Some Thoughts About the Screenwriting Process

There are several things one ought to keep in mind when considering writing a screenplay:

Attend screenwriting groups

Film is a collaborative medium, and screenwriting requires the ability to collaborate, compromise, and communicate. One way for the communication process to start is to sign up for one of the many programs that not only teach the art of the screenplay but also give one experience in the development process. Groups like Grub Street Writers and the Harvard Square Scriptwriters emphasize the latter while adult education programs, like those at Boston Adult Ed emphasize the former. Any program can expose you to enough for you to decide whether you want to pursue this mad endeavor in the first place.

Define your audience

Actually there are two audiences: those that would spend their money and time to see the story you would put on the screen, and those who would read your script in the process of helping the story reach that audience. Both are important. To reach the latter audience you need to have a clear understanding of the former. Remember, writing a script is as much about understanding the kinds of stories people want to see as it is about the story you want to tell. Be clear in understanding and communicating what kind of film you are creating. Big budget or small budget? What type or genre? Where will it be shown--theatres, festivals, or video?

Finally, don't forget that your script will have highly autobiographical elements, because you're supposed to write what you know. It's possible that no one wants to spend two hours in the dark with you.

Used approved format

There are computer programs and books for this, and certainly format would be covered by one of the groups or courses. This is important. It is often true that a script that is a good read is not necessarily a good screenplay. If you want your script to be taken seriously, you have to be careful in the way you present it, including narrative descriptions and the introduction of characters as well as in pagination and binding. Camera directions should be left out. It is up to the director, with his or her cinematographer, to decide how your story is to be filmed.

Occasionally I read a script filled with camera directions and interpretive narration. One such script was Brad Anderson's SESSION 9. It was almost poetic. But he knew which cinematographer he would work with, and that he would direct and edit the film. He also had a track record and could approach sources of financing. But going that route with your script sends a signal to any reader that you plan to be closely involved in the development of the film, and that message has far-reaching implications.

Make sure you use spelling and grammar checks. Too often I feel like I'm reading a submission for Freshman Comp rather than a serious script. Spelling and grammar mistakes only serve to distract from the real work of a reader, which is to understand the story and follow the structure of your script.

Be prepared to listen and rewrite

This has two parts: selection and evaluation. In selecting people to read, make sure these are people you trust to give honest feedback. Friends and family, attuned to your anxieties, tend to be overly supportive. Besides, they may not be experienced in reading screenplays. Give your work to people who are experienced reading scripts. At this stage, don't give it to too many industry people. First, it is probably premature. You don't want your script to have the perception that it's been around for awhile. Second, some of them might have the impression that you have access to the means to get the film produced and give you favorable feedback in the hope of getting a job on the production.

Once you've selected people to read, listen and take notes before you comment. When someone I may not know well sends me a script, I always try to test his or her willingness to rewrite. If the writer is too defensive, it is a sign that this is a potential client with whom it would be difficult to work.

The person who reads your script should also read the revised draft and perhaps be retained to help you develop a strategy for getting the script realized. Sometimes a script will go through several drafts before it reaches me for comment, and it is usually several drafts away from being shopped around. Remember, what is called a "first draft" is rarely so.

Attend screenwriters' forums

The Nantucket Film Festival provides a good forum in which to meet other writers and filmmakers. It is most valuable if you've gone through the above process though. In this most compact and picturesque of settings, there is a large collection of people who have faced the same problems you will have. There are speaking forums, panel discussions, presentations, and, of course, numerous occasions to swap war stories. Because of its small scale, it is possible not only to have conversations with those in your same situation but also those whose relative success you would like to emulate. You may not get your script sold or find your own producer, but you will come away with a wealth of valuable information, and have a good time in the process.

If you follow the above general guidelines, you will find that good screenwriting requires communication. And once the script is at the point where it can be shopped around, you will understand the merits and necessity of collaboration and compromise. This experience will have prepared you for it. Happy writing--it doesn't have to be lonely.