It’s not easy screenwriting for the first time. Sure, it’s simple enough to write a set of scenes, some snappy dialogue and have a twist or two thrown in for good measure, but creating something that gets real, page-turning results is another matter. And for readers, producers and agents, with a daily pile of scripts to get through, that extra level of greatness is exactly what they’re looking for. But with a huge volume of scripts to be read, even a single early mistake on the page can get you branded as an amateur and your project given a swift pass.
That’s where knowing what to look out for comes in handy. Pooling the knowledge of our experienced team of readers at script coverage service ScriptUp, we’ll be walking you through a handful of the most common issues in first-time scripts and how to avoid being written off by a reader before they get to the good part.
Now, it’s worth mentioning that in a lot of screenplays you’ll find online, especially from well-known productions, you’ll see plenty of contradictions with what’s in this list. BOCTAOE, as Scott Adams says: ‘But of course there are obvious exceptions.’ Some writers won’t think twice about telling you how a character feels and others will include lengthy details of transitions and camera movements.
Screenwriting Mistakes to Avoid
Remember that screenwriting isn’t creative writing, you’re making blueprints. As a first-timer, you won’t have the benefits of a big career behind you (and the trust that goes with that!), so don’t take anything for granted. You can’t afford to cut corners, so play by the “rules” and you’ll stand the best chance of doing well. Focus on fundamentals and you’ll avoid the pitfalls. With that said, let’s get into them…
In your first ten pages, tell us what your protagonist wants. Imagine watching a brand-new TV show for the first ten minutes (remember we consider a page a minute!) and not getting the gist of why the events taking place matter to the characters. You’re likely to switch to something else. Especially in the age of on-demand content, that’s the attention span you have to work with. BLACKKKKLANSMAN, after an attention-grabbing opening, is quick to make its point:
That’s Ron’s initial goal, even if it’s later superseded by a quest to take down the local KKK chapter. Importantly, we know it matters to him, so it’s something that can be put in peril (and it is, later on!). Moreover, it’s a good chance to give the reader the tone of the script and to quickly allow them to grasp what the story is about. That’s why you’ll see a lot of great scripts start with meetings and briefings: APOCALYPSE NOW, RED RIDING 1980, THE SHINING – all giving you a chance to get your exposition across quickly and with an appropriate context.
Don’t be afraid to make it clear, those first five/ten/fifteen pages are always the most critical and we need to know the what and why fast if you’re to keep the reader locked in to your story.
Foreshadow your developments
Part of the joy for casual audiences and seasoned viewers alike is guessing what’s going to happen next. Now, any event is within the realm of possibility, but giving them a sense of probability is important. By hinting at events that may occur, you’re building tension as we anticipate likely events and avoiding the sense of contrivance that comes with big developments appearing out of nowhere.
BARRY LYNDON does this particularly well in its opening: Barry’s father is killed in a duel before we switch to his own struggle of staving off Captain Quin. We know that duels are probable ways to settle disagreements in this world and that they have fatal consequences (specially for Barry’s family). So, when Barry chooses to challenge Quin to a duel, it’s both a logical outcome of what we’ve seen before and immediately benefits from the tension of knowing Barry’s father died. It’s a strong opening that also sets up the expectation for the rest of the film: Barry will be fighting for the rest of his life.
“Unfilmables” / Show, don’t tell
It’s a simple enough idea but easily overlooked by first-time writers. Going back to my blueprint point, in a screenplay you’re describing what we’ll see on screen. What can’t we see? What characters are thinking or how they feel emotions deep-down inside them. If you want to show something on a character’s mind, give us a FLASH – show us what they’re thinking of, allow us to infer that’s what it is. If you’re looking to express emotion, find an action that embodies that, so we can see it. Remember, if we can’t see it and infer it, it won’t work on-screen, so make sure you show, don’t tell!
Too much direction
As a reader, part of the fun is being able to direct the project inside your own head. If a producer or agent can do that well enough for themselves, that might be the approving tick they need to take your project to the next level. But nothing is more off-putting than an overly pushy script: extensive camera directions, detailed blocking of scenes and transitions between every scene. There can sometimes be a place for these, but you don’t need them to leave a lasting impression in a spec script.
Your job as a writer is simply to tell the story, leave the filmmaking elements to the point when you’re in production. Ultimately, you want to create a script where every element of production can have their own sense of input: cinematographers, editors, producers, sound recordists and directors. If you leave room for everyone to make their own mark, it’s a lot easier to envision that project getting made.
Above all, trust the reader!
It’s hard enough trusting yourself to know when a script is ready to meet the big wide world, but half the battle is being able to let go of your work when it is. The best scripts speak for themselves and even the worst reader will recognise when a script does. Don’t bother contextualising your script with a fancy title page or reader’s note, let it ride and accept that once you let it go, it’s out of your hands. Readers want to see confidence on the page, so avoid compensating in areas you don’t have to.
It’s not easy being a first-time screenwriter, but you’ll never work as hard at writing as you’ll have to on the project that breaks you into the industry. By keeping your eyes peeled for easy pitfalls, you’ll (hopefully!) produce a script that says everything it needs to by itself and brings out the pro you know you can be.
Good luck!
Harry Nott is a screenwriter and filmmaker with experience as a script editor on several independent projects. Before joining script coverage service ScriptUp, Harry worked as a reader with London-based production company Midsummer Films and led screenwriting workshops for new writers at the University of Kent, where he also won an award in the Best Writing category from the National Student Television Association. Harry holds master’s degrees in both Screenwriting and Film. Originally from West Yorkshire, he lives and works in South London.
