Screenwriting: An Open Learning Guide

Screenwriting is different from other literary forms. The script is essentially a "blueprint" that will guide the other filmmakers through the production of the film. Often, the final film will differ from what was on the page. These differences can be as small as a few simple dialogue changes, or as large as a complete change in tone, direction, and intent. Accepting this process is key to being a screenwriter who not only writes well, but will work well with the other people involved in the film's production.

In addition to being the blueprint for the film, the script also serves as a way to get that film made in the first place. Based on the strength of your screenplay, budget, talent, and enthusiasm, the film will fall into place. It is the strength of the story that can secure financing and production talent. It's not innovative and thrilling setpieces or even a smattering of really great scenes peppered throughout your script, but a cohesive, intriguing story that holds the reader's (and eventually the viewer's) attention from beginning to end. This is such a basic concept, and yet one that seems utterly lost on some screenwriters, even those already established in Hollywood.

This adage is always "Write what you know". This is excellent advice as writing from your personal experience will make the story, characters and tone believable.

The flip side of this is the joke that all first time scripts by writers who have recently moved to Hollywood are about...the struggles of a young writer recently moved to Hollywood. So write what you know but choose something of interest to an audience. You would be amazed at how easily a little known hobby of yours or a quirky friend translates into a scene or a character. Shamelessly mine your personal history and cut and paste characteristics of your friends together and you will be surprised at how little you need to spin from whole cloth.

The first ten pages of script are said to be the most important. They should begin to show how the entire film will work as a whole.

More often than not, the beginning screenwriter will find that his first sold screenplay will result in low-budget film. This also applies to those writing for the independent film scene.

With that in mind, it may not be a good idea to call for giant six-legged creatures scurrying up the side of a skyscraper or epic space battles across multiple solar systems in your script. While such effects can be done on a limited budget, they will not be of similar quality to those features for which money is not a constraint.

It is not only extended special effects sequences that can break a budget, but also a large cast and/or sets. For low-budget films, try to keep both the cast and the different locations as few in number as possible. While this may seem limiting to a writer's creativity, many find the opposite to be true when they are confronted with the challenge of creating a compelling and memorable story within the confines of a low budget.

Of course, if money is not an issue, feel free to create a Lawrence of Arabia-style epic with a cast of thousands and CGI that would break ILM.

Screenwriting books come in two forms: those written by successful screenwriters in Hollywood and those by, well, other types of people. And while you may be thinking that you would prefer to read a book on screenwriting by someone who has actually sold a script, both types of books actually have their strengths and weaknesses.

Source and licence

Text adapted from Movie Making Manual/Screenwriting by Wikibooks contributors under CC BY-SA 4.0. Paragraphs have been selected and abridged, and formatting adjusted. This adapted text is shared under the same licence. Contributor history.