script creative writing examples

Scriptwriting

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Behind every movie that you have seen and every theater play that you have attended, there is a pad of paper that refers to the detailed outline of the story being portrayed. This group of sheets is what we call “script.” Though watching your favorite comedy show entertains you, most of them have scriptwriting that is no joke. In this article, we are going to discuss the basic principles and nature of writing a script. Read through and be the scriptwriter of the next phenomenal movie.

A script (also known as a  screenplay ) creates a outline of the whole story to be acted out by actors for a film, a stage play, a television program example , etc. Aside from the dialogue, also narrates the actions, expressions, and movements of the characters (i.e. actors). If you haven’t seen a script before, this is now your chance. Here are some examples to let you have a glimpse of what they look like.

What is Scriptwriting? Scriptwriting, also known as screenwriting, is the process of writing the text or dialogue for a screenplay, which is a blueprint for a film, television show, play, or other visual storytelling medium. It is a specialized form of writing that focuses on creating a narrative structure, dialogue, and descriptions that guide actors, directors, and other crew members in bringing a story to life on screen or stage.

Scriptwriters, often called screenwriters, play a crucial role in the storytelling process for visual media. They are responsible for crafting the plot, developing characters, writing dialogue, and describing the settings and actions within a screenplay. A well-written script serves as the foundation for the entire production and helps translate the writer’s creative vision into a format that can be easily understood and executed by the cast and crew.

In screenwriting, there are specific formatting guidelines and industry standards that writers must follow to ensure clarity and consistency. Screenplays are typically divided into scenes, with each scene described in detail to convey the visual and auditory elements required for the production. Proper formatting and organization are essential for a script to be professional and practical for production.

Scriptwriting is a collaborative process, and screenwriters often work closely with directors, producers, and other creative professionals to refine and develop their scripts. The goal of scriptwriting is to create a compelling and engaging story that can be brought to life on screen, stage, or in other visual media.

Script Writing Format

1. title page.

Title of the script : Centered and in capital letters. Written by : Beneath the title, also centered. Writer’s contact information : At the bottom left corner (optional).

2. Scene Heading (Slugline)

INT. or EXT. indicating whether the scene is interior or exterior. Location : A brief description of the setting. Time of Day : Usually DAY or NIGHT.

3. Action (Description)

Describes the setting, characters, and what is happening in the scene. Written in the present tense and only includes what can be seen or heard.

4. Character Name

When a character is introduced for the first time, their name should be in all caps. Above their dialogue, centered on the page.

5. Dialogue

Underneath the character’s name, the dialogue is centered and enclosed in quotation marks. Keep dialogue lines concise for readability.

6. Parenthetical

Directions for actors (how they should say their lines) are placed in parentheses, just below the character’s name and before the dialogue. Use sparingly.

7. Transitions

Terms like CUT TO:, FADE IN:, FADE OUT., etc., are used to indicate changes between scenes. Typically aligned to the right of the page.

8. Extensions

Used next to character names to indicate off-screen (O.S.) or voice-over (V.O.) dialogue.

Formatting Specifications:

Font : 12-pt, Courier font is standard. Margins : Left margin 1.5 inches, right margin 1 inch (approx.), top and bottom margins 1 inch. Spacing : Dialogue is typically single-spaced, while action and scene descriptions are double-spaced.

Many screenwriters use specialized software like Final Draft, Celtx, or WriterDuet, which automatically formats the script according to industry standards.

Example of Script Writing

Certainly! One of the best examples of scriptwriting is the opening scene from the classic film “Casablanca.” This scene is not only iconic but also showcases excellent scriptwriting in capturing the mood, character dynamics, and setting. Here’s a brief description of the scene:

Title : “Casablanca” – Opening Scene Scene : INT. RICK’S CAFÉ AMÉRICAIN – NIGHT The setting is Rick’s Café Américain, a bustling nightclub in the city of Casablanca during World War II. The atmosphere is smoky and filled with an eclectic mix of people, including refugees, expatriates, and shady characters. The hum of conversation and music creates a lively backdrop. Characters : RICK BLAINE, the enigmatic and sophisticated owner of the café, impeccably dressed. CARL, the affable and observant bartender. VICTOR LASZLO, a heroic resistance leader, and his companion ILSA LUND, an elegant woman with an air of mystery. Action : The camera pans across the café, highlighting the diverse patrons and their interactions. A jazz band plays in the background. Rick stands behind the bar, calmly observing the crowd, a half-smoked cigarette in his hand. Suddenly, Victor and Ilsa enter the café, drawing everyone’s attention. Victor is stoic, while Ilsa is both beautiful and anxious. Rick watches them closely, his demeanor unchanging. The band strikes up “La Marseillaise,” and the patrons join in, singing the French national anthem in a show of unity and resistance against the German occupiers. Rick’s eyes remain fixed on Victor and Ilsa, revealing a depth of emotion beneath his cool exterior.

Scriptwriting Examples & Samples

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2. Script Writing Examples for Students

3. Radio Scriptwriting Examples

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4. Short Scriptwriting Examples

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6. Movie Script Writing Examples

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7. Documentary Script Writing Example

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10. Screenplay Script Writing Example

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16. Research Script Writing Example

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Importance of Script Writing

A script is a key tool used to ensure the success of the portrayal of a specific story. It also serves as a plan of the scenes to be portrayed by the actors, and script writing creates such a plan. Scriptwriting also showcases the talent of different scriptwriters in the field of mass media. Following a script minimizes the time intended to direct the actors on how to portray a certain character. Having the scenes planned beforehand lets the actors and directors focus more on the portrayal of the story, saving time and resources in the process.

Thus, script writing is considered as a fundamental process for the completion of a particular film or play.

How to Start Writing a Script

Let’s assume that you already have some marvelous scenes in your mind and you want to write them on papers. For sure, you would like to make a script that is as superb as the scenes itself, right? In writing your own screenplay, the beginning should be as competitive as your ending since it gives the judgment whether the audience stays or not. To give you a great start with your script composition, read this section before writing one.

1. Know what scripts are.

Just like any composition, the first thing you need to consider is to make sure that you really know what you are writing. In other words, it is indeed necessary to have an in-depth understanding of what scripts are and the technicalities behind it. You must also be aware that screenplays are not the work of a single man. In fact, there will be several people who would keep hold of your composition and edit or revise it accordingly. With this, writing will be not just easier but also clearer.

2. Get some inspiration.

3. sketch out your concept..

If you already have ideas and scenarios in your mind, drawing a sketch of all the details of your idea is the next thing you need to do. In any clean sheet of paper or board, make a comprehensible map pertaining to the necessary elements of your story such as the plot details, the personality traits of your characters and their relationship towards each other. Consider what techniques would you use in your screenplay, too. Moreover, take notes of the critical points of your story.

4. Create a story outline.

After crafting a sketch of your story, it is now time to turn it into an outline. In doing this, start with the basic run of your narrative and keep an eye on your story’s conflicts. Remember, conflicts are the lifeblood of stories. Also, start with details that are small but plays a big role in the story. Furthermore, in making the outline, consider the estimated length of your work. If you can make your story much concise, do it since long screenplays have less probability of being successful. In a standard script format, a page indicates a minute of screen time. Usually, dramas are 2-hours long while comedies are briefer which are about one and a half hours.

5. Divide your story into three acts.

In a script, acts are defined as a set of scenes that creates an essential piece of the story. It is depicted by elements such as rising action, resolution, and climax. Usually, a story is comprised of five acts; however, several modern stories utilized the pillars of a screenplay, the Three Acts namely, the introduction, middle, and conclusion. Though each act can stand independently, it should also be considered that it should create the complete arc of the story when joined together.

After doing these five initial steps, you may now proceed to more technical procedures such as adding of sequence, dialogues, more specific scenes, etc.

How to Write a Good Screenplay

A good  script describes  the story in full detail, engages both the actors and directors and captivates the audience. Though it may be challenging at first, practicing to read more samples and educational articles pertaining to screenplay writing is extremely helpful. Allow yourself to compose the script of the next blockbuster movie by following these steps:

1. Learn the basics.

First of all, a scriptwriter can’t make a screenplay with creativity alone. Since the script is the manual of the film and is what the whole production follows, the writer should at least know the basic standards, terms, and technicalities in composing a script. In scriptwriting, knowledge is the gateway for the experience.

 2. Read other movie scripts.

Scriptwriting has no standard contents but even just a reader, you can already identify which scripts could make it to the big screen. By scanning through the different scripts from various movies, you will be aware of what makes a script good or not. Furthermore, this will also give you a general idea on how the dialogue is developed, how the characters are portrayed, and how the story transitions from one scene to another.

3. Compose a draft.

Create a draft on the sequence of events and how the story progresses from the beginning. Write all the necessary plot details and create an outline of your story. In this step, it is alright for you to commit some erasures and alterations since it is still a draft. However, do your best to construct the initial picture of your entire movie concept already.

4. Split your story outline.

Divide the outline of your story into three acts. Act one is where you introduce the characters and their backstory. Act two is where the characters develop. Act three is where the characters experience the plot twists and conflicts, and where such conflicts are resolved.

5. Write the scenes and dialogues

There are two of the most important elements of the script. Scenes are the events of your story. Dialogues give your characters their voice. In this part, you can make an initial writing process of scenes by including all the interesting and relevant ideas you have. Nevertheless, in making your final script, see to it that all scenes are making important sense in the whole movie. If not then remove them.

6. Peer review

Though you can review or proofread your own work, it would still be a better choice to consult a friend that is knowledgeable in these matters. A friend may give you a few ideas on how to improve your story, peer review would be a more preferable option because basically, most of us cannot distinguish our own mistake. Moreover, be open to constructive criticisms, nobody is perfect, remember?

7. Polish your script

After a great discussion with your friend, you might spot any errors including the minimal ones. This is where you correct them. Also, you omit the unnecessary scenes that only confuse your audience and add a few details to your story as necessary. Revise your story as needed before producing the final screenplay.

In writing your screenplay, always remind yourself of the running time of your script. On average, a bankable movie runs from one hour and thirty minutes while short films take less than forty minutes in their screen time, including the credits.

Where to Read Scripts

Considering the rapid advancement of modern technology, the internet has been the extensive library of the scripts from different movies, plays, short films, etc. Nonetheless, the internet is a big place to search in; thus, it could still be a challenge for you to look for great references. Aside from this website, here is a list of sites from New York Film Academy for downloading and reading scripts from various media.

• IMSDB – Internet Movie Screenplay Database
• Go Into the Story
• Drew’s Script-o-Rama
• Simply Scripts
• Awesome Film
• Screenplays For You
• The Daily Script
• The Screenplay Database
• The Script Lab
• Movie Scripts and Screenplays

What are the six basic steps in writing a script?

1. concept and idea generation.

Start by brainstorming ideas and concepts for your script. What story do you want to tell, and what message or theme do you want to convey? Consider the genre, tone, and style of your script. It’s essential to have a clear vision of your story before moving forward.

2. Outline and Structure

Develop an outline that outlines the major plot points and structure of your script. Determine the acts, sequences, and scenes that will make up your story. Create a clear beginning, middle, and end to guide the narrative flow.

3. Character Development

Create well-rounded and relatable characters. Define their backgrounds, motivations, strengths, weaknesses, and arcs. Characters are at the heart of any script, and their actions and interactions drive the story.

4. Writing the Script

Start writing the script itself, following the appropriate industry formatting standards. Screenplays typically use specific formatting rules, including elements like scene headings, character names, dialogue, and action descriptions. Ensure your script is clear and easy to read.

5. Revisions and Polishing

Scriptwriting is often an iterative process. Review and revise your script multiple times. Pay attention to dialogue, pacing, character consistency, and plot logic. Seek feedback from others, including peers and experienced scriptwriters, to make improvements.

How do you write a script for beginners?

1. start with an idea:.

Begin by brainstorming ideas for your script. Think about the story you want to tell, the themes you want to explore, and the characters you want to create. Your idea can come from personal experiences, books, news stories, or simply your imagination.

2. Study the Craft:

Familiarize yourself with the basics of scriptwriting. Read scripts of movies or TV shows in your chosen genre to get a sense of formatting, structure, and style. There are also many books, online courses, and resources available to learn more about scriptwriting.

3. Choose Your Format:

Determine the format for your script. The most common formats are screenplays for movies and TV, stage plays for theater, and teleplays for television. Each has specific formatting guidelines, so make sure to choose the appropriate one for your project.

4. Create an Outline:

Develop an outline that sketches out the main plot points, characters, and the overall structure of your script. Consider the three-act structure often used in storytelling, and identify key turning points in your plot.

5. Develop Your Characters:

Create well-rounded and relatable characters. Define their backgrounds, motivations, and character arcs. Understand their strengths, weaknesses, and how they evolve throughout the story.

6. Write the Script:

Start writing your script, following the industry-standard formatting for your chosen medium. Common script elements include scene headings, character names, dialogue, and action descriptions. Be concise and clear in your writing.

7. Focus on Dialogue:

Pay special attention to writing natural and engaging dialogue. It should reveal character traits, move the plot forward, and reflect the characters’ unique voices. Read the dialogue out loud to ensure it sounds realistic.

Types of Script Writing

• Screenwriting for Film : This involves writing scripts for movies. Screenplays include detailed descriptions of scenes, character dialogues, and directions for actors and cameras. The narrative can range from short films to feature-length movies.
• Television Writing : Scripts for TV shows can vary greatly depending on the format, including serialized dramas, sitcoms, reality shows, and news programs. Writers often work in teams to produce episodes for a series, following specific guidelines to maintain consistency.
• Playwriting for Theatre : Writing for the stage, playwriting involves crafting scripts for live performances. Plays require dialogue and stage directions to guide actors and directors, emphasizing strong character development and plot to engage the audience in a real-time setting.
• Radio Scriptwriting : Radio scripts are written for a broadcasts, focusing on dialogue, sound effects, and music to tell a story or convey information without visual elements. This form includes radio dramas, talk shows, and commercials.
• Video Game Writing : This involves creating the narrative for video games, including character dialogue, story arcs, and world-building elements. Video game writing is interactive, requiring multiple scenarios and outcomes based on player choices.
• Documentary Scriptwriting : Writing for documentaries involves crafting a narrative that combines factual information with storytelling. Scripts may include voice-over narration, interviews, and visual descriptions to guide the documentary’s flow and structure.
• Commercial and Advertising Scriptwriting : This type involves creating scripts for commercials and advertisements, focusing on persuasive language and compelling narratives to promote products or services within a very short timeframe.
• Web Series Writing : Scripts for web series are created specifically for online platforms, catering to a diverse and often niche audience. Web series can vary in genre and format, allowing for creative freedom and experimentation.
• Animation Writing : Writing for animation involves scripts for animated films or series, requiring imaginative storytelling that complements visual art and animation techniques. It includes character dialogues, actions, and sometimes musical sequences.

What is difference between script and screenplay?

General FAQ’s

What makes a good script.

A good script is compelling, with well-defined characters, engaging dialogue, a strong structure, and a clear theme, offering a meaningful story that resonates with its audience.

How do you write a script with no dialogue?

To write a script with no dialogue, focus on visual storytelling. Develop a clear concept, outline, and rely on actions, expressions, and imagery to convey the narrative effectively.

How long does it take to write a script?

The time to write a script varies widely, depending on the type, complexity, and writer’s experience. A feature film script may take several months, while a short script might be completed in a few weeks. It’s influenced by factors like research, planning, revisions, and individual writing speed.

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• Instructive
• Professional

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How to Write a Script: From Idea to Screenplay

What is a script? How long does it need to be, and most importantly, how to write a basic screenplay are some commonly asked questions amongst new, up and coming script and screenwriters.

Well, when we really break it down, a script is simply written work (all in size-12 courier font) of roughly 90 -120 pages which translates your creative word smithing into how the visuals and audio on screen will unfold. 

On the surface, trying to write a script or screenplay is deceptively simple, partially because everybody intrinsically understands the language of cinematic storytelling.  

It is an inevitable (and crucial) byproduct of growing up watching movies – everybody knows the feeling of being able to anticipate a character’s next move, or character dialogue, or scene locations or when the plot will shift directions, or when the monster is about to crash through the window. If you know movies, you know enough to write the screenplay, right?

Another part of the deception is the textual nature of script themselves: the formatting on the page creates a lot of empty space. Anyone who’s spent time in a script editor knows the giddy sensation of typing along and finding themselves suddenly ten, or twenty, or even thirty pages into a script.

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The problem is that screenplays are as much technical documents as they are works of art. You could craft a beautifully heartfelt and original script that will be rendered completely unfilmable by virtue of the way that you wrote it.

You could have a one hundred and fifty page script that would only justify forty minutes of screen time. The margin for error in writing a script is enormous, because a screenplay isn’t a story to be read on its own: rather, it is a blueprint for creating something larger and much more complex.

Consider the Frankenstein metaphor: stitching the creature together is one thing, bringing it to life is something else entirely.

So how do you stitch together a good creature? Wait, I mean, so how does one write a good screenplay? For those new to the craft, here are some simple, helpful directives to get you on the right track.

How to Write a Script – A Basic 5-Step Guide

• Create a Logline & Develop Your Characters
• Write an Outline
• Write a Treatment
• Write Your Script
• Write Your Script Again

Step 1 – Create a Logline & Develop Your Characters

A great way to start the process of writing a script is by coming up with a logline: one or two sentences that will encapsulate your story in an intriguing manner. Once you’re done with that, develop your characters. Write their backstories. Refine their personalities.

Think about what makes them tick. Always make sure that your characters have goals that they need to achieve, and ensure that those goals carry high stakes should your characters fail to meet them. This does not mean that their goals need to be lofty, they just need to be authentic. The stakes can be as high as the end of the world or as personal as the end of a friendship.

The point is that characters having purpose is what makes them interesting. Flat characters destroy scripts. No matter how great your action sequences are or how original your concept is, one dimensional and uninteresting characters will drag your story to a halt.

You’ll find that writing with your characters’ personalities and goals in mind will take your story in unexpected places, and usually for the better.

Step 2 – Write an Outline

An outline (sometimes called a ‘beat sheet’) is a brief synopsis of your entire story. Try to fit it on one to two pages, and be concise. Broad strokes are key here. Think of the outline as the ‘definition’ of your script that breaks down the movement of the story, plot point by plot point. This is where you should begin to think about structure.

Essentially, conventional cinematic storytelling is bound to a classical format of three acts: It’s just how people expect stories to be told. There are many books written on the subject of screenplay structure, but the fundamentals are pretty simple. An average screenplay will be about ninety to one hundred pages.

Divide those pages by three. There’s your acts:

The 1st one should introduce your characters and setting and feature an inciting incident that gets the story underway.

The 2nd act is where your characters encounter obstacles as the story escalates into a crisis.

The 3rd act is where the crisis becomes climax (think victory or defeat), after which the story slows down and resolves itself. Don’t think of it as a paint by numbers approach – there’s plenty of room for experimentation and subversion.

Step 3 – Write a Treatment

Now you get to start flexing your prose muscles and develop your style.

Treatments are effectively a more in-depth version of your outline. Expound upon it and write your whole story scene by scene in a conventional manuscript style. Experiment with dialog, or at least make note of what you want your characters to say. Develop your settings and have fun with descriptions.

The treatment is where you really start building the world that your story takes place in. The length of a treatment is dependant on both the kind of story you’re telling and the length of the intended finished product.

For reference, a typical feature treatment will clock in at around thirty pages.

Step 4 – Write Your Script

Time to get to work. 

Go to it, and godspeed. It’s always a good idea to  write in a script editor like Celtx to help streamline the process . Celtx Studio features one that is tried, true, and hugely popular –  and it’s free. 

You’ve developed your characters, structured your plot, and have an inspired treatment. Understand the formatting. Write in the present tense.  Brevity is your friend. Remember to show, not tell: you’re writing for the eyes and the ears. 

Bonus Screenwritng Tip #1: If you’re feeling a little uninspired on the creative direction of your script, then a great trick is to take notes on the go of the interesting conversations, news articles, and people you encounter. This can be as simple as taking notes on your phone or a notepad. 

Step 5 – Write Your Script Again (and again, and again)

Completing the first draft is an accomplishment to be celebrated, but it’s just the beginning. If you think your first draft is perfect, it’s not (sorry).

Go back, read it through, take stuff out, and add stuff in.

Get other people to read it and commit yourself to being open to constructive criticism. Don’t just look for feedback from professionals and editors – lovers of science fiction film, or plain old movie fans can offer advice just as sound as any seasoned screenwriter.

Throw your script out there and surround yourself with the ideas that come back. Always be refining and revising, and just when you think you can’t possibly revise any further, do it again.

It all comes down to practice. Most professional screenwriters complete multiple features before they write a script that sells. A select few hit it out of the park on the first draft. All will agree that you need to be dedicated, and that most of all, you need to love your story. If you don’t, it’ll never be complete.

