Creating a Screenplay

Making a screenplay

Rate a story by its narrative potential. Make the "high concept" of a film. Like writing a script: Development of your script ideas

Winner of the Screenplay Award at the 82nd Annual Writer's Digest Writing Competition. He' s also won screenplay enquiries, selected three feature sets and won eight screenplay contests. Today he tells you how to begin a screenplay and tell his tale of the fight to get into the game. I' m a scriptwriter.

Some time ago, a literature executive in LA asked me how I knew when I was successful as a scriptwriter. I just answered, and it's the one thing all new scriptwriters want to hear: "Who is your assistant? "And if a scriptwriter is lucky enough to get even one particular screenplay, to see his or her final score on TV, or to take part in one or two screenplay competitions, chances are good that the author has a lot of talents.

Whilst scriptwriters tackle their work in many ways, there is one thing that needs to be done before FADE IN ever comes to the site: Sound storyline architecture. If you write a romance cartoon, sci-fi, horror, actions adventures, fantasies or a familiy movie, if the screenplay doesn't have a fixed screenplay frame, generally nothing good will come out of it.

Some are the few happy authors who just get in, begin to type and are overjoyed. That' s how I learnt to compose the fundamental script style. Wishing to make my way out of this car park, but not having any knowledge of history, texture or gender, I created my first specific characteristic.

In the last few months, one of the MCA Tower managers had seen me sit on the low car park and worked on the screenplay with my handheld typing machine. He wanted to see it the night I finished the screenplay. Whilst the options led to some smaller commercial movies being written in Europe, India and Latin America, my own screenplay was never made.

Like I learnt from a borderless Paramount readership, my script was extensive, morbid medocriteria, without texture, focusing or charakterentwickl. In the end I was able to put my egos aside and began to read every script I could find, from Syd Field and William Goldman to Aristotle and his three-act-paradigma.

And I kept on studying and I kept on writein. In contrast to finished books, scripts are not the end of the creation but the beginning. And, since most fiction movies seldom last longer than two and a half hour, scripts have to follow stringent structure if they are to be regarded as a film. I' ll come up with a plot concept.

If that happens, I know the moment has come to start the write work. Before I write the first words, however, I will devote my whole life, sometimes even months, to just reflecting on the main figures, their phenomena, their goals and how they are driving the history forward or creating conflicts. I' ll reiterate this procedure by working and rethinking until I' m sure that the history has a sound frame.

Then, I determine the ends of the first two files of the screenplay and enclose them. The ends of the first and second files are the most important turning points in any screenplay without sticking to the lingo of the play. You' ll see that at some point between 20 and 30 mins after the surroundings and ambience have been created, the protagonists presented and possible conflict and subplots predicted, an incident or plot takes place that takes the narrative in a new directed .

Here ends the first act and the second, the major part of the tale, begins. It is in a nightmare movie when the last bad being seems to have been exorcized for good until real terror emerges and a last fight between good and bad begins. Irrespective of the screenplay category, these beat or similar variation are contained almost everywhere in the texture of good scripts.

But that' s another tale. Usually I have one more job to do before I begin to write the real one. I' ll just cut the whole thing down to its essentials, a brief transcript of the first two files. It is a card, a way of keeping up to date and focusing on history.

It is not only the script that needs this kind of counsel. Adhering to these thoughts and vision as the beginning of a sketch is the secret to the writer - no matter what kind of music.

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