How to be a good ScreenwriterBecoming a good screenwriter
Get to know the reader: So what makes a good screenwriter?
I' ve been discussing with a friendly author lately what skills a character needs to be to be a good screenwriter, and we thought of that: You' ve got to adore films: you could think it's taken for granted, but it always amazes me how many times that want to make scripts say comfortably that they never go to the cinema, or that they only like old ones, or that they won't see anything that was made before 1990, or that they will only see overseas or that they will never see overseas flicks (because they hates subtitles), or that they hates studio flicks, or that they just want to see the latest major extravagant feature film.
I am also always bewildered when I see prospective scriptwriters who don't know the stories of the films or who have never seen the great classic films of yesterday and today. Very simple, I don't see how - if you're not in the movie theater and its amazing plasticity, any kind of storyline in any kind of style to tell in any way and not be ticklish by the idea that the same media that can give you Citizen Kane, The Rule of the Game and The Red Shoes, you also Animal House and Pirates of the Caribbean and I Spike on Your Grave; you';
when you don't know the genre and the industrial and crafts histories; when you don't know or appreciate his masterpieces - you can actually make them. It takes a good sense of (film) history: But to work as a film, a storyline must be interesting enough to keep the audience's eye on it for two or three lessons, contain an appropriate amount of actions (and by that I mean behaviour and events and peculiarities, not just pursuits - though pursuits are also cool) and be able to be narrated in a kine- like and visually way.
Those who can recognise stories that have these skills (and perhaps just as vitally important, those who don't) have a good opportunity to succeed as writers. But if not, you should probably stay with novel or playmaking. I mean that you have to know the principles and ideas of dramatical lettering-things like actions and conflicts and events and actions of turns and turns and ups and downs and dissolutions.
You' ve got to realize that you write for a crowd: Films are to be shown to a large number of viewers simultaneously in a shared visual event - even the darkest artificial movie is to be shown to an Auditorium full of them.
That is, if you are a writer, you need to do this so that your footage is comprehensible to the person you want to see your work. That doesn't mean you have to speak to your audiences or mute the footage or anything like that - you just have to remind yourself that when you' re composing a picture, you're not just doing it for yourself or your immediate family. You're doing it for a large number of individuals who want to see your work.
It is up to you to ensure that these concepts are clearly communicative and, if the movie doesn't make any connection, never resort to "they just haven't understood it". "As a scriptwriter, it's your task to make sure they get it. They always say, "Writing is rewriting", and that is really so.
For the most part (Mozart may have been the exception), the first sketch of anything is really only good for putting your idea on the page, and so most first sketches are slovenly and unconcentrated and unwieldy. To be a serious author, you have to be reckless with your work - to sharpen the corners and discard things that don't work, no matter how much you like them.
You' ve got to like films: in the end it all comes back to that, doesn't it? Just Effing Ask Julie Gray: What skills are needed to make the script?