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7 Screenwriting Tips and Tricks for Beginners

Now that you have your framework lined up, it’s time to dive deeper into what it takes to write the final draft of a script. Below are 7 script writing tips that will help you when writing your first draft.

How to Write a Script – Top 7 Tips

• Do Some Homework and Play to Your Strengths
• Read Scripts
• Watch Your Favorite Films
• Learn How to Write a Script From a Single Sentence
• Learn How To Develop a Beat Sheet and Treatment
• Familiarize Yourself With Scriptwriting Language
• Consider Using a Quality Scriptwriting Software

1. Do Some Homework and Play to Your Strengths

Write to your strengths. Like any new craft, scriptwriting will come with some fresh creative lessons.

Through the process of your first draft, you will learn how to build a script from an infant idea to a finished product, all while becoming familiar with the formatting and terminology along the way. Therefore, for your first draft, writing to your strengths is a great place to start. 

What are you already good at? What do you already have a natural strength or interest in? Is there an area of work or the world that you know well? These questions are not designed to find any expert-level knowledge, they’re designed to probe what your strengths are . 

You may be the comic of your group of friends, so try starting with a comedy. Perhaps you are the family historian, so a historic film or one with investigative themes may come more easily to your skillset. 

Another way to approach writing to your strengths is to set the film in a place you are very familiar with, such as your hometown or country. Also, if you are not sure of your strengths, why not ask the people around you for some help? 

Through conversations with others, you may realize areas of your life that you are passionate to discuss, whether it’s about your childhood, sport, social injustices, work, or family life. 

2. Read Scripts

Many of our most beloved films have their original scripts available online and are easily accessible for us to read and analyze. Try to find even two or three film scripts online for stories you are already familiar with and give them a read. 

This is an enjoyable exercise, and chances are you will be amazed to read how such memorable scenes and movies were once first sketched out in words. You may even be surprised to see how stripped back the visual notes and script cues are that created these entire visual worlds on screen. 

Your script should emulate this neat, efficient writing style when you are translating ideas for visuals into words. 

Bonus Script Writing Tip #2: Writing a script can take as long as you want it to but, assuming this is a part-time project to be done while balancing other commitments, allocating 12 weeks of work should be enough time to complete a solid first draft. 

3. Watch Your Favorite Films

Okay, so let’s say you want to write a movie script , then start by reflecting on why you love some movies and why you hate others. This is one of the best (and most fun) ways to learn how to write a movie script.

Take note of details you appreciated and try injecting similar elements into your own work. We can all easily sit back and enjoy our favorite films, but consciously analyzing the films we enjoy and taking notes of what elements work is helpful for getting our own scriptwriting and creative hats on.

If you’re not sure how to start picking apart your favorite films, take down notes for each of these categories: sound, dialogue, setting, character, editing, and lighting. These are some of the key script elements which create the mood and atmosphere on screen, so picking apart what you found effective will certainly inform your own script. 

Also, while it is helpful to watch your favorite film (Happy Gilmore for me) to see how well all these things are executed, it can be just as helpful to watch, well . . . bad films too. Seriously! This may sound like an unusual piece of advice, but when you watch a bad movie, it can also quickly show you what elements are not working well. 

Unlike great movies where all the elements flow and work together seamlessly, bad movies make their separate elements easy to spot and analyze. For example, The Room (2003) is a cult-hit “bad movie” which will help you see how key film elements, such as editing and dialogue, are disjointed. 

If watching a great movie is eating an amazing meal at a restaurant, then watching a bad movie is more like stepping behind the scenes and into the chaotic kitchen. 

Also, if you already have an idea for a film, do a little research into this genre. You may find more creative inspiration and wisdom in what the existing genre is doing and, perhaps, how your film could be a fresh take on an angle currently missing in the genre. 

For example, if you want to write a horror film set inside a farmhouse, try watching some horror films and keep an extra eye out for horror films which are set predominantly inside.

While doing some research into films which thematically are similar to what you want to achieve will help you come away with a list of things you were inspired to do (and what not to do!), the possible sources of inspiration for your script are really endless. For another example, you could base your story from your own life, a book you read, a play you saw or a wild dream you just had.

Remember folks, at this stage, before getting into writing your script, you have complete creative license and agency, the creative origin point of this entire project.  Of course, later down the line, scripts will be revised, partly rewritten, and tweaked to accommodate the needs of directors, producers, and the studio’s needs. But, right now, you’re in the creative driver’s seat!

4. Learn How to Write a Script From a Single Sentence

You have an awesome idea, and you know what you want to do with your characters, but are you still wondering how your script will actually get written? This is a great place to be. Before cannonballing into the deep end, take these steps to thoughtfully build up your script like a screenwriting pro. 

The first essential step is to write your script’s logline , also sometimes known as a “slugline.” This logline should be no longer than two sentences or about 50 words in length. Your logline should capture your script’s main obstacles or action into a single-sentence nutshell. 

Of course your entire script cannot be boiled down into one line, but loglines are not designed to be comprehensive and fit your entire story in; they should describe the thrust of action facing your characters and hook the reader’s attention into reading the rest of your script. 

The logline tends to focus on the central character’s mission and contextualizes them in the place they are starting. The logline for documentary Won’t You Be My Neighbour (2019) ,  about the life of TV personality Mister Fred Rodgers reads, “A portrait of a man whom we all think we know, this emotional and moving film takes us beyond the zip-up cardigans and the land of make-believe, and into the heart of a creative genius who inspired generations of children with compassion and limitless imagination.”  

You will notice an effective logline gives us a flavor of the story, a hint at the narrative but continues to leave readers seeking more information and depth. Your logline will be an excellent summary to keep on hand while writing your final script because it anchors your narrative and reminds you of your initial storytelling goals. Think of it as your storytelling mission statement. 

5. Learn How To Develop a Beat Sheet and Treatment

The next key step in learning how to write a script is to make a beat sheet and treatment for your script. You can make your beat sheet and treatment documents in either order, depending on your own preference.

Your beat sheet is essentially a bullet-pointed skeletal version of your script. From beginning, middle to end, all the key moments are jotted down in chronological order. Each “beat” is a sentence or two long and simply states the action taking place. 

Related Article by Celtx: How to End a Screenplay [3 Effective Script Endings]

For example, “Hannah arrives at work and realizes her car is missing”. Again, it is useful in this stage to avoid overly floral and descriptive language so that the action is really laid bare. It’s very common during this stage to identify gaps in your narrative, which is exactly why this exercise is so important. 

Suddenly you may find yourself with some creative gap-filling and work to do, and that’s great. This is the ideal time for you to spot untethered parts of your story and fix them into place. There are two common and constructive methods for crafting a beat sheet: using a Word document to bullet point these action beats or using index cards with a sentence on each and ordering and reordering them as needed. 

If running through your script in chronological order is proving too difficult for now, try starting at the end or the middle and working backwards. Most scripts are structured in a tripartite way, meaning you will have one third dedicated to the beginning, a middle third with a focus on the action, and the last third for the dramatic final act. 

This storytelling structure follows a “set-up, confrontation, and resolution” approach. Splitting-up your bullet points over three pages, with approximately 30 points on each, will be roughly enough beats for a 90-minute movie. Whether you have a bullet pointed list or ordered index cards on a board, your finalized beat sheet should make it clear how your script’s action unfolds from beginning to end. 

Bonus Script Writing Tip #3: A useful measure of your script’s length is the same way most writers and producers calculate your script length – one page of your script equating to one minute of the film on screen. Simple, right? 

Next, with your logline and beat sheet completed, it is time to write your script’s treatment. This is a 3 to 5 page document which uses descriptive language and brings your lean beat sheet into a short story format which more vividly brings your story and characters to life. 

This is the perfect opportunity to highlight your character profiles in detail by describing their characteristics and motivations. A script treatment is often used as a kind of marketing tool which would accompany your script when being sent to potential buyers or producers, therefore it is important to have a strong treatment which actively portrays the themes, visuals, and overall tone of your script. 

Writing your treatment is like writing a descriptive and polished blurb for your film.

Now, it is time to open your scriptwriting software , jump to the first page, set yourself a realistic deadline for completing this script and get writing. Start by writing your script’s title page – this includes the film’s title, your name and contact email on the title page, and then get into the script!

Get Started with Your Script Today (FREE to Sign-Up)

6. Familiarize Yourself With Scriptwriting Language

It’s essential to familiarize yourself with scriptwriting language before writing your script. 

Most scripts are considered to be a “spec script”, as a short way of saying “speculative script.” Later in the creative process your script would need to be iterated by directors and producers into a “shooting script” to get the script camera ready. 

A shooting script contains more detail for editing purposes and camera angles for the purposes of filming, which directors will infuse based on their own visions. Remember, while you are writing your ‘spec script’, you do not need to include details on camera angles or how scenes will transition at this stage. Stick to the story.

Don’t worry, you won’t have to learn a whole new scriptwriting language to write. However, there are a handful of terms which you should learn because you’ll employ them constantly while writing. By writing your screenplay with a baseline familiarity or, better yet, a firm grasp of these terms, then your work will just continue to flow more easily. 

These terms are the fundamental building blocks of scriptwriting language and will come up in every script you read or write!

Scene heading : This heading signifies the beginning of every scene and is placed at the very top of each in ALL CAPS. It will either say: “EXT.” or “INT.” These abbreviations are simply short for “exterior” and “interior” to describe the location of the action in your scene. This is followed by the name of the location itself, as well as the approximate time of day in which the scene takes place. For example, “INT. KITCHEN – NIGHT” or “EXT. GARDEN – DAY”

Action Descriptions : This is one of the easiest terms to pick up and start using. Action lines are describing the action of your characters in any scene. It may be tempting to write long descriptions, but keep these sentences as neat as you can. Remember: you’re not writing a novel or poetry; you’re describing the literal action as it appears on-screen.

Characters . When introducing characters for the first time within an action description, capitalize their name and include 10 or so words that describe their main attributes. When they speak, their character name is centered on the page with their dialogue immediately following.

Dialogue . This goes in the center of the page beneath the name of the character speaking. To make your dialogue as authentic as possible, focus on understanding your characters as if they were real people. Subconsciously writers often project their own voices or world view; make sure to avoid this common trap!

Parenthetical : A parenthetical is one of the ways scriptwriters can add performance or action details related to lines of dialogue. These provide helpful texture but make sure to use these sparingly. For example, (begrudgingly), (emphatically), or (excitedly) would go before a character’s line of dialogue, as could (scrunches nose), (scoffs), or (points)

With all these scriptwriting phrases and abbreviations under your belt, you’ll find it easier to write and make sense of the scriptwriting software you decide to use. Almost all scriptwriting software today intuitively formats your script out for you – meaning it will add details like parentheticals and formatting conventions like capitalized scene headings wherever  appropriate, which makes your life easier and script better. 

7. Consider Using a Quality Scriptwriting Software for Your First Spec Script

There are a bevy of professional, quality, and affordable scriptwriting softwares available online. Not only will investing in scriptwriting software make it easier to format your work, but it will also teach you a great deal about the correct, standardized script format used throughout the entire entertainment industry. 

Scripts have a rigid and strictly adhered-to format, and the sooner you become fluent in this scriptwriting language, the better. 

Having a reliable and intuitive screenwriting software used to assist you through the screenwriting process will make your life much easier, and instead of being bogged down with formatting, you can focus your energy and attention into the storytelling.

If you haven’t yet, you should try using a script writing software like Celtx. This will automatically format your script in Hollywood style format, which is often considered as “industry standard“.

Like any new challenge or project, there will be ebbs and flows of inspiration and willingness to see your screenplay through to the end.

It’s useful to anticipate difficult moments where you feel at a loss as to how to continue and finish this massive endeavor.  That’s ok! And what every writer on the planet experiences regularly.

Don’t worry about finding a blockbuster-worthy moment straight away; often the best insights and creativity are found in day-to-day encounters. Keep an eye out, take note, and switch on your creative antenna in the process.

If you prepare for moments of “ writers’ block ”, then you’re better preparing yourself for successfully overcoming that hurdle.

Also, if you hit a writers’ block then you’re in good company as countless notable scriptwriters experience this too. Recently Taika Waititi reassured an audience that opening your laptop, staring at a blank document, feeling sad, and then closing your laptop is “still classified as writing”. 

Writing an amazing script will require constant dedication – be patient with yourself and stick at it! 

Andrew Stamm is based in London with his wife and dog. He spends his working time as Partner and Creative Director at Estes Media, a budding digital marketing agency, and performs freelance scriptwriting services on the side. Off the clock he loves to bake, hike, and watch as many niche films as possible.

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Screenwriting Basics: A Beginner's Guide

If you're starting out, here's the basics to help you succeed..

'The Worst Person in the World'

Welcome to the captivating world of screenwriting! This post is deWhether you're a budding filmmaker or an enthusiast dreaming of seeing your stories come alive on the big screen, understanding the basics of screenwriting is crucial. This guide is designed to walk you through the fundamentals, offering both insight and practical tips to kickstart your screenwriting journey.

Understanding the Essence of a Screenplay

A screenplay is more than just a story. It's a blueprint for a film. It combines narrative, dialogue, and visual instructions to guide directors, actors, and the entire film crew.

Unlike a novel, a screenplay focuses on showing, not telling, and is written in a present-tense, concise style.

The Structure: Building Your Story's Skeleton

One of the first lessons in screenwriting is mastering the three-act structure:

• Act One – The Setup: This act introduces the main characters, setting, and the story's primary conflict. It often culminates in a 'turning point' that propels the story into the second act.
• Act Two –The Confrontation: The longest section of your script, this act deepens the conflict and develops your characters. It's filled with obstacles and often ends with a climax or a major setback for the protagonist.
• Act Three– The Resolution: This final act resolves the story's conflicts and questions, leading to a satisfying conclusion. Whether it's a happy ending or a tragic one, it should feel earned and true to the story.

Character Development: The Heart of Your Screenplay

Great films are driven by compelling characters. Your characters should have distinct personalities, desires, and flaws. A well-developed character arc , where a character evolves in response to the story's events, adds depth to your screenplay.

Dialogue: Giving Voice to Your Characters

Dialogue in screenplays serves multiple purposes. It reveals character, advances the plot, and delivers exposition. Strive for natural, engaging dialogue that reflects each character's unique voice.

Remember, less is often more. Avoid unnecessary exposition.

Show, Don't Tell

Screenwriting is visual storytelling. Instead of describing what's happening, illustrate it through actions and dialogue.

For instance, instead of writing "John is sad," show John looking at an old photo and wiping away a tear. This "show, don't tell" principle is key to engaging the audience.

The Importance of Format

Professional screenwriting demands adherence to a specific format. This includes using a 12-point Courier font, correct margins, and proper scene headings.

Software like Final Draft raft or Ce ltx can help you maintain the standard format.

Writing Your First Draft

Begin with an outline or a treatment, which is a narrative description of your story. Then, start writing your first draft.

Don't worry about perfection. The first draft is about getting your story down. Editing and polishing come later.

The Art of Rewriting

Screenwriting is as much about rewriting as it is about writing. Once your first draft is complete, take a break, then come back with fresh eyes. Look for plot holes, character inconsistencies, and opportunities to sharpen your dialogue. Feedback from trusted peers can be invaluable during this process.

Breaking Into the Industry

As a beginner, your focus should be on honing your craft. However, it's never too early to learn about the industry. Participating in screenwriting contests, workshops, and networking events can provide exposure and learning opportunities. Online platforms like The Black List or Inktip can be avenues to showcase your work.

Continuous Learning and Adaptation

'The Devil Wears Prada'

Credit: 20th Century Fox

The world of screenwriting is dynamic. Keep learning by reading screenplays, watching films, and staying updated with industry trends. Adaptability and a willingness to learn are key.

Embarking on a screenwriting journey is both exciting and challenging. Remember, every great filmmaker and writer started somewhere. Your unique voice and stories are what the film industry needs. Embrace the process, keep writing, and who knows–your screenplay might just be the next big hit on the big screen!

This beginner's guide is just the starting point. Screenwriting is a craft that takes time and practice to master. Stay curious, stay dedicated, and most importantly, keep writing.

Your journey in the world of screenwriting starts now!

Now go get writing.

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A Week in the Life of Emmy-Nominated 'Frasier' DP Gary Baum

Hear a first-hand breakdown of prepping a live multi-cam network shoot from seasoned vet gary baum..

Written by Gary Baum

Since I Love Lucy debuted on CBS in 1951, the Multi-Camera format has defined the comedy genre on television. Desi Arnaz and Lucille Ball created the format along with Karl Freund, ASC.

Their original intention was to film the comedy series with 3 cameras shooting simultaneously in front of an audience. The successful format has endured for almost 75 years, with of course updated modern technology .

Now we shoot with digital 4k format in 1:78 to achieve a 16x9 view, which is compatible for network and streaming delivery. With most studio audience shoots, such as Frasier , we use four Sony VENICE cameras with Panavision primo zoom lenses, maintained by my DIT. I shoot in S-log utilizing an on set LUT created by my Video Control operator.

Since the comedy is shot proscenium style to incorporate the full effect of watching the entire scene without breaks, it affords the audience the experience of a theatrical performance and the actors with a live feedback that isn't available on other formats.

Four cameras are blocked to capture all required angles; wide, medium, overs, two shots, singles etc.

The cameras are constantly moving to predetermined queues which require different focal lengths and angles. A typical four minute scene can incorporate 40 to 50 shots. It’s a ballet of sorts, and quite the visual experience onto itself.

Lighting for the multi-camera experience is a world onto it’s own. We must light from above without any lights on the stage floor to impede the camera’s movement. Every scene is lighted for four cameras, as we don’t have the luxury of lighting for multiple setups within a scene as with a feature or single camera TV.

For a typical five day work week, the first production day starts with a production meeting followed by a table read, and usually a light rehearsal. Hopefully the sets are up and we can start our lighting. We start the “heavy lifting” of using our larger units placing them for cross back keys and to entrance points. We use fresnel incandescent units for their throw ability as these lights can be 20 plus feet away from the intended target. I carry custom engineered LED “Obie” lights on each camera.

The second day is another rehearsal with a producer run through. At this stage, we can see the actors’ movements which then we can address with our smaller lights and some fill ratios. The third day, is rehearsal again, dealing with some script re-writes and actors movements with a final studio run through. At this point we can hopefully finish our broad lighting palate.

The fourth day is the first of two camera days. All four cameras on dollies and or pedestals arrive for the director’s blocking with line queues facilitated by a camera coordinator.

On this day we try to finish our actors’ lighting and polish our architectural lighting ie; practicals, sconces, etc. Many of these days we'll pre shoot a scene or two because of guest actor availability, to release a set that is not in view of the audience, for single camera style coverage, or for children and animal performances.

All through the process we have to maintain as many as seven sets at once. We have monitors and a quad split with switching availability between each camera to view each shot simultaneously.

On the fifth day our audience day starts with a final rehearsal for actors and cameras dealing with re-writes and maybe some re-blocking before a break for touch ups and a crew meal.

Typically the audience files in to stadium style seating while being entertained by a warmup person with a DJ.

It is a theatrical experience for everyone. Show starts at 6 PM with cast intros.

At this point our lighting is done. Occasionally there are things to attend to, such as a re-block or a lamp burn out, but generally things go smoothly, and we all experience a fun evening. Typically a show will be three to four hours in length.

The next day, the process starts anew on our next episode.

After editing, the episode is cut down to 22 to 35 minutes and then I will go to post color and work with my colorist for final delivery.

Since I like to laugh, this is a fantastic medium to work in!

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How to Write a Script (Step-by-Step Guide)

So you want to write a film script (or, as some people call it, a screenplay – they're two words that mean basically the same thing). We're here to help with this simple step-by-step script writing guide.

Or better yet, use our AI script writing generator -- it's designed to take your idea and flesh out a film script with voiceovers and camera directions for your storyboard. Bring your vision to life.

Lay the groundwork

1. know what a script is.

If this is your first time creating movie magic, you might be wondering what a script actually is. Well, it can be an original story, straight from your brain. Or it can be based on a true story, or something that someone else wrote – like a novel, theatre production, or newspaper article.

A movie script details all the parts – audio, visual, behaviour, dialogue – that you need to tell a visual story, in a movie or on TV. It's usually a team effort, going through oodles of revisions and rewrites, not to mention being nipped ‘n' tucked by directors,  actors , and those in production jobs. But it'll generally start with the hard work and brainpower of one person – in this case, you.

Because films and TV shows are audiovisual mediums, budding scriptwriters need to include all the audio (heard) and visual (seen) parts of a story. Your job is to translate pictures and sounds into words. Importantly, you need to show the audience what's happening, not tell them. If you nail that, you'll be well on your way to taking your feature film to Hollywood.

2. Read some scripts

The first step to stellar screenwriting is to read some great scripts – as many as you can stomach. It’s an especially good idea to read some in the genre that your script is going to be in, so you can get the lay of the land. If you’re writing a comedy, try searching for ‘50 best comedy scripts’ and starting from there. Lots of scripts are available for free online.

