pidge, we want to let you know before we read your script that we won't be able to use it." What? That's right. They went on to say that they needed to attach a mainstream writer and name to the property in order to sell it upstream. I understood. Because if the chairs were reversed and I were them, I would do the same. It's just business. It's just plain smart.

Shane Black did it. I think he was 21 or 22- years old. Supposedly, his roommate at the time set up a CAA meeting with Shane and Jim Miller. Sold Lethal Weapon script in 24-hours.

the Writer of Miss Sloan supposedly mailed a paper script and somehow, the script got to a decision maker, Scott Carr. That's the story people say on the Inside. Dunno. I've never seen a Unicorn, but they exist in Hollywood.

You're so right, Dan... his roommate (the connection) set up a meeting. No matter "lethal' or poor, someone's script won't get them a meeting. Now, I'm sure the roommate gave the script high marks when he spoke to his contact at CAA about it and this facilitated things, but who and what happened first and what was the deciding factor? The networking connection, of course. Good scripts do not make deals or have legs (the old adage)... people have legs last time I checked. :)

One of the most pernicious ideas -- and I can't believe anyone still believes it -- could be summed up as, "All you need is one hit, and you're set for life." God save us from the one-hit wonders! Maybe people could get away with this in the '80s (like a certain writer I know who just surfs & lives in a van now), but seriously, the Industry wants people who are in it for the long haul -- that is, assuming you generate successful ideas!

Great thread, ladies and gents! Happy Sunday!

One-hit wonders or one credit in a franchise for life?

More common in song writers and books. What has JD Salinger done since "Catcher...?"

One credit in a franchise is like winning Powerball lottery. Jeff Lieber wrote a pilot episode for ABC which became LOST. Gets a 6-figure residual check every few months for the rest of his life. Not too shabby for never working on the actual show.

True, Dan, some lucky few can take the money & run after one big success, if they wish. That writer I mentioned who retired to the beach was credited with 3 episodes of "Miami Vice", so yes, he was one of the "lottery winners". But he wasn't dedicated, just absurdly well-connected. Nowadays, who wants to invest in relationships with people who can't offer repeat business? Note that Jeff Lieber is still writing & producing today -- it's a safe bet he'll stay in the game as long as he can, regardless of the money.

Dan: you know he gets that six-figure residual check because of the WGA's efforts, which monitors all shows (actually they pay a few companies to do that.) There was this big warehouse in Florida when I lived there....they had a hundred or so people monitoring everything that was on television/cable, all the time. It's probably all somehow automated these days. I remember when my L.A. neighbors got their residual checks every few months....it was like....PARTY TIME.

What happened to that WGA thread, and all the other threads and posts from the past couple weeks? They seemed to have disappeared.

Bill

I'm not a WGA Member. Took 10++ years to see my Cable syndication residual check for "Senorita Justice." Slow mail service.

Dan: If your film producer is not a signatory of the WGA, and you're not a WGA member....and you got a residual check....that's one nice producer, if you know what I mean. Heh-heh.