3. Read some scriptwriting books

It's also helpful to read books that go into the craft of writing a script. There are tonnes out there, but we've listed a few corkers below to get you started.

4. Watch some great films

A quick way to get in the  scriptwriting  zone is to rewatch your favourite films and figure out why you like them so much. Make notes about why you love certain scenes and bits of dialogue. Examine why you're drawn to certain characters. If you're stuck for ideas of films to watch, check out some ‘best movies of all time' lists and work through those instead.

Flesh out the story

5. write a logline (a.k.a. brief summary).

You're likely to be pretty jazzed about writing your script after watching all those cinematic classics. But before you dive into writing the script, we've got a little more work to do.

First up, you need to write a ‘ logline '. It's got nothing to do with trees. Instead, it's a tiny summary of your story – usually one sentence – that describes your protagonist (hero) and their goal, as well as your antagonist (villain) and their conflict. Your logline should set out the basic idea of your story and its general theme. It's a chance to tell people what the story's about, what style it's in, and the feeling it creates for the viewer.

6. Write a treatment (a.k.a. longer summary)

Once your logline's in the bag, it's time to write your treatment . It's a slightly beefier summary that includes your script's title, the logline, a list of your main characters, and a mini synopsis. A treatment is a useful thing to show to producers – they might read it to decide whether they want to invest time in reading your entire script. Most importantly, your treatment needs to include your name and contact details.

Your synopsis should give a good picture of your story, including the important ‘beats' (events) and plot twists. It should also introduce your characters and the general vibe of the story. Anyone who reads it (hopefully a hotshot  producer ) should learn enough that they start to feel a connection with your characters, and want to see what happens to them.

This stage of the writing process is a chance to look at your entire story and get a feel for how it reads when it's written down. You'll probably see some parts that work, and some parts that need a little tweaking before you start writing the finer details of each scene.

7. Develop your characters

What's the central question of your story? What's it all about? Character development means taking your characters on a transformational journey so that they can answer this question. You might find it helpful to complete a character profile worksheet when you're starting to flesh out your characters (you can find these for free online). Whoever your characters are, the most important thing is that your audience wants to get to know them, and can empathise with them. Even the villain!

8. Write your plot

By this point, you should have a pretty clear idea of what your story's about. The next step is breaking the story down into all the small pieces and inciting incidents that make up the plot – which some people call a 'beat sheet'. There are lots of different ways to do this. Some people use flashcards. Some use a notebook. Others might use a digital tool, like Trello , Google Docs , Notion , etc.

It doesn't really matter which tool you use. The most important thing is to divide the plot into scenes, then bulk out each scene with extra details – things like story beats (events that happen) and information about specific characters or plot points.

While it's tempting to dive right into writing the script, it's a good idea to spend a good portion of time sketching out the plot first. The more detail you can add here, the less time you'll waste later. While you're writing, remember that story is driven by tension – building it, then releasing it. This tension means your hero has to change in order to triumph against conflict.

Write the Script

9. know the basics.

Before you start cooking up the first draft of your script, it's good to know how to do the basics. Put simply, your script should be a printed document that's:

Font fans might balk at using Courier over their beloved Futura or Comic Sans. However, it's a non-negotiable when you write a script. The film industry's love of Courier isn't purely stylistic – it's functional, too. One script page in 12-point Courier is roughly one minute of screen time.

That's why the page count for an average screenplay should be between 90 and 120 pages, although it's worth noting that this differs a bit by genre. Comedies are usually shorter (90 pages / 1.5 hours), while dramas can be a little longer (120 pages / 2 hours). A short film will be shorter still. Obviously.

10. Write the first page

Using script formatting programmes means you no longer need to know the industry standard when it comes to margins and indents. That said, it’s good to know how to set up your script in the right way.

11. Format your script

Here’s a big ol’ list of items that you’ll need in your script, and how to indent them properly. Your script-writing software will handle this for you, but learning’s fun, right?

Scene heading

The scene heading is where you include a one-line description of the location and time of day of a scene. This is also called a ‘slugline’. It should always be in caps.

Example: ‘EXT. BAKERY - NIGHT’ tells you that the action happens outside the bakery during the nighttime.

When you don’t need a new scene heading, but you need to make a distinction in the action, you can throw in a subheader. Go easy on them, though – Hollywood buffs frown on a script that’s packed with subheaders. One reason you might use them is to make a number of quick cuts between two locations. Here, you would write ‘INTERCUT’ and the scene locations.

This is the narrative description of what’s happening in the scene, and it’s always written in the present tense. You can also call this direction, visual exposition, blackstuff, description, or scene direction. Remember to only include things that your audience can see or hear.

When you introduce a character, you should capitalise their name in the action. For example: ‘The car speeds up and out steps GEORGIA, a muscular woman in her mid-fifties with nerves of steel.’

You should always write each character’s name in caps, and put it about their dialogue. You can include minor characters without names, like ‘BUTCHER’ or ‘LAWYER.’

Your dialogue is the lines that each character speaks. Use dialogue formatting whenever your audience can hear a character speaking, including off-screen speech or voiceovers.

Parenthetical

A long word with a simple meaning, a parenthetical is where you give a character direction that relates to their attitude or action – how they do something, or what they do. However, parentheticals have their roots in old school playwriting, and you should only use them when you absolutely need to.

Why? Because if you need a parenthetical to explain what’s going on, your script might just need a rewrite. Also, it’s the director’s job to tell an actor how to give a line – and they might not appreciate your abundance of parentheticals.

This is a shortened technical note that you put after a character’s name to show how their voice will be heard onscreen. For example: if your character is speaking as a voiceover, it would appear as ‘DAVID (V.O.)’.

Transitions are film editing instructions that usually only appear in a shooting script. Things like:

If you’re writing a spec script, you should steer clear of using a transition unless there’s no other way to describe what’s happening in the story. For example, you might use ‘DISSOLVE TO:’ to show that a large portion of time has passed.

A shot tells the reader that the focal point in a scene has changed. Again, it’s not something you should use very often as a spec screenwriter. It’s the director’s job! Some examples:

12. Spec scripts vs. shooting scripts

A ‘spec script' is another way of saying ‘speculative screenplay.' It's a script that you're writing in hopes of selling it to someone. The film world is a wildly competitive marketplace, which is why you need to stick to the scriptwriting rules that we talk about in this post. You don't want to annoy Spielberg and co.

Once someone buys your script, it's now a ‘shooting script' or a ‘production script.' This version of your script is written specifically to produce a film. Because of that, it'll include lots more technical instructions: editing notes, shots, cuts, and more. These instructions help the production assistants and director to work out which scenes to shoot in which order, making the best use of resources like the stage, cast, and location.

Don't include any elements from a shooting script in your spec script, like  camera angles  or editing  transitions . It's tempting to do this – naturally, you have opinions about how the story should look – but it's a strict no-no. If you want to have your way with that stuff, then try the independent filmmaker route. If you want to sell your script, stick to the rules.

13. Choose your weapon

While writing a big-screen smash is hard work, it's a heck of a lot easier nowadays thanks to a smorgasbord of affordable  screenwriting software . These programmes handle the script format (margins, spacing, etc.) so that you can get down to telling a great story. Here are a few programmes to check out:

There are also a tonne of outlining and development programmes. These make it easier to collect your thoughts and storytelling ideas together before you put pen to paper. Take a peek at these:

14. Make a plan

When you're approaching a chunky project, it's always good to set a deadline so you've got a clear goal to reach. You probably want to allow 8-12 weeks to write a script – this is the amount of time that the industry would usually give a writer to work on a script. Be sure to put the deadline somewhere you'll see it: on your calendar, or your phone, or tattooed on your hand.

For your first draft, concentrate on getting words on the page. Don't be too critical – just write whatever comes into your head, and follow your outline. If you can crank out 1-2 pages per day, you'll have your first draft within two or three months. Easy!

Some people find it helpful to write at the same time each day. Some people write first thing. Some people write late at night. Some people have no routine whatsoever. Find a routine (or lack thereof) that works for you, and stick to it. You got this.

15. Read it out loud

One surefire way to see if your dialogue sounds natural is to read it out loud. While you're writing dialogue, speak it through at the same time. If it doesn't flow, or it feels a little stilted, you'll need to make some tweaks. Highlight the phrases that need work then come back to them later when you're editing.

16. Take a break

When your draft's finished, you might think it's the greatest thing ever written – or you might think it's pure dross. The reality is probably somewhere in the middle. When you're deep inside a creative project, it's hard to see the forest for the trees.

That's why it's important to take a decent break between writing and editing. Look at something else for a few weeks. Read a book. Watch TV. Then, when you come back to edit your script, you'll be able to see it with fresh eyes.

17. Make notes

After you've taken a good break, read your whole script and take notes on the bits that don't make sense or sound a little weird. Are there sections where the story's confusing? Are the characters doing things that don't push the story along? Find those bits and make liberal use of a red pen. Like we mentioned before, this is a good time to read the script out loud – adding accents and performing lines in a way that's true to your vision for the story.

18. Share with a friend

As you work towards a final version of your script, you might want to share it with some people to get their feedback. The Commenting & Feedback feature in Boords allows users to directly comment on individual frames and include necessary reference links, simplifying the process of responding to client feedback.

Friends and family members are a good first port of call, or other writers if you know any. Ask them to give feedback on any parts you're concerned about, and see if there's anything that didn't make sense to them.

The Shortcut to Effective Storyboards.

Boords is an easy-to-use storyboarding tool to plan creative projects.

Wrap things up

19. write final draft.

After you've made notes and gathered feedback, it's time to climb back into the weeds and work towards your final draft. Keep making edits until you're happy. If you need to make changes to the story or characters, do those first as they might help fix larger problems in the script.

Create each new draft in a new document so you can transfer parts you like from old scripts into the new one. Drill into the details, but don't get so bogged down in small things that you can't finish a draft. And, before you start sharing it with the world, be sure to do a serious spelling and grammar check using a tool like Grammarly .

20. Presentation and binding

There are rules for everything when writing a script. Even how you bind the thing. Buckle up!

This is a list of stuff you’ll need to prepare your script before sending it out and taking over the world:

And this is how to bind your script:

Related links

More from the blog..., how to write a logline.

Before you start work on your Hollywood-busting screenplay, you'll need a logline. It's a one-sentence summary of your movie that entices someone to read the entire script.

How to Write a TV Commercial Script

Writing commercial scripts for TV ads is entirely different from screenwriting a screenplay. Learn the format and download a handy template.

How to Tell a Story

It takes a lot of work to tell a great story. Just ask all the struggling filmmakers and authors, hustling away at their craft in an attempt to get a break.

21 Principles of Script Writing: A Comprehensive Guide to the Art of Script Writing

Scriptwriting is an art that holds the power to bring stories to life on the big screen or the small screen. From captivating movies to engaging television shows, every compelling visual narrative starts with a well-crafted script.

Table of Contents

Introduction

In the fascinating world of script writing,  creativity intertwines with storytelling, and words have the power to transport audiences into vivid, captivating worlds. Script writing is an art that requires a delicate balance of imagination , structure , and skill .

Understanding the Art of Script Writing

Script writing is more than just putting words on paper. It is the art of storytelling through the lens of the written word.

Just like a master painter meticulously selects colors and brush strokes, a skilled scriptwriter weaves together characters, plotlines, and dialogue to create a tapestry of emotions and experiences.

Understanding the core principles of script writing is essential to crafting scripts that captivate and resonate with audiences across different mediums.

The Importance of Storytelling

In the world of script writing, storytelling is the lifeblood that pumps vitality into each scene, dialogue, and character. It has the power to stir emotions , provoke thoughts , and l eave a lasting impact on viewers long after the credits roll.

A well-crafted story takes the audience on a journey, introducing them to relatable characters, unveiling conflicts and challenges, and ultimately resolving the narrative in a satisfying manner.

The principles of script writing emphasize the importance of crafting a coherent and engaging story that holds the audience’s attention from the opening scene to the closing credits.

Elements of a Good Script

A good script is like a finely orchestrated symphony, where various elements harmoniously blend to create a powerful and unforgettable experience for the audience. Mastering the key elements of script writing is crucial to achieving this harmony and resonance.

Character Development

Memorable characters are the heart and soul of any script. They breathe life into the narrative, allowing audiences to connect emotionally and invest in their journeys.

To create well-rounded characters, scriptwriters must understand their backgrounds, values, and how they respond to different situations. By doing so, characters come alive on the page and evoke genuine emotions from the audience.

Plot Structure

A well-structured plot is the backbone of a successful script. It guides the audience through the story’s twists and turns, building tension and anticipation along the way.

The setup introduces the characters, their world, and the central conflict. The confrontation presents challenges and obstacles that the characters must overcome, intensifying the stakes and emotional investment. Finally, the resolution offers a satisfying conclusion that resolves the conflict and provides closure for the audience.

A strong plot structure keeps the audience engaged, ensuring that every scene and sequence serves a purpose in advancing the story.

Effective dialogue should also serve multiple functions, including advancing the plot, conveying emotions, and revealing subtext. Subtext refers to the underlying meanings and intentions behind the words spoken, allowing for deeper layers of storytelling.

Setting and Atmosphere

The setting and atmosphere of a script create the world in which the story unfolds.

Additionally, the atmosphere plays a crucial role in setting the emotional ambiance of the script. It influences how the audience feels while experiencing the story, whether it’s through suspense, humor, melancholy, or excitement.

Theme and Message

A compelling script often carries a central theme or message that resonates with the audience on a deeper level. Themes can encompass a wide range of topics, such as love, redemption, courage, or the pursuit of truth. It is the emotional core that binds the story together and leaves a lasting impact on the viewer.

Principles of Script Writing

To excel in the art of script writing, one must grasp the core principles that underpin every successful screenplay. Here are the fundamental principles you need to know:

Knowing Your Audience

Understanding your audience is crucial in script writing, as it allows you to tailor your story to meet their expectations and preferences. Every script is essentially a conversation between the writer and the viewer, and knowing your audience ensures that this conversation is engaging, relatable, and impactful.

Identifying Target Viewers

For example, if you are writing a family-oriented comedy, your language and humor may differ from that of a dark psychological thriller aimed at adult audiences. Tailoring your script to suit your target viewers’ sensibilities increases the likelihood of the script’s success.

Adapting to Genres

Different genres cater to different audience expectations and preferences. Adapting your script to the chosen genre is essential for resonating with fans of that genre and adhering to its conventions. The principles of script writing emphasize that each genre has its unique traits , such as pacing , tone , and storytelling style .

Cultural and Societal Considerations

As a scriptwriter, it’s essential to be sensitive to cultural and societal norms, as they can influence the reception of your script. Respectful representation of diverse cultures and communities is vital to avoid perpetuating harmful stereotypes or misrepresentations.

Diversity in script writing not only enriches the storytelling experience but also reflects the world’s complexity and plurality. If your script involves characters or themes from cultures different from your own, research and consult with experts or individuals from those communities to ensure authenticity and respectfulness.

The Screenwriter’s Process

Idea generation.

The spark of an idea is the starting point of every script. Inspiration can strike from various sources — a thought-provoking news article , a chance encounter , a vivid dream , or even a personal experience . Keeping a notebook or digital document to jot down these ideas ensures that you don’t let them slip away.

Exploring different angles of an idea, asking “what if” questions, and brainstorming with others can help expand and refine your concept.

Research and Preparation

For historical scripts, delve into historical records, primary sources, and expert accounts to accurately depict the time period and its societal norms. In contrast, science fiction scripts may require you to understand cutting-edge scientific theories and speculate about the future.

Outlining and Storyboarding

Assembling your research and ideas into a cohesive narrative requires careful planning. Outlining your script helps you map out the story’s structure , character arcs , and major plot points . An outline acts as a roadmap, guiding you through the storytelling journey and preventing the dreaded writer’s block.

Drafting the Script

The drafting stage is where your imagination takes flight, and the words start flowing onto the page. Embrace your creative instincts as you breathe life into your characters and bring your story to life.

In this stage, allow yourself to write freely, without fear of perfection. You can always refine and polish your script in subsequent drafts. The key is to capture the essence of your story and characters at this initial stage.

Rewriting and Polishing

Seek feedback from trusted peers, mentors, or scriptwriting groups. Constructive criticism can provide invaluable insights and reveal blind spots you may have overlooked.

Style and Formatting

Proper style and formatting are crucial in script writing, as they ensure that your script is industry-standard and easily readable for producers, directors, and actors.

Industry Standards

Scriptwriting follows standardized formats, including font size , margin widths , and page numbering . Most scripts are written in Courier or Courier New font to maintain consistency and readability.

Each new location or scene change is indicated by a scene heading, typically written in all caps, followed by the location and time of day.

EXT. PARK – DAY

Writing Visuals and Actions

For example:

JANE picks up the dusty old book and flips through its pages, her eyes widening with curiosity.

Handling Dialogue

To write effective dialogue, immerse yourself in the voices and speech patterns of your characters. Each character should have a distinct voice that reflects their background, personality, and goals.

Using Parentheticals

Parentheticals are brief notes included within dialogue to provide context or emotional cues for the actors. Use them sparingly and effectively to enhance the performance without over-directing the actors.

JOHN [whispering]

Character and Scene Headings

Techniques for captivating scripts.

To create scripts that leave a lasting impact on the audience, scriptwriters employ various techniques to evoke emotions, build tension, and keep viewers engaged.

Building Tension and Conflict

Tension and conflict are essential elements that drive a script forward. Introduce obstacles and challenges that keep your characters on their toes, creating anticipation for what lies ahead.

Incorporating Foreshadowing

Foreshadowing adds depth and intrigue to your script by hinting at future events. Cleverly placed clues can create a sense of anticipation and surprise for the audience.

Consider incorporating subtle hints and symbolism early in the script that foreshadow significant plot twists or character developments. These seemingly innocuous details can come to fruition later in the story, creating a sense of satisfaction for attentive viewers who pick up on the foreshadowing.

Crafting Memorable Dialogue

One technique to achieve impactful dialogue is to use subtext. Subtext is the unspoken or underlying meaning behind the words characters say.

By adding layers of meaning to dialogue, you create a rich and nuanced experience for the audience, inviting them to interpret the characters’ true thoughts and feelings.

Show, Don’t Tell

For instance, instead of having a character explicitly say, “I’m scared,” show their fear through trembling hands, wide eyes, and a racing heartbeat.

This approach allows the audience to engage with the characters on a deeper level, making the experience more immersive and emotionally resonant.

Balancing Action and Emotion

To strike this balance, consider the pacing of your script. Intense action scenes should be followed by moments of reflection or emotional vulnerability. This ebb and flow of emotions keep the audience engaged and invested in the characters’ experiences.

Collaboration and Receiving Feedback

Collaboration is often an integral part of script writing, especially in the world of film and television. Effective collaboration and feedback are essential in refining your script and elevating its quality.

Working with Producers and Directors

Be open to feedback and willing to make revisions based on the director’s vision while also advocating for your creative choices when necessary. A collaborative spirit fosters a positive working relationship and leads to a more cohesive and polished final product.

Joining Writing Teams

Writing teams offer diverse perspectives and brainstorming opportunities. Joining or forming a writing team can enhance your creative process and lead to unique storytelling approaches.

The Importance of Feedback

Feedback is invaluable in script writing. Embrace critiques and suggestions, as they can help you identify blind spots and improve your work. Constructive feedback can elevate your script to new heights.

Seek feedback from fellow writers, industry professionals, or scriptwriting workshops. Listen to different perspectives and use the feedback to enhance your script’s strengths and address its weaknesses.

Adapting Scripts for Different Mediums

Each storytelling medium comes with its unique strengths and constraints. Adapting your script to suit different mediums is essential in maximizing its impact and reach.

Film Scripts

Film scripts focus on cinematic storytelling, utilizing visual and auditory elements to create a captivating experience. Emphasize vivid descriptions and impactful visuals to immerse the audience in the story.

Consider the use of visual storytelling techniques, such as montage sequences or creative camera angles, to enhance the emotional impact of key scenes. Keep in mind that in film, visuals often speak louder than words.

Television Scripts

Keep each episode self-contained while advancing the overarching story arc. Introduce compelling characters with room for growth and development over the course of the series.

Playwriting

Playwriting relies heavily on dialogue and the power of live performance. Embrace the immediacy and intimacy of the stage to create compelling experiences for theatergoers.

Scriptwriting Software and Tools

In the digital age, scriptwriting software and tools have revolutionized the way scripts are created and managed. These specialized tools offer a plethora of features that streamline the writing process, enhance collaboration, and ensure adherence to industry standards.

Advantages of Specialized Software

Dedicated scriptwriting software provides numerous advantages over using generic word processors. One of the most significant benefits is automatic formatting , ensuring that your script complies with industry standards for fonts, margins, and spacing.

Revision Tracking and Collaboration

Scriptwriting software simplifies the revision process by enabling version control and tracking changes made by different collaborators. This functionality promotes seamless collaboration among writers, directors, and producers, as they can easily review and comment on the script in real-time.

Collaboration becomes more efficient, as everyone involved can contribute to the script remotely . This flexibility is especially beneficial when team members are located in different geographic regions.

Popular Scriptwriting Tools

Final draft.

Final Draft is considered the industry standard in scriptwriting software. Its user-friendly interface and robust features make it a top choice for screenwriters, playwrights, and television writers alike.

Key features of Final Draft include script formatting, automatic pagination, character highlighting, and revision tracking. The software also offers templates for various script types, such as screenplay, stage play, and television script.

Collaboration is seamless with Celtx, allowing team members to work together in real-time. This makes it a preferred choice for multi-disciplinary projects, such as film and video production.

Scrivener is a popular choice among writers of all genres, including scriptwriters. While it is not a dedicated scriptwriting software, its flexible organizational features make it an attractive option for outlining and drafting scripts.

Copyright and Legal Considerations

Protecting your intellectual property is a vital aspect of scriptwriting. Understanding copyright laws and implementing proper legal considerations ensure that your creative work remains secure and under your control.

Protecting Your Work

As soon as you create your script, it automatically gains copyright protection under intellectual property laws. However, registering your script with the appropriate copyright office adds an extra layer of protection and establishes a legal record of ownership.

Understanding Intellectual Property

Understanding the nuances of intellectual property rights empowers you as a scriptwriter to make informed decisions about your work.

Copyright grants you, as the creator, exclusive rights to reproduce, distribute, perform, and display your script. These rights provide you with control over how your work is used and monetized.

Collaboration Agreements

A well-drafted collaboration agreement outlines the roles and responsibilities of each collaborator, the division of intellectual property rights, how any potential profits or royalties will be shared, and the resolution of conflicts or disagreements.

Congratulations on embarking on the exciting journey of mastering the principles of script writing! From understanding the art of storytelling to adapting your script for different mediums, you have explored the key elements that go into crafting captivating and unforgettable stories.

As you refine your scriptwriting skills, seek inspiration from the works of great storytellers, both classic and contemporary. Observe how they weave intricate narratives, develop multidimensional characters, and evoke emotions in their audiences. Learn from their techniques while staying true to your unique voice and vision.

Embrace the power of storytelling and its ability to connect, entertain, and inspire audiences worldwide. Whether your scripts make people laugh, cry, or question the world around them, know that your words have the potential to leave a lasting impact on hearts and minds.

Frequently Asked Questions

How long does it take to write a script.

The time it takes to write a script can vary widely depending on factors such as complexity, research required, and personal writing speed. Some writers may complete a script in a few weeks, while others may take several months.

Do I need a formal education to become a successful screenwriter?

While formal education in film or creative writing can be beneficial, it is not a strict requirement. Many successful screenwriters have honed their skills through practice, networking, and learning from other professionals.

Should I stick to one genre or explore different ones?

How can i protect my script from being stolen.

To protect your script, consider registering it with a copyright office or using a reputable copyright service. Additionally, avoid sharing your work with untrusted individuals or platforms.

Can I write a script based on real events or people?

Writing a script based on real events or people may require additional research and consideration of legal implications. Be sure to respect the privacy and rights of real individuals and seek legal advice if needed.

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How to Write a Screenplay: A 10-Step Guide

Without a doubt, the biggest question for those taking the first steps in becoming a professional screenwriter is how to write a screenplay.

Writing a script can be an arduous process for beginning screenwriters. However, when you learn the basic steps that need to be taken during the development, writing, and rewriting of a screenplay, things can get quite a bit easier for you.

While there is no single surefire way to go about writing a script, having a structured process to work from helps to simplify the undertaking, allowing you to focus on conjuring the best concepts, characters, and stories for your screenplays.

With that in mind, here we present a simple, straightforward, easy-to-follow yet detailed guide on how to write a screenplay in ten structured steps. Be sure to explore the accompanying links found within each step for more elaboration, information, tools, and professional knowledge that will help you get through this process.

Table of Contents

Screenwriting Terms You Need to Know

Before we dive into the first step, let's go over an important term you'll need to know: spec script.

What is a Spec Script?

A spec script is a screenplay written under spec ulation that it will be acquired by a studio, network, or production company for the purpose of production and distribution. In short, you haven't been paid to write it. You're writing the screenplay on your own accord with the hopes of selling it to the film and television industry for production.

What Are the Pros of Writing a Spec Script?

The benefits of writing on spec include the following:

• No one looking over your shoulder.
• You write what you want when you want.
• You write the screenplay how you envision it, while hopefully following general industry guidelines and expectations to increase your chances of selling it.

As a beginning or unestablished screenwriter, writing on spec allows you to hone your skills and work on your craft through the development, writing, and rewriting process, unhindered by contracted deadlines and pressure from executives.

What Are the Cons of Writing a Spec Script?

But there's a catch to this freedom — you're not getting paid yet. You are working under the speculation that what you write will be received well enough for the powers that be to invest their valuable time and money in packaging, selling, producing, and distributing your cinematic story.

The Difference Between Writing on Spec and Writing On Assignment

Writing "on spec" and writing "on assignment" are different. Let's go over a few ways in which they differ.

Writing on Spec

Spec scripts are actually the least lucrative way to earn a living as a screenwriter. A majority of the screenwriting contracts in the film and television industry are paid writing assignments, where a screenwriter is hired to write from a pitched concept, a rewrite of a script they own, source material, or existing intellectual property owned by the hiring company.

When a screenwriter is being considered for a screenwriting assignment, their spec scripts are actually utilized as writing samples to help studios, production companies, and networks determine if the writer is a good fit for the assignment.

Writing on Assignment

When you write on assignment, the process is a little more structured by contract variants and mandates.

• You likely need to write development materials like synopses, treatments, and outlines as part of the collaboration process with the powers that be.
• You have development executives, producers, and directors reviewing your drafts and giving you notes that you will need to apply.
• You have strict deadlines that need to be met.

But with writing assignments, you're getting paid to write — which should be  the goal for anyone wanting to become a professional screenwriter.

Spec scripts can be passion projects for screenwriters. Writing assignments pay the bills.

So while you're writing on spec, no, you're not bound by tight deadlines and time constraints. However, it will help you to train yourself to write like a professional under general industry deadlines and guidelines so you can be ready for success when it comes.

Read ScreenCraft's 5 Things to Expect During Paid Screenwriting Assignments !

This 10-step guide will help you build the structured process you need to get you ready for that success. As we mentioned before, there's no single way to write a screenplay. Every screenwriter will have their own wants, needs, strengths, weaknesses, and preferences when it comes to how and why they write their scripts. Use these proven steps as the foundation for your writing process, and we promise that you'll be a few steps closer to your goal of selling your screenplay — or being paid to write on assignment — and seeing your words come to life on the screen.

Step #1: Get Screenwriting Software

Screenwriting software is essential for screenwriters. The software is a necessary tool that aids the screenwriter in writing under inescapable format constraints and helps to later ease the collaboration process between screenwriters, directors, producers, development executives, actors, and film crews. Because of the importance of that collaboration — and the ease of which is offered to you — it is highly recommended that the first step of your writing process is acquiring and utilizing screenwriting software.

What Screenwriting Software is Best?

Many options are presented when it comes to which screenwriting software package you choose , each with different variances of cost, tools, and features.

There are free or lower-cost options that offer you the basic format tools, and there are more costly options that represent the industry standard and have more additional development and collaborative features.

• Final Draft is the industry standard. It's much more costly than free options, but you can get it as low as $199 . It will be the best money spent for your screenwriting process.
• Celtx is the most popular lower-cost option, but screenwriters should know that when you do get to the level where you're writing under paid assignment contracts, most studios, production companies, and networks prefer Final Draft files when it comes to reports, file types, and collaborative features that they request.

Read ScreenCraft's The Ultimate Guide to Screenwriting Software to learn more!

Do You Need Screenwriting Software?

Short answer, no. You can absolutely use any old word processor to write a script, but that means you'll be responsible for maintaining any and all formatting standards. Every margin, every indent, every italicized text — it's up to you to make sure it's all correct. And there are plenty of script formatting mistakes that new writers make consistently even  with  software!

This is primarily what makes screenwriting software so attractive and necessary for so many writers — it takes care of all the formatting so you can focus on the best part of the process — storytelling.

"Is the script format really that important?"

Yes. And there are specific reasons why.

Screenplay Format 101

Screenplays are not like short stories, novellas, or novels. They have a specific format that screenwriters need to adhere to because film and television are collaborative mediums.

Furthermore, scripts are both auditory and visual blueprints for eventual cinematic features and episodic television episodes, so the format exists to create an easy-to-visualize and easy-to-adapt cinematic story filled with locations, dialogue, and actions that directors, actors, and film crews can bring to life from script to screen.

Learn the History and Evolution of the Modern Screenplay Format !

Master Scene Format

The master scene format is  the essential script format that you should follow. It represents the best way to interpret visuals and dialogue from your creative mind to the page for others to decipher as easily as possible.

Screenplay Format Elements

The screenplay format elements of Scene Heading, Action, Character Name, Parenthetical (used few and far between), Dialogue, and Transition (used sparingly) are all that you need to tell a cinematic story meant for the big or small screen.

Here's a quick breakdown of each of these elements, as well as a visual guide on what they look like on the page:

• Scene Heading: Also known as the "slug line," these headings communicate the setting of a scene, including whether it takes place inside or outside, the location, and the time of day.
• Action:  This describes the action that can be seen or heard.
• Character Name:  This indicates the character that is delivering the dialogue.
• Parenthetical: This provides context or instruction for the dialogue delivery. (Use these sparingly and only when necessary.)
• Dialogue:  This represents the words delivered by actors.
• Transition:  This marks the change from one scene to another. (Use these sparingly and only when necessary.)

There are subtle variances in the format — musicals, for example, are formatted a little differently  — but the master scene elements are the most universal formatting guidelines to follow for all cinematic platforms.

Screenplay Margins

Each margin settings for these master scene elements include:

If there are any format "rules" that cannot be bent, they are represented by these margin settings, which help formulate the basic and universal script page size and aesthetic.

When you purchase and utilize screenwriting software, you avoid having to worry about any margin settings. You can deliver what is needed in that format front by the push of a button or two as you write .

Because the screenplay format is much more technical compared to writing short stories, novellas, and novels, some beginning screenwriters look upon the format with anxiety. It doesn't have to be that way. If you follow the basic screenplay elements and utilize screenwriting software to ensure that you're adhering to the strict margin settings for each, you can focus more on telling great stories with strong and compelling characters.

For a more detailed breakdown of how to format a script, read ScreenCraft's How to Format a Script !

Step #2: Come Up With A Great Story Idea

Okay, you've got your screenwriting software and you're ready to start writing, only... you don't have a story idea.

Or maybe you  do but you're not sure if it's up to snuff. It's very easy to just roll with the first idea that comes to mind. But that's often the first mistake that most beginning and unestablished screenwriters make.

Either way, let's go over some concepts and tools that'll make it easier for you to come up with a great story idea.

Find a Great Concept

As the great Crusades Knight in Indiana Jones and the Last Crusade  once said:

"You must choose. But choose wisely."

The most common phrase that you'll hear in Hollywood development offices is concept is everything . Yes, everyone also wants great characters, compelling drama, high stakes, twists and turns, and engaging stories. But in the end, it's the concept that sells the project.

What is a Story Concept?

Concept  is  everything .

• It's the logline (see below) that gets you in the door.
• It's the central concept that sells the project to distributors.
• It's the great idea that is sold to the audience.

It's the great story idea.

That great idea does need to be delivered in amazing fashion by a great script packed with engaging and empathetic characters. You need to deliver on the promise of your great story idea by writing an outstanding screenplay that explores the character and story dynamics of that concept. But, make no mistake, you need to choose the concepts of your script very wisely.

Do You Need to Have a Great Concept?

Screenwriters need to understand that, sure, there  is a market for smaller character pieces and quirky character-driven comedies and dramedies. However, those are more popular in the independent film market through auteur films and indie flicks that are discovered through the film festival circuit.

When you're writing on spec in hopes of selling your script to Hollywood, you need to do your best to find concepts that stand out from the rest. The spec market is highly competitive. Regular run-of-the-mill dramas and quirky character pieces don't represent lucrative investments for studios, production companies, and distributors. They need and want concepts that draw audiences to the theater — or get them to click while they're searching their streaming platforms for something to watch.

What are some ways to find those great ideas?

How to Come Up With a Great Concept

While there's no single secret to finding a great concept that will get studios and producers to bite, there are many creative ways you can explore potential ideas and see if they are compelling enough to encompass a whole screenplay.

Story Prompts

Sometimes reading and writing simple story prompts is the easiest way to get those creative juices flowing.

You can explore "What If..." scenarios , "This Meets That" story hybrids , or story prompts based on true stories that would make for compelling screenplays.

Read ScreenCraft's 101 Story Prompts Series  to get your creative juices flowing!

Watch Movies

And believe it or not, you can also turn to what may be your favorite pastime as a cinematic storyteller and movie lover — watching movies — to get your creative mind flowing. It's pretty common to be watching some of your favorite flicks — or new ones that engage you — and find your mind wandering to elements within those movies that weren't fully explored. Or maybe your imagination begins to wonder how a certain story or character could have been handled differently.

For example:

• What if the story of THE SIXTH SENSE focused not on the people that could see ghosts, but rather on the ghosts themselves as they try to reach out to people to solve the mystery of their death?
• What if GOOD WILL HUNTING was a thriller where the government forced a character like Will to use his talents to break secret codes?
• What if the aliens in any alien abduction movie are actually humans from the future trying to find a cure for a pandemic that's killing off the human race?

Choose Your Genre Wisely

But sometimes it's not enough to just have a great idea. Writing that idea within a specific genre is also a big decision-maker for the impact your idea has on Hollywood when you start marketing your eventual script to studios, production companies, and distributors.

"Well, won't the movie concept dictate what the genre is?"

Not always.

Case Study: Armageddon vs. Deep Impact vs.  Don't Look Up

In ScreenCraft's How to Choose the Right Movie Genre for Your Concept , we put this notion to the test by offering a general concept.

An asteroid is going to impact the earth, and a team is being sent into space to stop it before kills humanity as we know it. 

That's a great idea for a movie. It's almost a great logline as well. But it doesn't necessarily dictate the genre and subgenre. In 1998, two movies debuted with that very same premise — Armageddon and Deep Impact . But both were very different films written under very different genres and subgenres.

• Armageddon  was an action comedy mixed in with science fiction adventure.
• Deep Impact was a drama mixed in with science fiction.

They handled the same premise in many different ways.

• Armageddon focused on big laughs, sweeping romance, high-octane action, and special effects-driven space adventure. Yes, it certainly had dramatic moments, but the action, thrills, and special effects sequences overshadowed them.
• Deep Impact focused on the drama of losing loved ones amidst the genuine and scary thought that our world could end due to circumstances out of our control. Yes, it had trailer moments of major tsunami floods killing millions, but the focus was on the drama.

A more contemporary take on the idea of people struggling to survive during an impending and eventual asteroid impact would be Best Picture nominee Don't Look Up , an apocalyptic political satire black comedy.

Play with Genre

Placing your great story idea into different genres — and the various story, character, and setting elements usually found in those different genres — is a masterful way to find something both familiar and unique, two elements that Hollywood insiders (and audiences) love when choosing which screenplays to move forward on.

What is the takeaway when it comes to finding great story ideas?

• Choose wisely.
• Be creative when you're exploring options.
• Have fun with it.
• Make lists of potential ideas to choose from.
• And inject those ideas into different genre possibilities.

Read ScreenCraft's What Screenwriters Are Up Against in Every Genre !

Step #3: Write a Logline

If concept is everything in Hollywood, the logline is the thing that sells the concept in the shortest time possible. Think of them as the short and sweet literary forms of coming attractions. So, you could say that loglines are really, really, really important .

What is a Logline?

A logline is the simple 25-50 word (give or take) preview that captures the core dynamics of your concept. It's what sells your concept. It's an ultra-powerful sentence that can hook a reader and force them to read your script.

What Are the Elements of a Great Logline?

The purpose of a logline is to inform the studio, production company, and distributor:

• The main character(s)
• The world they live in
• The inciting incident
• The major conflict they must face
• The stakes at hand

A great logline should include these elements.

How to Write a Great Logline

You're not telling a story in a logline. You're presenting the core concept of your script. You don't need to delve into twists, character arcs, and plot. You're simply conveying the core idea — the initial seed from that which the plot, characters, twists, turns, and ensuing conflict grows.

The basic formula that you can start with — once you've chosen the idea you want to develop — will help give you the foundation of what needs to be in a logline.

• When [INCITING INCIDENT OCCURS]...
• A [CHARACTER TYPE]...
• Must [OBJECTIVE]...
• Before [STAKES].

When a killer shark unleashes chaos on a beach community, a local sheriff, a marine biologist, and an old seafarer must hunt the beast down before it kills again.

Starting with this basic formula allows you to identify the inciting incident/major conflict, the protagonist(s), the goal they have within the story, and the main stakes. After that, you can tweak the verbiage and structure to find the best representation of your idea that leaves the reader engaged and compelled to learn more.

For a more detailed breakdown of how to write loglines, Read ScreenCraft's The Simple Guide to Writing a Logline !

'The Godfather'

Examples of Great Loglines

Still not sure what constitutes a great logline? Well, here are a few from some popular movies that'll give you an idea of what to shoot for:

The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. (THE GODFATHER)

After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. (RESERVOIR DOGS)

With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner. (DJANGO UNCHAINED)

A Las Vegas-set comedy centered around three groomsmen who lose their about-to-be-wed buddy during their drunken misadventures and then must retrace their steps in order to find him. (THE HANGOVER)

A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. (SILENCE OF THE LAMBS)

A thief who steals corporate secrets through the use of dream-sharing technology is given the inverse task of planting an idea into the mind of a CEO. (INCEPTION)

A fast-track lawyer can’t lie for 24 hours due to his son’s birthday wish after the lawyer turns his son down for the last time. (LIAR LIAR)

When a killer shark unleashes chaos on a beach community, it's up to a local sheriff, a marine biologist, and an old seafarer to hunt the beast down. (JAWS)

Seventy-eight-year-old Carl Fredricksen travels to Paradise Falls in his home equipped with balloons, inadvertently taking a young stowaway. (UP)

A cowboy doll is profoundly threatened and jealous when a new spaceman figure supplants him as top toy in a boy's room. (TOY STORY)

A young janitor at M.I.T. has a gift for mathematics but needs help from a psychologist to find direction in his life. (GOOD WILL HUNTING)

Two astronauts work together to survive after an accident leaves them stranded in space. (GRAVITY)

In a post-apocalyptic world, a family is forced to live in silence while hiding from monsters with ultra-sensitive hearing. (A QUIET PLACE)

A troubled child summons the courage to help a friendly alien escape Earth and return to his home world. (E.T.)

Read Screencraft's 101 Best Movie Loglines Screenwriters Can Learn From and 22 Loglines From This Year's Sundance Films (And Why They Got Festival Attention) !

When Should a Logline Be Written?

Some screenwriters make the mistake of waiting until after they've written their script to craft a compelling logline. While you can certainly rewrite the logline during the marketing phase of trying to sell your script, the logline is a great tool for the writing process as well. Most professional screenwriters are tasked with writing them before the scriptwriting process even begins.

When you write a great logline  before you start writing, you can use it as a compass to ensure that you're writing around what the logline provides — the central core concept of your story.

Step #4: Develop Your Characters

You've got the great idea . You know what genre it falls under. You've articulated that great idea into a compelling and engaging logline that communicates that genre and encapsulates the core concept of the script. Now it's time to start delving into the characters that will populate the world you've been slowly creating through this development process.

5 Key Character Types

There are generally five types of characters in screenplays:

Protagonists

• Antagonists

Supporting Characters

Stock characters.

Protagonists are the lead characters in your screenplays. Think Indiana Jones, Katniss Everdeen, Harry Potter, James Bond.

Some scripts will have a sole protagonist, while others will have multiple. These are the characters that have a central role in the progression of the story, and plot.

• They are the ones reacting to the conflict presented by the concept.
• They are the ones central to the story and plot.
• They are the ones that have a full character arc as a result of their actions and reactions to the conflicts of the story.

'Indiana Jones and the Raiders of the Lost Ark'

Antagonists and Villains

Some believe that the terms antagonist and villain are interchangeable when they are actually quite different.

• Villains are defined as “evil” characters intent on harming others.
• Antagonists are defined as characters that work in opposition to the protagonist (the hero).

What's the Difference Between a Villain and an Antagonist?

Villains aren’t always the antagonists — often, but not always — and antagonists aren’t always the villains. Case in point, Sadness from Inside Out. While she is clearly the antagonist by definition — she is in opposition to Joy's goal of keeping Riley happy — she is not the villain because there are no evil intentions.

There is some gray area to be sure. Villains and Antagonists (and even Protagonists to a degree) do not live in a black-and-white world in the realm of cinematic and literary storytelling — a lesson that most writers can learn from. The best stories often blur the lines between antagonist, villain, and protagonist. That's where great character development comes into play.

In Ferris Bueller’s Day Off , Principal Rooney is clearly not evil. However, if you look at it from the context of the film — namely from the perspective of teenagers like Ferris, Sloane, and Cameron — Rooney is “evil” in terms of representing authority that opposes their will to have fun and enjoy life and school to their fullest.

In the case of Sadness in Inside Out, Joy eventually realizes that Sadness is not only an integral part of Riley's humanity but she's also a key element in ensuring that she's able to cope with loss in order to feel joy once again.

So the word “evil” must be looked upon in a particular context, namely through the eyes of the protagonist. In fact, one of the greatest villains in cinematic history is Man. Man is the personification of evil in Disney’s  Bambi . Now, we all know Man (in general, at least) isn’t evil. However, in the eyes of Bambi, Man killed the one Bambi loves for no good reason. So it’s all in the context.

Supporting (or secondary) characters may not always directly impact the central conflict, story, and plot, but they serve multiple purposes in screenplays.

• Comic relief
• Tying different main characters together
• Connecting plot points
• Supporting the main characters
• Antagonizing the main characters
• Informing the main characters
• Testing the protagonists' values, ethics, and morals

It's good to be aware of who your supporting characters are and what purpose they serve within the context of the story. And the supporting characters you surround your protagonist with open up many more doors for additional character depth and arc.

Read ScreenCraft's Three Types of Supporting Characters Your Protagonist Needs !

Stock Characters are archetypal characters found throughout most cinematic stories. These are the recurring types of characters that audiences recognize from movies and episodic series.

• Authority figures (teachers, principals, police officers, government agents, etc.)
• Family Members

While stock characters can be building blocks used to create supporting characters, protagonists, antagonists, and villains, they are often used as plot tools for single scenes or smaller scope C stories within your scripts.

Read ScreenCraft's Archetypes and Stock Characters Screenwriters Can Mold ! 

Methods for Developing Your Characters

Character depth can come in many different forms.

• You can develop backstories that explain those actions and reactions.
• You can assign traits, quirks, and physical descriptions that define their characterizations.

There's no single rule, process, or guideline to follow. The best thing that you can do is find what works right for you and make sure that everything you assign to the character is present within the script and relates to the story and plot presented within the script.

Do You Need to Develop ALL Characters?

Remember that you don't need to do this for every single character within your script. There's not enough time in your movie to offer up much character development for stock characters. Supporting characters can be given a bit more depth, but even with them, anything too in-depth is too much and takes away from where character depth is really needed.

Protagonist character depth is where your focus should be because they need to have various internal and external arcs present throughout the story from beginning to end.

Read ScreenCraft's Acceptance, Revelation, and Contentment: Exploring Your Character's Inner ARC and Action, Reaction, Consequences: Exploring Your Hero's External ARC !

• Find Creative Ways to Conjure Perfect Character Names!
• Answer Character Questions and The Ultimate List of Story Development Questions to develop your characters further.

These simple steps can help you develop great characters to go along with your great movie idea.

Midway Break: Script Title, Research, and Story Visualization

Before we get into Step #5 and beyond, you need to take some time to do the front-end work that's necessary for all screenplays.

• Find Your Script Title

Story Visualization

It's very tempting to jump into the screenwriting process after doing this initial concept and character development, but there's some critical work to be done before you deliver into steps 5-10.

Research is a critical factor in developing a compelling cinematic story, whether it's studying the world your fictional character will inhabit or learning everything you can about the real-life elements of your script.

Read ScreenCraft's 7 Things to Remember While Researching Your Screenplay !

And research goes beyond the story, world, and facts.

When you have a concept for a screenplay, one thing you should do is research that concept to make sure that there's nothing else out there like it.

We live in a collective world where we are all inspired, intrigued, and informed by the same things. There's bound to be a lot of cross-over. For screenwriters, there's nothing worse than getting through an entire script and discovering that Hollywood has already greenlit or produced one, if not multiple, films or TV series with the same concept you just finished spending months writing. It's heart-wrenching.

Once you have that idea in your head, jump on Google and start seeing if any other projects like it have been made or are in the works. And if something is similar, perhaps you can find a way to make yours different — if not better.

Script Title

Now it's time to give your project some identity. A new screenplay is like your baby. You need to nurture it, feed it, and let it grow. And that process starts by naming it.

Some will say that the screenplay title doesn't matter because it's likely going to be changed down the line anyway. There  is  some truth to that. If your script gets into industry hands, the title could (and probably will) go through any number of variations based on marketing and creative input from many individuals.

However, the title is a weapon in your literary and cinematic arsenal that you use to draw attention to your work. A great title can raise the eyebrow of that industry executive.

Above and beyond that, it's exciting to find that fantastic title.

• It offers instant energy and excitement as you go into the writing process.
• It gives instant identity to what you are trying to do with your cinematic story.
• It fuels your investment in the project.

Take the time to find that perfect title for your script before you delve into the meat of the story and plot. You'll often find that a great title can lead you toward the story and plot decisions you make in steps 5-10.

For great tips on how to find the perfect title, Read ScreenCraft's How to Write Screenplay Titles That Don't Suck !

Visualization is a crucial part of the process. How can you possibly communicate and describe a visual through prose without first seeing it in your creative mind's eye first?

Writing isn't always typing. Visualization is just as much of your writing process as typing is — if not more.

• Visualize  the movie.
• Watch movies and TV shows that are similar in tone, genre, and atmosphere.
• Feed your brain.
• Grow that seed of a concept.

You can visualize your movie as you stare out the window, feed the baby, prepare lunch for your middle schoolers, or wait for that work report to print.

That long work commute can be your magic time to dream up your story, characters, and narrative. When you work out, go for a walk or run, or go for a bike ride, you can be writing in your head, creating worlds and characters that inhabit those worlds.

• Visualizing is writing.
• Try to see upwards of 75% of your script in your head before you type anything.
• At the very least, see the broad strokes of your movie in  movie trailer form .

You'll find that this front-end work will be invaluable when it comes to the necessary preparation for the screenwriting process of writing your script.

Step #5: Write a Treatment

Now that you've finished your logline, it's time to write a treatment.

What is a Treatment for a Screenplay?

A treatment for your script is a document that summarizes the big-picture elements of your story. The eventual screenplay will have the stylistic delivery of the story pitched within the treatment.

What's the Difference Between a Synopsis and a Treatment?

Where a synopsis would generally cover the broad strokes of the story within a few paragraphs, treatments cover the specifics of the story, utilizing prose in the form of descriptive paragraphs that tell the story from beginning to end with all of the character descriptions, plot points, twists, turns, and revelations.

How Long Should a Treatment Be?

The length of treatments varies, with most coming in at 7-10 pages. You generally want to keep the treatment as short as possible while still offering the necessary length to tell the whole story from beginning to end. In short, you're not writing a book — you're writing a summary.

Hollywood screenwriter Simon Kindberg shared the treatment for his eventual action hit  Mr. and Mrs. Smith  over at  Creative Screenwriting Magazine .

His treatment clocks in at just four pages. It offers an overview, which touches on the genre, the characters, their relationship, and the story. Check out the full treatment for Mr. and Mrs. Smith !

Benefits of Writing a Treatment

While writing treatments isn't a necessary step for all screenwriters and screenplays, they can be an effective tool.

Treatments Help You Find Your Story Window

It offers you the chance to find your story window, which, in turn, helps to compact your story into a plot and structure that can fit the confines of a feature-length movie. It's also a document where you can work out your plot points and see how the story flows and progresses.

Treatments Help You Visualize Your Story

Once again, it's tempting to jump into the screenplay without doing the front-end work. While we mentioned researching your script, finding your script title, and visualizing your story as key front-end tasks, writing a treatment can be a very effective next step that takes that visualization and puts it into context with literary elaboration and necessary story and plot organization. This allows you to build the foundation of structure you'll need to tell the story.

Knowing How to Write Treatments Is Important for Going Pro

The ability to write treatments comes in handy when you start writing on assignment. Most professional screenwriters are required to write treatments during their development process, so it's a vital professional skill to learn — and one that can help you in your screenwriting development as you hone your craft.

Read ScreenCraft's 21 Movie Treatments and Outlines That Every Screenwriter Should Read !  

Step #6: Create an Outline

Once again, it's very tempting to jump into the script without doing front-end work like this, but any professional will tell you about the value of outlines.

Read ScreenCraft's To Outline, Or Not to Outline, That Is the Screenwriting Question!

What Does a Screenplay Outline Contain?

An outline is basically a numerated or bullet point beat sheet that communicates what's being seen and said using anywhere from a couple of sentences to a short paragraph for each story beat .

Read More: What is a Story Beat?

• Usually 7-8 pages long
• Anywhere from 35-45 beats

You can take your treatment and organize all of those character, story, and plot elements into a beat sheet for the screenplay. The outline covers every single story and character beat. You may not have every single scene in the outline (leaving you room for story and character evolution and discovery), but it's the closest thing to a scene-to-scene breakdown.

What Are the Benefits of Creating an Outline for Your Screenplay?

Some screenwriters love them and others hate them. Regardless of where you stand, there are some very clear benefits to creating an outline for your screenplay.

You Can Make Big Choices Before Doing a Ton of Writing

You can use outlines to make creative and editorial choices before the time is taken to write those scenes and moments in their cinematic entirety via the screenplay format. That can save you a lot of time and effort when it comes time to rewrite.

Read ScreenCraft's Why Screenwriters Should Think Like Editors !

You Can Write a Stronger First Draft

Screenplays, once written, can be a house of cards where if you take one card out, all others will come crumbling down.

It's very difficult to change plot points and story structure within a completed screenplay. But when you organize these elements before that process in outlines, it's so much easier to move the pieces of your story and plot puzzle around, creating the necessary and desired structure to tell your cinematic story.

You Can Maintain Your Sanity

For some, trying to flesh out an entire story without an outline can be a confusing and frustrating endeavor. And screenwriting, for the most part, is supposed to be fun and fulfilling — it's hard to feel that way when you're constantly getting lost in your own storytelling.

Key Elements to Address in an Outline

Many assume that plot and story are interchangeable terms. They're not. And it's good to know the difference between plot and story as you begin to outline your screenplay.

The story covers the who, what, and where of your screenplay.

• Who are the characters?
• What conflicts are they facing?
• Where is this all taking place?

The plot covers the how, when, and why of your story.

• How are the who of your story affected?
• When does the what of your story happen?
• Why does it happen where your story takes place, and why does it affect the who of your story?

For an even more thorough breakdown, read ScreenCraft's What Is a Plot?

You utilize your treatments and outlines to fine-tune the plot points and find a cinematic presentational structure that works for your script.

Story Structure

Story structure encompasses the basic choices you can make to determine how you want to tell your cinematic story. The general structure of any story is embedded in our DNA:

You introduce your characters in their ordinary world (beginning), present a conflict that they are forced to deal with while showcasing their true and evolving character through their actions and reactions to it (middle), and then they either succumb to the conflicts thrust upon them or triumph over them.

That's story structure at its core. You won't find a story in any medium that doesn't follow the three-act structure of Beginning, Middle, and End.

You can also find different ways to tell your story through many different types of story structures that play with the chronological order presented in your outline.

Read ScreenCraft's 10 Screenplay Structures That Screenwriters Can Use !

There are a lot of options when it comes to how you structure your story . Whichever story structure you choose (the three-act structure is the most utilized story structure), you utilize the outline (and the treatment before it) to help shape the cinematic story you'll tell when you start writing the script.

Case Study: The Outline for  Big Fish

Here is an example that Hollywood screenwriter  John August shared on his podcast site . The script he was developing was Tim Burton's  Big Fish .

He likely used this for his collaboration with Burton and the producer. You could use this type of format — minus the page numbers — as an outline that offers slightly more detail if needed.

As you can see, outlines are all about organizing the core of each and every scene and moment within a screenplay.

Step #7: Write the First Draft

Are you ready? Let's review:

• You know what a spec script is.
• You've got the screenwriting software.
• You know the format.
• You've come up with a great idea.
• You've written a logline that acts as your story compass.
• You've developed your characters.
• You've got a working script title (you've named your baby).
• You've done the necessary research.
• You've taken the time to visualize your story.
• You've possibly written a treatment.
• You've hopefully at least written an outline to find the structure and organize the scenes you'll be writing.

Now it's time to sit down and get those fingers moving. It's time to make your story come to life on the page.

There are many ways to dive into the first draft. We've covered different approaches in past posts.

Read ScreenCraft's 5 Easy Ways to Conquer Your First Draft !

Here, we're going to keep it simple. And we're also going to provide an opportunity for you to learn how to write like a professional.

Have a Page Limit Goal

You may have read about the old adage that one page equals one minute of screen time. It's actually just a barometer — not an exact science — but one that can be very telling.

Screenplays are blueprints for movies. While there is certainly a literary dynamic to them, scripts are there to tell a visual story within the confines of 90-120 minutes of screen time . Thus, using the age-old barometer of one page equalling one minute of screen time dictates that the desired page amount for a spec script should be 90-120 pages. That's 90 at the very least, and 120 at the very, very most.

However, a more realistic page count is that sweet spot of 100-115 pages.

Having a page count goal going into the writing process is so invaluable to your writing process. You'll likely fall short or go over that goal by a few pages.

However, having a page count goal will force you to embrace the Less Is More mantra that all screenwriters need to master.

Read ScreenCraft's Why Every Screenwriter Should Embrace "Less Is More" !

What's Making Your Script Too Long?

Experienced script readers (assistants, studio readers, story analysts, managers, agents, producers, development executives, studio executives, etc.) know when a script is too long. And it often has nothing to do with this one page equals one screen minute rule.

There's a reason why anything over 120 pages is often a sign that the script is too lengthy — because, in the context of the material coming from novice screenwriters, the script is usually that long due to the:

• Overwritten scene description
• Overwritten dialogue
• Redundant scenes
• Unnecessary scenes  

Why Longer Scripts Are Frowned Upon

There are also objective reasons longer screenplays are frowned upon.

90-minute movies (give or take) fit streaming modules or allow the distributors to get as many theater screenings in a single day as they can.

Also, longer scripts often mean higher budgets, longer shooting schedules, etc.

And there are structural reasons as well.

Since screenplays are blueprints for movies — and most movies are generally 90-120 minutes long (give or take) — there's a necessary page count structure that comes into play. And going significantly lower or above that 90-120 page range means that red flags are instantly tripped for industry insiders reading your script.

Read ScreenCraft's 5 Easy Hacks to Cut Your Script's Page Count !

30/30/30 Structure Breakdown

When you have a 90-page script, breaking down general structural dynamics regarding story flow is easy — a 30/30/30 barometer breakdown.

• 30 pages for the first act.
• 30 pages for the second act.
• 30 pages for the third act.

That's an easy barometer screenwriters can work from when they first start.

Fine-Tune Your Breakdown

Now, the first act isn't going to be a third of the script. You want to get those characters into the second act quickly, which has them dealing with the conflict at hand.

So you shift it.

• 20 pages for the first act.
• 40 pages for the second act.

And you can shift that page count for each act with more or fewer pages.

Focus on Writing Sessions, Not Hours

The notion of sitting down for eight hours a day and writing is a false one. Nobody is sitting there for eight hours straight, typing away non-stop. This is a claim that you'll often hear from pundits and successful authors telling tales in interviews and panels. And it creates negative residual expectations that newcomers put on themselves.

You don't need to write for multiple hours every single day. You don't even need to write every single day. And since you're not yet a professional screenwriter, we hope this is a very liberating realization for you!

With that in mind, we suggest that you focus on writing sessions over the number of hours you write. Doing so will help you to focus on writing throughout the week with the freedom of being able to take hours and days off to visualize, take care of your family needs, cover your work shifts, get your homework done, etc.  — all while staying focused by finding those open blocks of time when you  can  sit down and write.

• Some writing sessions may be just for an hour.
• Others may be for multiple hours when you have a day off.
• You may have a day or two in between writing sessions.

Choose a Writing Process with a Focus on Achieving Goals

The key element for a writing process that utilizes writing sessions is the output. Each writing session — no matter how long or short it lasts as far as minutes or hours — must provide written pages.

In ScreenCraft's 10-Day Screenplay Solution: How to Write Lightning Fast , you're offered a proven professional process that helps you get that first draft done in just ten writing sessions.

Goals within that process include:

• 10 pages per writing session, which averages out to a page count goal of 100 pages (allowing you to be over or under by a few).
• A rewrite-as-you-go process that helps to lessen the work necessary for your eventual rewrites (see below).

Benefits of Being Goal-Oriented Rather Than Hustling Hours

Focusing less on the hours you put into your script, and more on the product of the writing sessions you can work into your schedule will help you be able to write more like a professional working under Hollywood contract deadlines.

• You'll be able to conjure dialogue, scenes, and visuals faster.
• You'll be able to work within your family and business schedule.
• You'll take the weight off of your shoulders, as far as unrealistic writing time expectations.

4 Essentials You'll Want Your First Draft to Include

Some guidelines as you write the script include:

• Get to the concept and story within the first few pages.
• Let your characters' backstories and characterization appear through their actions and reactions to the conflict thrown at them in the second act.
• Introduce evolved and new conflicts every few pages to keep readers and the audience invested in the story.
• Build to both a physical (outer) and emotional (inner) climax.

How to Write the Beginning, Middle, and End of Your Script

The opening pages.

Most of the time, the first few pages are all you get to impress a reader or studio exec, so you better make them good. Luckily, we have some advice on how to hook anyone in your screenplay's opening pages , including building intrigue, setting up plot points, and holding off on introducing too many character details.

The Middle of Your Script

If you're struggling with the middle of your script, join the club. This is a notoriously treacherous part of any script, but we've laid out several ways to master the middle of your screenplay , like starting the second act early, raising the stakes, and writing twists, turns, and misdirects.

The All-Important Ending

And finally, if you want to end your script like a pro, we've got some tips. These tips are less practical than the previous ones we shared above, but they're still important and create a huge impact. A few things you'll need to do in order to master the ending of your script are know the ending before you start writing, connect the dots for your audience, and create internal barriers between your characters and the end.

The Rest is Up to You

When it comes to writing your first draft, the rest is up to you. The steps provided thus far — as well as the links to other helpful tutorials — are all that you need to make the writing of your first draft happen.

Still lost? That's okay! Read What Screenwriters Can do When Lost in the First Draft !

Before you begin, for a master list of what NOT to include in your script, Read ScreenCraft's 75 Things You Shouldn't Do When Writing a Script !

How Long Does It Usually Take to Write a First Draft of a Script?

Most beginning screenwriters take upwards of six months to multiple years to finish a single screenplay. When you become a professional, expectations change, and you're forced to adhere to first-draft deadlines that only give you anywhere from 4-12 weeks — sometimes less.

It's best to begin to learn how to write under contract deadlines because you're future-self will appreciate it. But we also know that everyone has their own tendencies. The idea is to take what we offer below, meld it with what you can and can't do at this time, and come up with the perfect hybrid process that best prepares you for what is to come when this screenwriting dream comes true.

Step #8: Take a Writing Break

Let's discuss a vital element within your writing process — the writing break .

A writing break is a pause in work. It may be for minutes, hours, days, weeks, or months (we'll cover everything below). Regardless, it's where you step away from the computer or laptop and disengage yourself from the task at hand.

Robert Pozen , senior lecturer at the MIT Sloan School of Management and author of  Extreme Productivity: Boost Your Results, Reduce Your Hours , told Fast Company :

“When people do a task and then [take a break], they help their brain consolidate information and retain it better. That’s what’s happening physiology during breaks.”

Most productivity researchers agree that breaks are vital to all working shifts. It allows you to refresh and re-engage in the task at hand.

Learning about breaks is applicable to the previous discussion about focusing on writing sessions over hours. But we'll also discuss the importance of taking a break after you finish your first draft.

Screenwriting Breaks By Minutes

Productivity researchers offer excellent breakdowns of an ideal number of minutes of productive work.

Pozen comments:

“Don’t think of breaks in terms of taking a set number a day, such as 12 or five. The real question is, what is the appropriate time period of concentrated work you can do before taking a break?"

There are a few different professional suggestions regarding the minutes of breaks when it comes to productivity.

75 to 90-Minute Writing Sessions

Pozen states that working for 75 to 90 minutes takes advantage of the brain's two modes:

• Learning or Focusing
• Consolidation

Kevin Kruse , author of  15 Secrets Successful People Know About Time Management , points to the work of Tony Schwartz, founder of the Energy Project . Schwartz coined the practice as a pulse and pause process, essentially expanding energy of productivity and then renewing it.

"His research shows that humans naturally move from full focus and energy to physiological fatigue every 90 minutes."

Yet how do most battle that fatigue? Kruse says:

"We override them with coffee, energy drinks, and sugar… or just by tapping our own reserves until they’re depleted."

Instead of burning yourself out by depleting your natural reserves or masking your fatigue with sugar and caffeine, you can simply, yes, take a break .

75 to 90 minutes can be a very productive writing session.

52-Minute Writing Sprints

Most novice screenwriters usually write as their secondary (or third) focus during each day.

• Most have day jobs.
• Some have multiple jobs (including school).
• And don't forget family duties as parents or siblings.

If you can't get a full hour and a half fit into your busy day, maybe a shorter writing session of 52 minutes is a good option. Finding under an hour of writing time before your day starts or before your day is about to end is a bit easier than finding a full 90 minutes.

The software startup, Draugiem Group , used a time-tracking app called DeskTime to track productivity. The study showed that working in 52-minute sprints (with a 17-minute break in between) increased productivity.

"The reason the 10% most productive employees are able to get the most done during the comparatively short periods of working time is that they’re treated as sprints for which they’re well rested. They make the most of the 52 working minutes. In other words, they work with purpose."

And that's a fantastic point, as far as looking at your writing sessions as sprints. When you have more time, that just means more time to procrastinate and let your mind wander. There's an urgency to the session when you have under an hour. You write with more purpose.

25-Minute Bursts

And then there is the Pomodoro Technique , developed by Francesco Cirillo, who named it after the tomato-shaped kitchen timer he used. His technique focuses on short bursts of work in 25-minute intervals with five minutes of break in between.

This technique is more well-suited for single tasks that require complete focus. For screenwriting, you can use this technique to focus on the following:

• Conjuring a specific scene.
• Rewriting a particular sequence you've been struggling with.
• Polishing the dialogue of a critical scene.

These 25-minute bursts can be used a la carte throughout your whole day.

• You can utilize short bursts during your work shifts during lunch breaks.
• You can fit in a short burst of writing during breakfast before your day shift.
• You can get another writing burst in before you head to bed.

The point is to find the best session, sprint, or burst time for you within your schedule and situation — while always making sure that you have an extended break in between.

If you're on a professional assignment with a tight deadline, your burst may actually have to be 75-90 minutes, with your sprint as a couple of hours and your writing session consisting of a few hours.

Screenwriting Breaks By Days, Weeks, and Months

Taking a break from your screenplay is vital to the creative process. As mentioned before, when you step away from your writing sessions, you're helping your brain consolidate and retain information better. As you go about different business and leisure during your breaks, your brain constantly tries to process the information and visuals you've had running through your head during your writing process.

• It's putting pieces together.
• It's making sense of the scenes, characters, actions, and location.
• It's processing a consistent tone, atmosphere, narrative, and voice.

When you walk away from the screen, your mind is still writing. When you come back, it's refreshed and rejuvenated.

Another popular myth is that you need to be writing every single day. You don't. In fact, it's probably better that you work in full days off from writing, whether it's a couple of days during the week or taking the whole weekend off.

Remember, you can still be "writing" on these off days.

• Visualize your next scenes during daydreaming, driving, walking, running, exercising, etc.
• Figure out options for potential twists and turns (and their story ramifications).
• Replay scenes you've written and see if they play out visually.

As we've discussed, writing isn't necessarily typing. Since screenwriting is for a visual medium, you should see these scenes and moments in your head before you type them onto the page.

Spreading your writing sessions out between day breaks can be highly effective for your visualization and story/character problem-solving.

Week Breaks

You don't want to take weeks in between writing sessions. It'll take multiple months to write a single script, and it's best to train yourself to write like a professional under contract deadlines (generally 4-12 weeks for the first draft).

Week breaks are more reserved for breaks in between drafts. When you finish a draft of your script, the worst thing you can do is go right into the reviewing/rewriting process. You've already spent one-to-three months writing your first draft. If you dive back into it, you're going to start suffering from paralysis of analysis.

Once a draft is complete, take some time away from it. How much time you take will depend on your situation.

• If you're writing on spec (not under contract), take a couple of weeks away from your script.
• If you're writing on assignment through a strict deadline, work in a week where you can step away from it.

What does this accomplish? You can revisit the script with fresh eyes by doing a full review through a cover-to-cover read. Experience the script not as the writer amidst deadlines but as a script reader  looking for a good read.

When you take these week(s) long breaks, you will see every glaring issue with your script that you couldn't see during the initial writing process.

• Grammar and spelling errors
• Dialogue issues
• Exposition issues
• Format issues

All of that and more.

Stepping away for a week or two between drafts will be a true difference-maker in your script and rewriting process.

Step #9: Rewrite

Ernest Hemingway once wrote:

"The only kind of writing is rewriting."

Screenwriters traditionally hate the rewriting process. They are so close to their work that they often believe that their first drafts are perfect and ready to be shopped, packaged, and produced. We get it. There's excitement. You're thrilled to be done. You want to celebrate and then show your creation to the world.

Why Rewriting is So Important

This is a big reason why the previous step — the break — is vital to your process. When you come back after a couple of weeks or more away from your first draft and then sit down to read it cover-to-cover, you'll see those glaring issues we mentioned above.

The rewrite process is where you truly find your cinematic story. This is the time when you meld your storytelling skills and talent with a keen eye for editing.

• You need to be objective.
• You need to step outside of your own skin and be your worst (or best) critic.
• You need to read a scene or line of dialogue and realize that it just doesn't belong.
• You need to see each and every flaw of the script, big or small.

What Gets Cut During Rewriting?

Part of the rewriting process includes killing your darlings.

Those darlings may be:

• Lines of dialogue
• A fun, dramatic, or exciting scene
• A supporting character
• A visceral moment
• An eye-catching visual

No matter how much you may love them for whatever reason — and no matter how much quality they represent as a singular element — make no mistake, you WILL need to kill many darlings for the better of the overall script.

You cut dialogue, scenes, sequences, and even characters out to:

• Increase pacing
• Improve scene flow and clarity
• Center more focus on your protagonist
• Remove clutter and unnecessary story, character, and dialogue elements

Different Rewrite Processes You Can Apply

There are many different approaches you can — and need — to take for an effective rewrite of your first draft.

One habit you can utilize during the writing of your first draft is the rewrite-as-you-go process we mentioned above.

Let's say you walk out of your first writing session with 10 pages. During the second writing session, you begin by reading those first 10 pages. As you do, you rewrite and tweak those 10 pages, going through mini-versions of the processes we feature below.

• Fixing typos
• Cutting down description and dialogue
• Shortening scenes (if not deleting them)
• Working on pacing

Then during that second writing session, after doing the above, you write on.

After that second writing session, maybe you have written another 10 pages — which amounts to 20 total thus far.

During the third session, you again read what you've written — 20 pages beginning to end — and rewrite them as you go.

You repeat this pattern as you write that first draft.

The results? By the time you write FADE OUT at the end of the draft, you'll have a much more focused, tight, and flowing first draft of your script.

The Benefits of Rewriting as You Go

Added benefits include:

• More consistent tone
• Amazing pacing
• Fewer plot holes

Because each time you sit down and write may find yourself in different moods, the rewriting-as-you-go process help to reign everything in each writing session. You're reading what you wrote before, which allows you to stay on that course of tone, atmosphere, pacing, and overall consistency as you continue on. It's like watching your movie in progress, and then continuing on with the new pages after you've watched it.

Revisit ScreenCraft's 10-Day Screenplay Solution: How to Write Lightning Fast for more on that!

Overwriting Check

Overwriting can come in the form of many different areas and elements of your first draft.

• Lack of white space in your script.
• Overly long scene headings.
• Multiple camera directions.
• Overly detailed scene description.
• Overly detailed wardrobe description (not your job).
• Too many adverbs and fancy vocabulary (keep it simple)
• Overly specific action sequence description
• Redundant or unnecessary scenes and dialogue

Read ScreenCraft's 7 Signs You're Overwriting Your Screenplay !

The Less Is More mantra we mentioned above needs to be solidified during the rewriting process. You want a final draft that offers visceral and cathartic scenes and moments, by way of simple and straightforward delivery.

Read ScreenCraft's 10 Amazing Screenwriting Examples of "Less is More" !

Revising Check

Depending upon your own writing process, habits, and tendencies, revision is an organic undertaking that can be a day-to-day or a draft-to-draft task — preferably both.

It’s different from editing or proofreading (see below) because the choices that are being made — and the things that you are trying to figure out — affect the big picture of your feature film.

• The structure
• The characters.

During the revising of your script, you don’t want to be caught up in the details of editing and proofreading. You will lose your focus on what the revision is really about — the structure, story arcs, plot points, and character arcs. You can also include pacing, theme, tone, atmosphere, and catharsis to that as well.

Revise Using Your ARMS

To understand revising, you can use the ARMS  acronym to ensure that you are staying on that revision course throughout your writing process.

A dd — Adding sentences and words to your scene description and dialogue to tell your story better.

R emove — Removing sentences and words from your scene description and dialogue to better embrace the “less is more” mantra of screenwriting.

M ove — Moving sentences and words from your scene description and dialogue to create better pacing, structure, and flow.

S ubstitute — Substituting words and sentences for new ones to create better syntax, articulation, and style.

Editing/Proofreading Check

Once you’ve managed to revise your screenplay through writing sessions and multiple drafts, it’s time to polish that script by eliminating those inescapable and annoying spelling, grammar, and punctuation mistakes that still linger within your pages.

You accomplish this by proofreading your story with your eyes specifically scanning for those types of errors. During this process, you need to avoid having revision in mind because you will surely miss multiple technical mistakes if your mind keeps wandering to structure, story, and character revisions.

Revise Using Your CUPS

To stay in the proper frame of mind, remember to use the  CUPS  acronym to keep you focused.

C apitalize —  Capitalizing names, places, titles, months, and other elements.  Example: If you’re writing a military script, lieutenant should be Lieutenant (titles) .

U sage —  Making sure that the usage of nouns and verbs is correct.  Example: “Have you packed your luggages?” is incorrect. The correct version would be “Have you packed your luggage?”   While this example may seem extreme and silly, you’d be surprised how many mistakes like this are found in submitted screenplays.

P unctuation — Making sure punctuation is correct by checking periods, quotes, commas, semicolons, apostrophes, etc.

S pelling —  Spellchecking all words and looking for homophone mistakes.  Homophone Examples: Your and You’re. New and Knew. To and Too. There,  Their , and They’re. Its and It’s. Then and Than. Effect and Affect. Cache and Cachet. Break and Brake. Principle and Principal. Breath and Breathe. Rain, reign, and rein. By, buy, and bye.

Locate Plot Holes

There are generally five types of plot holes found within screenplays. Let's keep it real and point out that no script is bulletproof when it comes to plot holes. But to get to the best final draft possible, you should do your best to find and fill the ones you do see.

1. MacGuffin Plot Holes

MacGuffin Plot Holes are those that relate directly to the MacGuffin, which are the goals, desired objects, or any other motivators that the protagonist (and often the antagonist as well) is either tasked with pursuing or drawn to pursuing, for whatever reasons. Not every cinematic story utilizes a MacGuffin. But if yours does, know that they are the motivating element that exists only to drive the plot and is usually the cause and effect of each character's conflict that they are dealing with throughout the story.

You, the screenwriter, don't need to explain every little aspect of MacGuffins if you're going to use them. However, you want to ensure that you keep a keen sense of logic when developing them. In the end, the sole purpose of the MacGuffin is to get the story moving forward for the characters . According to Alfred Hitchcock himself, the characters care about the MacGuffin — the audience generally doesn't.

2. Logic Plot Holes

Logic within a screenplay is what you, the screenwriter, decide. But know that the power of choosing what is logical and what is not within your script can and will dictate how invested audiences will be.

• If you set your script within the real world, keep it real.
• If your script is set within the real world with the caveat of consistent requests for suspension of disbelief in exchange for entertaining action and special effects (see most Hollywood blockbusters), have fun.

The key is to always be aware of whatever logic you are and are not willing to apply within your story — and keep it consistent.

3. Character Plot Holes

These types of plot holes also range from big to small, with varying degrees of repercussions.

Perhaps the most noticeable are those that deal with the choices that a character makes. These are often attributed to general logic, so they could fall under the Logic Plot Holes umbrella, but these are specifically attached to characters and the decisions they make. Make sure that your characters are consistent.

4. Narrative Plot Holes

Narrative Plot Holes occur when there's a gap or inconsistency in a storyline. It can directly affect the logic established within the plot, or it can be a glaring hole that halts the audience's engagement with the story as they question it.

5. Deus Ex Machina Plot Holes

The term refers to a plot device where a seemingly unsolvable problem or situation is suddenly and abruptly resolved by the intervention of some new event, character, ability, or object.

For more detailed breakdowns (and examples) of these types of plot holes, Read ScreenCraft's Do You Know the Different Types of Plot Holes?  

Pepper Your Script

The best part of the rewriting process is when you get to add all of the amazing extra details, plot points, clever foreshadowing, character ticks, plants and payoffs , etc.

Ask yourself, "How can I make this even better?" with each and every:

• Line of Dialogue

Pepper and enhance every element of the script. Create those masterful plants and payoffs that the reader (and eventual audience) can experience and revisit to see that such moments were properly set up.

For example, read the screenwriting plants and payoffs breakdowns of movies like:

• The Sixth Sense
• A Quiet Place
• Close Encounters of the Third Kind

Script Coverage

Sometimes it's helpful to get an outside perspective. That's where script coverage comes into play as an option.

Script Coverage is a professional analysis of a screenplay, consisting of various gradings of a screenplay’s many elements and accompanied by detailed analytical notes that touch on what works and what doesn’t work within the script.

Coverage formats and grading scales vary per company. And many different screenwriting contests, consulting companies, and consultants offer fee-based professional script coverage.

Read ScreenCraft's Top 5 Best Screenplay Coverage Services !

Script consultants grade everything from concept, story, characters, dialogue, pacing, and structure.

Be keenly aware of what you should and shouldn't expect from professional screenplay coverage:

• It's a tool, not a crutch — Despite its worth, script coverage should never be used as a crutch. Too many screenwriters spend too much money purchasing coverage package after coverage package for each draft of each script they write.
• It's an opinion, not a definitive answer — Always remember that whether the coverage is favorable, unfavorable, or somewhere in between, it's just an opinion in the end. But that opinion may have some fantastic points that you should consider.
• It's for pointers, not proofreading — Don't expect a word-by-word and line-by-line proofread with your script coverage. That's not what the reader is there for. They are not proofreaders looking to "mark your script" with every grammatical, spelling, and format error from cover to cover.
• It's for Constructive Criticism, not glowing reviews — If your script is that good, they'll let you know. But don't have high expectations that the coverage will dazzle you with kudos. If you can't take the heat in the script coverage kitchen, don't pay to be in there in the first place. But understand that the ability to take notes and feedback is vital to your success as a professional screenwriter.
• It's for inspiration, not answers — Readers are there to point out what works, what doesn't, and how the market may react based on current trends and expectations. And beyond that, they are there to ask questions and offer some minor options that writers could be inspired by to find the answers they seek.

You may not agree with everything they write. They may not understand everything you write. But they are there to help guide you on the many possible paths that your screenplay could take. And remember that there is a distinct difference between the feedback you get from fee-based script coverage (or mentor and peer feedback), and script notes given to you when you're a paid professional under contract.

For a more detailed breakdown of what to expect from script coverage, Read ScreenCraft's What You Should and Shouldn't Expect From Screenplay Coverage !

And check out ScreenCraft's Free Download: How to Master the Art of the Rewrite !

Step #10: Complete Your Final Draft

Okay, you've done all of the rewrite work. Perhaps you've enlisted some professional script coverage to help you with an additional draft. Now one final question remains:

"When and how do I know if I'm done?"

When is Your Script  Done  Done?

The hard truth is that you haven't gotten to a final draft of your script — in the big scheme of things — until it's being produced via a director, cast, and crew.

Screenplays go through many drafts during the marketing, development, and production phase. When you get the script to managers, agents, and development executives, it's more than likely that you'll be asked to do more rewrites based on their needs, wants, and preferences.

But how do you know when your spec script is done during your initial writing process?

Once you've met your personal deadline, locked the script away for a couple of weeks or so before returning to rewrite it, read the script cover to cover after that rewrite process, and do a final polish draft, it's time to say to yourself, "It's done."

A Final Test of Doneness

The final test of knowing when your screenplay is done is to tell yourself just that.

• You, the screenwriter, have to make that call.
• You're failing yourself as a screenwriter if you leave it open-ended.
• You're failing yourself as a screenwriter if you continue to do rewrite after rewrite after rewrite.

Too many screenwriters overly rely on endless feedback from family, friends, relatives, peers, and professional script coverage. The notion that a screenwriter must get feedback ends up being overblown and misconstrued. Yes, feedback can help. Yes, it's nice to get another set of eyes on the script.

The issue is that, in the end, each set of feedback you receive is just a subjective opinion. And if you continue to seek feedback from multiple people, there's no possible way to come to one true and final consensus in everyone's eyes.

• This is what often leads to endless rewriting.
• This is how writing groups can  hurt  a screenwriter.
• This is where too many hands in the cookie jar can turn an otherwise great story into an utter mess.

Find one individual that you trust. Beyond that, get one film industry perspective if you can . The rest is up to you.

With that said, Read ScreenCraft's The Ultimate Final Draft Checklist for Screenwriters !

Best of luck to you!

The Last and Most Important Question Once You Finish Your Script

And here's one last question that you should consider as you wrap up this script.

What are you going to write for your followup?

• Never stop writing.
• Don't spend months trying to market this script you've just written without moving on to the next as you do.
• Go through this 10-step process again for each.
• Get to the point where you have 3-5 excellent scripts to use as writing samples.
• Market scripts as you write more and hone your skills.

Read ScreenCraft's 7 Marketing Strategy Hacks for Screenwriters !

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries  Blackout , starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller  Hunter's  Creed , and many Lifetime thrillers. Follow Ken on Twitter  @KenMovies

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Screenplay Templates

37 creative screenplay templates [& screenplay format guide].

A screenplay is a document written by screenwriters. There are certain rules to follow when creating a screenplay format. Typically, the document has 90-120 pages. You need to use a specific size of paper, font, margins, and more.

Have you ever asked yourself how to write a screenplay? It’s quite interesting, actually. Just take the font of such template. You should use the Courier font when writing a screenplay. Why you ask?

Table of Contents

• 1 Screenplay Templates
• 2 The elements of a screenplay template
• 3 Screenplay Format
• 4 Basic formatting elements of a screenplay template
• 5 Screenplay Examples
• 6 How is a screenplay different from a script?
• 7 Script Templates
• 8 Creating the story structure for your screenplay template

Well, it has something to do with the timing of the content. A single formatted page using this font is equivalent to a minute of screen time. This is also why the document would have 90-120 pages.

A 90-page screenplay would run for about 1 1/2 hours. While a 120-page screenplay would run for about 2 hours. Such templates can be originally written or based on other stories.

You can base the content on a previously written work or even on true events. The screenplay is the basic blueprint of a movie if it’s picked up by producers or directors .

If you’re lucky enough to have your screenplay made into a movie, different people will work on it. The usual people involved in the making of a movie will use their talents. They will all work together to make your vision a reality.

The elements of a screenplay template

If you’re planning to make your own screenplay format, learn the different elements. Remember, screenplays are typically created a certain way. This means that you need to follow the format.

Nowadays, there is formatting software which you can use to create your document. But it’s still important to know the basics in case you want to make the screenplay yourself. Take a look at these elements:

• First page The first page of the document has its own formatting. The right, top, and bottom margins should be 1-inch only. But the left margin is 1.5-inches. The extra half-inch is there to allow for binding. The first page and the rest of the document should only be single-spaced. The first things you write on this page are the words FADE IN. Also, you don’t include this page in the numbering of the document. However, in the subsequent pages, the page numbers should be in the upper-right hand corner.
• Scene heading This is a one-line description of the setting. It includes the location as well as the time of day of the scene. It should reveal where and when the scene takes place. It should be in CAPS, and it’s also referred to as the “slugline.” The width should be 6.0″ and indentations should be: Right: 0.0”, Left: 0.0″.
• Sub header When you don’t need a new scene heading, but you do need some distinction, you can use this. Use this within the scene but use them sparingly. This is because screenplays which contain too many sub headers aren’t appealing. The width should be 6.0″ and indentations should be: Right: 0.0”, Left: 0.0″.
• Action This is a narrative which describes the events within your scene. You write this part using the present tense. This can also have different names. These include the scene directions, visual exposition, direction, description, or blackstuff. Keep in mind that you should only write things which the reader can see and hear in the scene. The width should be 6.0″ and indentations should be: Right: 0.0”, Left: 0.0″.
• Character When you introduce a character within the action, capitalize the name. Aside from using CAPS, make sure to write the name above the dialogue lines. You can also include the names of minor characters using CAPS as well. The width should be 4.0″ and indentations should be: Right: 0.0″ , Left: 2.0″.
• Dialogue This refers to the lines of speech for each of the characters. You use this format every time your character speaks. Use it even for voice-overs or off-screen dialogues. The width should be 3.5″ and indentations should be: Right: 1.5″ , Left: 1.0″.
• Parenthetical This refers to the direction of your characters. It can be action or attitude-oriented. Nowadays though, screenwriters seldom use parentheticals. There are 2 important reasons for this. First, it’s the job of the director to instruct an actor on how to deliver his dialogue. Second, you shouldn’t need a parenthetical to convey the message of the dialogue. If you do, then you may need to consider re-writing your content. The width should be 2.5″ and indentations should be: Right: 2.0”, Left: 1.5″.
• Extension You place the extension right after the name of the character, in parentheses. The extension is a technical note that’s abbreviated. It suggests how the audiences will hear the voice onscreen.
• Transition This refers to instructions for film editing. Typically, you only use them when writing a script for shooting. If you’re writing a screenplay, you don’t have to include this element. That is unless there’s no other way for you to indicate an element of the story. Some common transition terminologies are: CUT TO: DISSOLVE TO: SMASH CUT: QUICK CUT: FADE TO: The width should be 2.0″ and indentations should be: Right: 0.0″ , Left: 4.0″.
• Shot This element would inform the reader when the main focus of a particular scene changes. Just like the transition element, this isn’t as necessary for screenplay formats. This is mainly because it’s the job of the director to determine the shots. The width should be 6.0″ and indentations should be: Right: 0.0”, Left: 0.0″.

Screenplay Format

Basic formatting elements of a screenplay template

When you’re trying to learn how to write a screenplay, you can go through different samples. Then you’ll notice that they have slight differences based on the screenplay’s type.

The differences would also depend on the personal preferences of the writer. However, when it comes to the format, you need to follow some rules. In fact, these are strict rules screenplay writers use when creating their templates. To help you out, here are some basic guidelines:

• Use a 12pt size of the Courier font
• The left margin should be 1.5-inches
• The right margin should be 1-inch, ragged
• The top and bottom margins should also be 1-inch.
• You should have approximately 55 lines on each page, no matter what the size of your paper is. Adjust your margins accordingly if you’re using smaller or bigger-sized paper
• The names of the dialogue speakers (in CAPS) should be 3.7-inches from the page’s left side.
• The parentheticals of the actors should be 3.1-inches from the page’s left side.
• The dialogues should be 2.5-inches from the page’s left side.

You should also include page numbers in the top-right corner of the page. Flush them to the right margin, about half an inch from the top of your pages.

Place a period after the number and start on the second page of your document. Remember that the first page which contains the title shouldn’t have a page number.

Screenplay Examples

How is a screenplay different from a script?

As you’re writing your template, you may think to yourself, “am I writing a screenplay or a script?” Is there a difference between the two or are they merely synonyms of each other?

If you’re looking for a short answer, then there’s no difference between them. Usually, they mean the same thing and people use them interchangeably. But when you’re dealing with different mediums, then their differences become more apparent.

When discussing what you’ve written, it’s best to be as specific as possible. Then you can specify if it’s for a movie, a short, a television show or others. The fact is, all screenplays are scripts but you can’t classify all scripts as screenplays.

The main purpose of writing a screenplay is so that you can have it played onscreen. This means that it should play on a movie screen, a television screen or even a computer screen.

But when you write a script, you can apply it to other mediums. These include stage plays, radio programs, video games, and more. So when you’re writing a screenplay, make sure it’s for playing on a screen.

Also, when you write a screenplay, don’t refer to yourself as a scriptwriter. Instead, you can call yourself a screenplay writer or a screenwriter. The term scriptwriter is very close to “script writer.”

The latter refers to a person writing computer scripts. It may not seem very important to you but it can make a huge difference on the internet. This is especially true if you want people to find you easily. Let’s say you call yourself a scriptwriter.

If a person does an online search he would most likely find results for computer programmers. Then people won’t find out about you. So as you can see, terminologies are very important, no matter what industry you’re in.

Script Templates

Creating the story structure for your screenplay template

A lot of times, writers debate whether to create an outline or not. If you’re writing a screenplay, it’s always better to write an outline for it. Work out your plot first so you can make better decisions on how your story will turn out.

You can think of the best way to tell the story to keep it compelling and relatable. Before you make your screenplay format, you should learn how to make your story structure. This doesn’t refer to story mapping or the formatting of the template.

Writing your screenplay based on your pre-made story structure will make it a lot better. Then you have a better chance of creating a screenplay which will appeal to producers.  Making a story structure means you will arrange the elements of your story.

Arrange the elements in a particular chronological order. Do this to elicit the appropriate emotional response from whoever reads your document. The same thing goes when writing a screenplay.

In time, you want your screenplay to evolve into a movie. So you need to create a structure to arrange the elements of your story too. Story (or screenplay) structure can also refer to the way you organize the elements of your story.

The elements are the characters, reactions, events, and the outcomes of your story. You organize them so you can come up with a solid plot for your screenplay . Such structures are quite simple to make. The very basic principles of storytelling have evolved over the years.

Because of this, people understand them a lot better. They know when the lead should come in, when the plot should take a turn, and so on. Here are some tips for you when making your story structure:

• Give the readers what they want Since you want your screenplay to get picked-up, you need to put a lot of thought into it. Audiences subconsciously expect certain things to happen at certain times in a story. When you make a structure, you’ll be able to see all the elements of your screenplay. As you’re writing, you can modify things to keep the readers compelled to keep reading until the end.
• Screenplay structure has two major elements The first element is your story’s content. This is very important as it’s the heart of your screenplay. The second element is the form you use to convey your story. These elements are very important in screenplay structures.
• Create the right pacing When it comes to creating a great story plot, the pacing is vital. With the right pacing, you can keep your readers at the edge of their seats. A fast-paced screenplay will definitely be a page-turner for producers and other executives. This will help keep them engaged in your work.
• Think about your scenes When writing your scenes, you’ll more likely edit them more than once. But with a screenplay structure, you can assign the goals for your scene . So even if you edit them, you still stay true to your goal.
• Organize your outline Before you finalize your structure, make sure it’s organized. Then you can use the structure you’ve created to guide you as you’re writing the screenplay. If you’ve made a great structure, it will help you out immensely.

More Templates

Shot List Templates

Artist Statements

Butterfly Templates

27 Creative Writing Examples To Spark Your Imagination

With all the types of creative writing to choose from, it’s hard enough to focus on just one or two of your favorites. 

When it comes to writing your own examples, don’t be hard on yourself if you hit a wall.

We’ve all done it.

Sometimes, all you need is a generous supply of well-crafted and inspirational creative writing examples. 

Good thing you’re here!

For starters, let’s get clear on what creative writing is. 

What Is Creative Writing? 

How to start creative writing , 1. novels and novellas, 2. short stories and flash fiction, 3. twitter stories (140 char), 4. poetry or songs/lyrics, 5. scripts for plays, tv shows, and movies, 6. memoirs / autobiographical narratives, 7. speeches, 9. journalism / newspaper articles, 11. last wills and obituaries, 12. dating profiles and wanted ads, 13. greeting cards.

Knowing how to be a creative writer is impossible if you don’t know the purpose of creative writing and all the types of writing included. 

As you’ll see from the categories listed further on, the words “creative writing” contain multitudes: 

• Novels, novellas, short stories, flash fiction, microfiction, and even nanofiction;
• Poetry (traditional and free verse); 
• Screenplays (for theatrical stage performances, TV shows, and movies)
• Blog posts and feature articles in newspapers and magazines
• Memoirs and Testimonials
• Speeches and Essays
• And more—including dating profiles, obituaries, and letters to the editor. 

Read on to find some helpful examples of many of these types. Make a note of the ones that interest you most. 

Once you have some idea of what you want to write, how do you get started? 

Allow us to suggest some ideas that have worked for many of our readers and us: 

• Keep a daily journal to record and play with your ideas as they come; 
• Set aside a specific chunk of time every day (even 5 minutes) just for writing; 
• Use a timer to help you stick to your daily writing habit ; 
• You can also set word count goals, if you find that more motivating than time limits; 
• Read as much as you can of the kind of content you want to write; 
• Publish your work (on a blog), and get feedback from others. 

Now that you’ve got some ideas on how to begin let’s move on to our list of examples.  

Creative Writing Examples 

Read through the following examples to get ideas for your own writing. Make a note of anything that stands out for you. 

Inspiring novel-writing examples can come from the first paragraph of a well-loved novel (or novella), from the description on the back cover, or from anywhere in the story. 

From Circe by Madeline Miller

““Little by little I began to listen better: to the sap moving in the plants, to the blood in my veins. I learned to understand my own intention, to prune and to add, to feel where the power gathered and speak the right words to draw it to its height. That was the moment I lived for, when it all came clear at last and the spell could sing with its pure note, for me and me alone.”

From The Left Hand of Darkness by Ursula K. Le Guin: 

“‘I’ll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination…. ” 

The shorter your story, the more vital it is for each word to earn its place.  Each sentence or phrase should be be necessary to your story’s message and impact. 

From “A Consumer’s Guide to Shopping with PTSD” by Katherine Robb

“‘“Do you know what she said to me at the condo meeting?” I say to the salesman. She said, “Listen, the political climate is so terrible right now I think we all have PTSD. You’re just the only one making such a big deal about it.”

“The salesman nods his jowly face and says, “That Brenda sounds like a real b***h.”’

From Interpreter of Maladies by Jhumpa Lahiri (collection of short stories)

“Something happened when the house was dark. They were able to talk to each other again.” (From ‘A Temporary Matter’)

Use the hashtag #VSS to find a generous sampling of short Twitter stories in 140 or fewer characters. Here are a few examples to get you started: 

From Chris Stocks on January 3rd, 2022 : 

“With the invention of efficient 3D-printable #solar panels & cheap storage batteries, the world was finally able to enjoy the benefits of limitless cheap green energy. Except in the UK. We’re still awaiting the invention of a device to harness the power of light drizzle.” #vss365 (Keyword: solar)

From TinyTalesbyRedsaid1 on January 2nd, 2022 : 

“A solar lamp would safely light our shack. But Mom says it’ll lure thieves. I squint at my homework by candlelight, longing for electricity.” #vss #vss365 #solar

If you’re looking for poetry or song-writing inspiration, you’ll find plenty of free examples online—including the two listed here: 

From “I’m Nobody! Who are you?” by Emily Dickinson

“I’m Nobody! Who are you?

Are you – Nobody – too?

Then there’s a pair of us!

Don’t tell! they’d advertise – you know!

“How dreary – to be – Somebody!

How public – like a Frog –

To tell one’s name – the livelong June –

To an admiring Bog!

From “Enemy” by Imagine Dragons

“I wake up to the sounds

Of the silence that allows

For my mind to run around

With my ear up to the ground

I’m searching to behold

The stories that are told

When my back is to the world

That was smiling when I turned

Tell you you’re the greatest

But once you turn they hate us….” 

If you enjoy writing dialogue and setting a scene, check out the following excerpts from two very different screenplays. Then jot down some notes for a screenplay (or scene) of your own.

From Mean Girls by Tina Fey (Based on the book, Queen Bees and Wannabes” by Rosalind Wiseman

“Karen: ‘So, if you’re from Africa, why are you white?’

“Gretchen: ‘Oh my god, Karen! You can’t just ask people why they’re white!’

“Regina: ‘Cady, could you give us some privacy for, like, one second?’

“Cady: ‘Sure.’

Cady makes eye contact with Janis and Damien as the Plastics confer.

“Regina (breaking huddle): ‘Okay, let me just say that we don’t do this a lot, so you should know that this is, like, a huge deal.’

“Gretchen: ‘We want to invite you to have lunch with us every day for the rest of the week.’ 

“Cady: ‘Oh, okay…’ 

“Gretchen: Great. So, we’ll see you tomorrow.’

“Karen: ‘On Tuesdays, we wear pink.’” 

#10: From The Matrix by Larry and Andy Wachowski

“NEO: ‘That was you on my computer?’

“NEO: ‘How did you do that?’

“TRINITY: ‘Right now, all I can tell you, is that you are in danger. I brought you here to warn you.’

“NEO: ‘Of what?’

“TRINITY: ‘They’re watching you, Neo.’

“NEO: ‘Who is?’

“TRINITY: ‘Please. Just listen. I know why you’re here, Neo. I know what you’ve been doing. I know why you hardly sleep, why you live alone and why, night after night, you sit at your computer. You’re looking for him.’

“Her body is against his; her lips very close to his ear.

“TRINITY: ‘I know because I was once looking for the same thing, but when he found me he told me I wasn’t really looking for him. I was looking for an answer.’

“There is a hypnotic quality to her voice and Neo feels the words, like a drug, seeping into him.

“TRINITY: ‘It’s the question that drives us, the question that brought you here. You know the question just as I did.’

“NEO: ‘What is the Matrix?’

Sharing stories from your life can be both cathartic for you and inspiring or instructive (or at least entertaining) for your readers. 

From The Year of Magical Thinking by Joan Didion

“It was in fact the ordinary nature of everything preceding the event that prevented me from truly believing it had happened, absorbing it, incorporating it, getting past it. I recognize now that there was nothing unusual in this: confronted with sudden disaster, we all focus on how unremarkable the circumstances were in which the unthinkable occurred: the clear blue sky from which the plane fell, the routine errand that ended on the shoulder with the car in flames, the swings where the children were playing as usual when the rattlesnake struck from the ivy. ‘He was on his way home from work—happy, successful, healthy—and then, gone,’ I read in the account of the psychiatric nurse whose husband was killed in a highway accident… ” 

From Angela’s Ashes by Frank McCourt: 

“When I look back on my childhood I wonder how I managed to survive at all. It was, of course, a miserable childhood: the happy childhood is hardly worth your while. Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood.”

From Call the Midwife: A True Story of the East End in the 1950s by Jennifer Worth: 

“Nonnatus House was situated in the heart of the London Docklands… The area was densely-populated and most families had lived there for generations, often not moving more than a street or two away from their birthplace. Family life was lived at close-quarters and children were brought up by a widely-extended family of aunts, grandparents, cousins, and older siblings. 

The purpose of most speeches is to inform, inspire, or persuade. Think of the last time you gave a speech of your own. How did you hook your listeners? 

From “Is Technology Making Us Smarter or Dumber?” by Rob Clowes (Persuasive)

“It is possible to imagine that human nature, the human intellect, emotions and feelings are completely independent of our technologies; that we are essentially ahistorical beings with one constant human nature that has remained the same throughout history or even pre-history? Sometimes evolutionary psychologists—those who believe human nature was fixed on the Pleistocene Savannah—talk this way. I think this is demonstrably wrong…. “

From “Make Good Art” by Neil Gaiman (Keynote Address for the University of Fine Arts, 2012):

“…First of all: When you start out on a career in the arts you have no idea what you are doing.”

“This is great. People who know what they are doing know the rules, and know what is possible and impossible. You do not. And you should not. The rules on what is possible and impossible in the arts were made by people who had not tested the bounds of the possible by going beyond them. And you can.”

“If you don’t know it’s impossible it’s easier to do. And because nobody’s done it before, they haven’t made up rules to stop anyone doing that again, yet.” 

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From “The Danger of a Single Story” by Chimamanda Ngozi Adichie (TEDGlobal)

“…I come from a conventional, middle-class Nigerian family. My father was a professor. My mother was an administrator. And so we had, as was the norm, live-in domestic help, who would often come from nearby rural villages. So, the year I turned eight, we got a new house boy. His name was Fide. The only thing my mother told us about him was that his family was very poor. My mother sent yams and rice, and our old clothes, to his family. And when I didn’t finish my dinner, my mother would say, “Finish your food! Don’t you know? People like Fide’s family have nothing.” So I felt enormous pity for Fide’s family.

“Then one Saturday, we went to his village to visit, and his mother showed us a beautifully patterned basket made of dyed raffia that his brother had made. I was startled. It had not occurred to me that anybody in his family could actually make something. All I had heard about them was how poor they were, so that it had become impossible for me to see them as anything else but poor. Their poverty was my single story of them.” 

Essays are about arguing a particular point of view and presenting credible support for it. Think about an issue that excites or angers you. What could you write to make your case for a specific argument? 

From “On Rules of Writing,” by Ursula K. Le Guin:

“Thanks to ‘show don’t tell,’ I find writers in my workshops who think exposition is wicked. They’re afraid to describe the world they’ve invented. (I make them read the first chapter of The Return of the Native , a description of a landscape, in which absolutely nothing happens until in the last paragraph a man is seen, from far away, walking along a road. If that won’t cure them nothing will.)” 

From “Fairy Tale is Form, Form is Fairy Tale ” by Kate Bernheimer (from The Writer’s Notebook) : 

“‘The pleasure of fairy tales,’ writes Swiss scholar Max Lüthi, ‘resides in their form.’ I find myself more and more devoted to the pleasure derived from form generally, and from the form of fairy tales specifically, and so I am eager to share what fairy-tale techniques have done for my writing and what they can do for yours. Fairy tales offer a path to rapture—the rapture of form—where the reader or writer finds a blissful and terrible home….  “

Picture yourself as a seasoned journalist brimming with ideas for your next piece. Or think of an article you’ve read that left you thinking, “Wow, they really went all out!” The following examples can inspire you to create front-page-worthy content of your own.

From “The Deadliest Jobs in America” by Christopher Cannon, Alex McIntyre and Adam Pearce (Bloomberg: May 13, 2015):

“The U.S. Department of Labor tracks how many people die at work, and why. The latest numbers were released in April and cover the last seven years through 2013. Some of the results may surprise you…. “

From “The Hunted” by Jeffrey Goldberg ( The Atlantic: March 29, 2010)

“… poachers continued to infiltrate the park, and to the Owenses they seemed more dangerous than ever. Word reached them that one band of commercial poachers had targeted them for assassination, blaming them for ruining their business. These threats—and the shooting of an elephant near their camp—provoked Mark to intensify his antipoaching activities. For some time, he had made regular night flights over the park, in search of meat-drying racks and the campfires of poachers; he would fly low, intentionally backfiring the plane and frightening away the hunters. Now he decided to escalate his efforts….. “

It doesn’t have to cost a thing to start a blog if you enjoy sharing your stories, ideas, and unique perspective with an online audience. What inspiration can you draw from the following examples?

#21: “How to Quit Your Job, Move to Paradise, and Get Paid to Change the World” by Jon Morrow of Smart Blogger (Problogger.com):

“After all, that’s the dream, right?

“Forget the mansions and limousines and other trappings of Hollywood-style wealth. Sure, it would be nice, but for the most part, we bloggers are simpler souls with much kinder dreams.

“We want to quit our jobs, spend more time with our families, and finally have time to write. We want the freedom to work when we want, where we want. We want our writing to help people, to inspire them, to change them from the inside out.

“It’s a modest dream, a dream that deserves to come true, and yet a part of you might be wondering…

“Will it?…. “

From “The Subtle Art of Not Giving a F*ck” (blog post) by Mark Manson :

Headline: “Most of us struggle throughout our lives by giving too many f*cks in situations where f*cks do not deserve to be given.”

“In my life, I have given a f*ck about many people and many things. I have also not given a f*ck about many people and many things. And those f*cks I have not given have made all the difference…. “

Whether you’re writing a tribute for a deceased celebrity or loved one, or you’re writing your own last will and testament, the following examples can help get you started. 

From an obituary for the actress Betty White (1922-2021) on Legacy.com: 

“Betty White was a beloved American actress who starred in “The Golden Girls” and “The Mary Tyler Moore Show.”

“Died: Friday, December 31, 2021

“Details of death: Died at her home in Los Angeles at the age of 99.

“A television fixture once known as the First Lady of Game Shows, White was blessed with a career that just wouldn’t quit — indeed, her fame only seemed to grow as she entered her 80s and 90s. By the time of her death, she was considered a national treasure, one of the best-loved and most trusted celebrities in Hollywood…. “ 

From a last will and testament using a template provided by LegalZoom.com : 

“I, Petra Schade, a resident of Minnesota in Sherburne County — being of sound mind and memory — do hereby make, publish, and declare this to be my last will and testament…

“At the time of executing this will, I am married to Kristopher Schade. The names of my (and Kristopher’s) four children are listed below…

“I hereby express my intent not to be buried in a cemetery. I ask that my remains be cremated and then scattered at the base of a tree.

“None will have any obligation to visit my remains or leave any kind of marker. I ask that my husband honor this request more than any supposed obligation to honor my corpse with a funeral or with any kind of religious ceremony.

“I ask, too, that my children honor me by taking advantage of opportunities to grow and nurture trees in their area and (if they like) beyond, without spending more than their household budgets can support…. “

Dating profiles and wanted ads are another fun way to flex your creative writing muscles. Imagine you or a friend is getting set up on a dating app. Or pretend you’re looking for a job, a roommate, or something else that could (potentially) make your life better. 

Example of dating profile: 

Headline: “Female 49-year-old writer/coder looking for good company”

“Just moved to the Twin Cities metro area, and with my job keeping me busy most of the time, I haven’t gotten out much and would like to meet a friend (and possibly more) who knows their way around and is great to talk to. I don’t have pets (though I like animals) — or allergies. And with my work schedule, I need to be home by 10 pm at the latest. That said, I’d like to get better acquainted with the area — with someone who can make the time spent exploring it even more rewarding.”  

Example of a wanted ad for a housekeeper: 

“Divorced mother of four (living with three of them half the time) is looking for a housekeeper who can tidy up my apartment (including the two bathrooms) once a week. Pay is $20 an hour, not including tips, for three hours a week on Friday mornings from 9 am to 12 pm. Please call or text me at ###-###-#### and let me know when we could meet to discuss the job.”

These come in so many different varieties, we won’t attempt to list them here, but we will provide one upbeat example. Use it as inspiration for a birthday message for someone you know—or to write yourself the kind of message you’d love to receive. 

Happy 50th Birthday card:  

“Happy Birthday, and congratulations on turning 50! I remember you telling me your 40s were better than your 30s, which were better than your 20s. Here’s to the best decade yet! I have no doubt you’ll make it memorable and cross some things off your bucket list before your 51st.

“You inspire and challenge me to keep learning, to work on my relationships, and to try new things. There’s no one I’d rather call my best friend on earth.” 

Now that you’ve looked through all 27 creative writing examples, which ones most closely resemble the kind of writing you enjoy? 

By that, we mean, do you enjoy both reading and creating it? Or do you save some types of creative writing just for reading—and different types for your own writing? You’re allowed to mix and match. Some types of creative writing provide inspiration for others. 

What kind of writing will you make time for today? 

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How to Write a Script

Last Updated: August 15, 2024 Approved

This article was co-authored by Melessa Sargent and by wikiHow staff writer, Hunter Rising . Melessa Sargent is the President of Scriptwriters Network, a non-profit organization that brings in entertainment professionals to teach the art and business of script writing for TV, features and new media. The Network serves its members by providing educational programming, developing access and opportunity through alliances with industry professionals, and furthering the cause and quality of writing in the entertainment industry. Under Melessa's leadership, SWN has won numbers awards including the Los Angeles Award from 2014 through 2021, and the Innovation & Excellence award in 2020. There are 14 references cited in this article, which can be found at the bottom of the page. wikiHow marks an article as reader-approved once it receives enough positive feedback. This article received 32 testimonials and 83% of readers who voted found it helpful, earning it our reader-approved status. This article has been viewed 3,459,539 times.

Writing a script is a great way to stretch your creativity by making a short film, movie, or TV show . Each script starts with a good premise and plot that takes your characters on a life-changing adventure. With a lot of hard work and correct formatting, you can write your own script in just a few months!

Script-Writing Help

Creating a Story World

• For example, “What if you went back in time and met your parents when they were your age?” is the premise for Back to the Future , while “What if a monster rescued a princess instead of a handsome prince?” is the premise to Shrek .
• Carry a small notebook with you wherever you go so you can take down notes when you get ideas.

• Combine genres to make something unique. For example, you may have a western movie that takes place in space or a romance movie with horror elements.

Picking a Genre

If you like big set pieces and explosions, consider writing an action film.

If you want to scare other people, try writing a horror script.

If you want to tell a story about a relationship, try writing a drama or romantic comedy .

If you like a lot of special effects or what could happen in the future, write a science fiction film.

• For example, if one of your themes is isolation, you may choose to set your script in an abandoned house.
• The genre you pick will also help you choose your setting. For example, it's unlikely that you'd set a western story in New York City.

• Don't forget to figure out a memorable name for your character!

• If you're writing a horror story, your antagonist may be a monster or a masked killer.
• In a romantic comedy, the antagonist is the person your main character is trying to woo.

• For example, if you wanted to write a logline for the movie A Quiet Place , you may say, “A family is attacked by monsters,” but it doesn't give any details. Instead, if you wrote, “A family must live in silence to avoid being captured by monsters with ultra-sensitive hearing,” then the person reading your logline understands the main points of your script.

Outlining Your Script

• If you don't want to use index cards, you may also use a word document or screenwriting software, such as WriterDuet or Final Draft.

• Have events in the future take place early in your film if you want to make a mind-bending movie with twists, such as Inception .

Melessa Sargent

Also be sure to consider how many acts to include. A TV script should be 5 acts if it's for a commercial network like CBS, NBC, or ABC. A non-commercial script, such as for Netflix or Amazon, should be 3 acts. Feature scripts are also usually 3 acts.

• For example, if the scene is your character just shopping for groceries, it doesn't add anything to the story. However, if your character bumps into someone at the grocery store and they hold a conversation related to the main idea of the movie, then you can keep it.

Consider how many acts should be included. Melessa Sargent, the President of Screenwriters Network, says: "A TV script should be 5 acts if it's for a commercial network like CBS, NBC, or ABC. A non-commercial script, such as for Netflix or Amazon, should be 3 acts. In either case, a teaser is included and is considered the first act. Feature scripts are also usually 3 acts."

Tip: TV scripts usually hit act breaks when they cut to commercials. Watch shows similar to the story you're writing to see what happens just before they go to a commercial break.

Formatting the Script

• If the script is based on any other stories or films, include a few lines with the phrase “Based on the story by” followed by the names of the original authors.

Try scriptwriting software to make formatting your script easy. It can help a lot, especially if you've never written a screenplay before.

• Use any additional formatting, such as bolding or underlining, sparingly since it can distract your reader.

Tip: Screenwriting software, like Celtx, Final Draft, or WriterDuet, all automatically format your script for you so you don't need to worry about changing any settings.

• For example, a scene heading may read: INT. CLASSROOM - DAY.
• Keep scene headings on a single line so they aren't too overwhelming.
• If you want to specify a room in a specific location, you can also type scene headings like: INT. JOHN'S HOUSE - KITCHEN - DAY.

• Avoid writing what the characters are thinking. A good rule of thumb to think about is if it can't be seen on a screen, don't include it in your action block. So instead of saying, “John thinks about pulling the lever but he's not sure if he should,” you may write something like, “John's hand twitches near the lever. He grits his teeth and furrows his brow.”
• When you introduce a character for the first time in an action block, use all caps for their name. Every time after you mention the character name, write it as normal.

• If you want to make it clear how your character is feeling, include a parenthetical on the line right after the character name with an emotion. For example, it may read (excited) or (tense). Make sure the parenthetical is 3.1 in (7.9 cm) from the left side of the page.

Writing Your First Draft

• Tell others about your goal and ask them to hold you accountable for finishing your work.

• Choose a set time each day to sit down and write so you don't get distracted.
• Turn off your phone or internet connection so you can just focus on writing.

"Feature scripts should be between 95-110 pages. TV scripts should be 30-35 pages for a half-hour show or 60-65 pages for a 1 hour show."

• Make sure each character sounds different and has a unique voice. Otherwise, a reader will have a hard time distinguishing between who's speaking.

• If you're writing a TV script, aim for 30-40 pages for a half-hour sitcom and 60-70 pages for an hour-long drama.
• Short films should be about 10 pages or less.

Revising Your Script

• Start work on another script while you wait if you want to keep working on other ideas.

• Try to read your script out loud and don't be afraid to act out parts based on how you think they should be performed. That way, you can catch dialogue or wording that doesn't work as well.

Tip: If you can, print out your screenplay so you can directly write on it.

• Start each draft in a new document so you can cut and paste parts you like from your old script into the new one.
• Don't get too nit-picky with yourself or you'll never finish the script you're working on.

Expert Q&A

• There are no set rules to writing a screenplay. If you feel like your story should be told a different way, try them out. Thanks Helpful 0 Not Helpful 0
• Read scripts to movies you enjoy to learn how they were written. Many PDFs can be found online with a simple search. Thanks Helpful 0 Not Helpful 0
• Read books like Save the Cat by Blake Snyder or Screenplay by Syd Field to get ideas and information about how to format your stories. Thanks Helpful 0 Not Helpful 0

Tips from our Readers

• Make sure that you give credit to everyone who helped and make your ideas original. Don't steal other people's ideas.
• If you were to perform a play at school, you could try a play that has a warning or a moral.
• The more you practice writing, the better you will be at it.

You Might Also Like

• ↑ https://gointothestory.blcklst.com/how-i-write-a-script-part-1-story-concept-ab6d5a25fc27
• ↑ https://scriptmag.com/page/5-tips-for-choosing-writing-genres
• ↑ https://thescriptlab.com/features/screenwriting-101/2982-how-to-create-a-convincing-setting-in-your-screenplay/
• ↑ https://www.well-storied.com/blog/the-four-main-types-of-epic-antagonists
• ↑ https://www.scriptreaderpro.com/how-to-write-a-screenplay-2/
• ↑ https://gointothestory.blcklst.com/how-i-write-a-script-part-6-outline-697aedb321ef
• ↑ https://www.studiobinder.com/blog/three-act-structure/
• ↑ https://screenwriting.io/what-does-a-screenplay-title-page-look-like/
• ↑ https://screenwriting.io/what-is-standard-screenplay-format/
• ↑ https://scriptwrecked.com/category/scene-headings/
• ↑ https://scriptangel.com/8-tips-to-writing-great-action-lines/
• ↑ https://screenwriting.io/how-long-should-it-take-to-write-a-screenplay/
• ↑ https://thescriptlab.com/features/screenwriting-101/9296-mastering-the-art-of-revising-and-editing-your-screenplays/
• ↑ https://screencraft.org/blog/revising-screenplay-rewriting-screenwriting/

About This Article

To write a script, always start with a scene heading that's aligned to the left margin whenever you go to a new location. You should also include action blocks whenever you want to describe the setting and character's actions, which should also be aligned with the left margin. For example, you might write, "John takes a sip of his coffee and smiles." When you want to include dialogue, center the character's name in all caps, and center the dialogue under their name. To learn how to come up with a good story and realistic dialogue, read on! Did this summary help you? Yes No

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Creative Writing: Scriptwriting

• Short stories
• Scriptwriting
• Graphic novels

Banner Creative Writing

What is scriptwriting?

Screenwriting, also called scriptwriting , is the art and craft of writing scripts for mass media such as:

• feature films,
• television productions or
• video games.

It is frequently a freelance profession. [ source ]

Screenplay Elements

A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS.

Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime.

Scriptwriting examples

Classroom resources.

• 10ENG Scriptwriting process
• Lessons from the Screenplay - Youtube Channel
• BBC Writers Room: Sherlock TV Script
• ACMI: Production: Scriptwriting and Storyboards
• How to Format your script: Youtube
• << Previous: Short stories
• Next: Graphic novels >>
• Last Updated: Jul 5, 2020 2:32 PM
• URL: https://materchristi.libguides.com/creativewriting

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Last updated on Jul 24, 2023

15 Examples of Great Dialogue (And Why They Work So Well)

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

Great dialogue is hard to pin down, but you know it when you hear or see it. In the earlier parts of this guide, we showed you some well-known tips and rules for writing dialogue. In this section, we'll show you those rules in action with 15 examples of great dialogue, breaking down exactly why they work so well.

1. Barbara Kingsolver, Unsheltered 

In the opening of Barbara Kingsolver’s Unsheltered, we meet Willa Knox, a middle-aged and newly unemployed writer who has just inherited a ramshackle house. 

     “The simplest thing would be to tear it down,” the man said. “The house is a shambles.”      She took this news as a blood-rush to the ears: a roar of peasant ancestors with rocks in their fists, facing the evictor. But this man was a contractor. Willa had called him here and she could send him away. She waited out her panic while he stood looking at her shambles, appearing to nurse some satisfaction from his diagnosis. She picked out words.      “It’s not a living thing. You can’t just pronounce it dead. Anything that goes wrong with a structure can be replaced with another structure. Am I right?”      “Correct. What I am saying is that the structure needing to be replaced is all of it. I’m sorry. Your foundation is nonexistent.”

Alfred Hitchcock once described drama as "life with the boring bits cut out." In this passage, Kingsolver cuts out the boring parts of Willa's conversation with her contractor and brings us right to the tensest, most interesting part of the conversation.

By entering their conversation late , the reader is spared every tedious detail of their interaction.

Instead of a blow-by-blow account of their negotiations (what she needs done, when he’s free, how she’ll be paying), we’re dropped right into the emotional heart of the discussion. The novel opens with the narrator learning that the home she cherishes can’t be salvaged. 

By starting off in the middle of (relatively obscure) dialogue, it takes a moment for the reader to orient themselves in the story and figure out who is speaking, and what they’re speaking about. This disorientation almost mirrors Willa’s own reaction to the bad news, as her expectations for a new life in her new home are swiftly undermined.

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2. Jane Austen, Pride and Prejudice  

In the first piece of dialogue in Pride and Prejudice , we meet Mr and Mrs Bennet, as Mrs Bennet attempts to draw her husband into a conversation about neighborhood gossip.

     “My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?”      Mr. Bennet replied that he had not.      “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.”      Mr. Bennet made no answer.      “Do you not want to know who has taken it?” cried his wife impatiently.      “You want to tell me, and I have no objection to hearing it.”      This was invitation enough.      “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

Austen’s dialogue is always witty, subtle, and packed with character. This extract from Pride and Prejudice is a great example of dialogue being used to develop character relationships . 

We instantly learn everything we need to know about the dynamic between Mr and Mrs Bennet’s from their first interaction: she’s chatty, and he’s the beleaguered listener who has learned to entertain her idle gossip, if only for his own sake (hence “you want to tell me, and I have no objection to hearing it”).

There is even a clear difference between the two characters visually on the page: Mr Bennet responds in short sentences, in simple indirect speech, or not at all, but this is “invitation enough” for Mrs Bennet to launch into a rambling and extended response, dominating the conversation in text just as she does audibly.

The fact that Austen manages to imbue her dialogue with so much character-building realism means we hardly notice the amount of crucial plot exposition she has packed in here. This heavily expository dialogue could be a drag to get through, but Austen’s colorful characterization means she slips it under the radar with ease, forwarding both our understanding of these people and the world they live in simultaneously.

3. Naomi Alderman, The Power

In The Power , young women around the world suddenly find themselves capable of generating and controlling electricity. In this passage, between two boys and a girl who just used those powers to light her cigarette.

     Kyle gestures with his chin and says, “Heard a bunch of guys killed a girl in Nebraska last week for doing that.”      “For smoking? Harsh.”      Hunter says, “Half the kids in school know you can do it.”      “So what?”      Hunter says, “Your dad could use you in his factory. Save money on electricity.”      “He’s not my dad.”      She makes the silver flicker at the ends of her fingers again. The boys watch.

Alderman here uses a show, don’t tell approach to expositional dialogue . Within this short exchange, we discover a lot about Allie, her personal circumstances, and the developing situation elsewhere. We learn that women are being punished harshly for their powers; that Allie is expected to be ashamed of those powers and keep them a secret, but doesn’t seem to care to do so; that her father is successful in industry; and that she has a difficult relationship with him. Using dialogue in this way prevents info-dumping backstory all at once, and instead helps us learn about the novel’s world in a natural way.

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4. Kazuo Ishiguro, Never Let Me Go

Here, friends Tommy and Kathy have a conversation after Tommy has had a meltdown. After being bullied by a group of boys, he has been stomping around in the mud, the precise reaction they were hoping to evoke from him.

     “Tommy,” I said, quite sternly. “There’s mud all over your shirt.”      “So what?” he mumbled. But even as he said this, he looked down and noticed the brown specks, and only just stopped himself crying out in alarm. Then I saw the surprise register on his face that I should know about his feelings for the polo shirt.      “It’s nothing to worry about.” I said, before the silence got humiliating for him. “It’ll come off. If you can’t get it off yourself, just take it to Miss Jody.”      He went on examining his shirt, then said grumpily, “It’s nothing to do with you anyway.”

This episode from Never Let Me Go highlights the power of interspersing action beats within dialogue . These action beats work in several ways to add depth to what would otherwise be a very simple and fairly nondescript exchange.  Firstly, they draw attention to the polo shirt, and highlight its potential significance in the plot. Secondly, they help to further define Kathy’s relationship with Tommy. 

We learn through Tommy’s surprised reaction that he didn’t think Kathy knew how much he loved his seemingly generic polo shirt. This moment of recognition allows us to see that she cares for him and understands him more deeply than even he realized. Kathy breaking the silence before it can “humiliate” Tommy further emphasizes her consideration for him. While the dialogue alone might make us think Kathy is downplaying his concerns with pragmatic advice, it is the action beats that tell the true story here.

5. J R R Tolkien, The Hobbit  

The eponymous hobbit Bilbo is engaged in a game of riddles with the strange creature Gollum.

     "What have I got in my pocket?" he said aloud. He was talking to himself, but Gollum thought it was a riddle, and he was frightfully upset.       "Not fair! not fair!" he hissed. "It isn't fair, my precious, is it, to ask us what it's got in its nassty little pocketses?"      Bilbo seeing what had happened and having nothing better to ask stuck to his question. "What have I got in my pocket?" he said louder. "S-s-s-s-s," hissed Gollum. "It must give us three guesseses, my precious, three guesseses."      "Very well! Guess away!" said Bilbo.      "Handses!" said Gollum.      "Wrong," said Bilbo, who had luckily just taken his hand out again. "Guess again!"      "S-s-s-s-s," said Gollum, more upset than ever. 

Tolkein’s dialogue for Gollum is a masterclass in creating distinct character voices . By using a repeated catchphrase (“my precious”) and unconventional spelling and grammar to reflect his unusual speech pattern, Tolkien creates an idiosyncratic, unique (and iconic) speech for Gollum. This vivid approach to formatting dialogue, which is almost a transliteration of Gollum's sounds, allows readers to imagine his speech pattern and practically hear it aloud.

We wouldn’t recommend using this extreme level of idiosyncrasy too often in your writing — it can get wearing for readers after a while, and Tolkien deploys it sparingly, as Gollum’s appearances are limited to a handful of scenes. However, you can use Tolkien’s approach as inspiration to create (slightly more subtle) quirks of speech for your own characters.

6. F Scott Fitzgerald, The Great Gatsby

The narrator, Nick has just done his new neighbour Gatsby a favor by inviting his beloved Daisy over to tea. Perhaps in return, Gatsby then attempts to make a shady business proposition.

     “There’s another little thing,” he said uncertainly, and hesitated.      “Would you rather put it off for a few days?” I asked.      “Oh, it isn’t about that. At least —” He fumbled with a series of beginnings. “Why, I thought — why, look here, old sport, you don’t make much money, do you?”      “Not very much.”      This seemed to reassure him and he continued more confidently.       “I thought you didn’t, if you’ll pardon my — you see, I carry on a little business on the side, a little side line, if you understand. And I thought that if you don’t make very much — You’re selling bonds, aren’t you, old sport?”      “Trying to.” 

This dialogue from The Great Gatsby is a great example of how to make dialogue sound natural. Gatsby tripping over his own words (even interrupting himself , as marked by the em-dashes) not only makes his nerves and awkwardness palpable but also mimics real speech. Just as real people often falter and make false starts when they’re speaking off the cuff, Gatsby too flounders, giving us insight into his self-doubt; his speech isn’t polished and perfect, and neither is he despite all his efforts to appear so.

Fitzgerald also creates a distinctive voice for Gatsby by littering his speech with the character's signature term of endearment, “old sport”. We don’t even really need dialogue markers to know who’s speaking here — a sign of very strong characterization through dialogue.

7. Arthur Conan Doyle, A Study in Scarlet  

In this first meeting between the two heroes of Conan Doyle’s Sherlock Holmes stories, Sherlock Holmes and John Watson, John is introduced to Sherlock while the latter is hard at work in the lab.

      “How are you?” he said cordially, gripping my hand with a strength for which I should hardly have given him credit. “You have been in Afghanistan, I perceive.”      “How on earth did you know that?” I asked in astonishment.      “Never mind,” said he, chuckling to himself. “The question now is about hemoglobin. No doubt you see the significance of this discovery of mine?”     “It is interesting, chemically, no doubt,” I answered, “but practically— ”      “Why, man, it is the most practical medico-legal discovery for years. Don’t you see that it gives us an infallible test for blood stains. Come over here now!” He seized me by the coat-sleeve in his eagerness, and drew me over to the table at which he had been working. “Let us have some fresh blood,” he said, digging a long bodkin into his finger, and drawing off the resulting drop of blood in a chemical pipette. “Now, I add this small quantity of blood to a litre of water. You perceive that the resulting mixture has the appearance of pure water. The proportion of blood cannot be more than one in a million. I have no doubt, however, that we shall be able to obtain the characteristic reaction.” As he spoke, he threw into the vessel a few white crystals, and then added some drops of a transparent fluid. In an instant the contents assumed a dull mahogany colour, and a brownish dust was precipitated to the bottom of the glass jar.      “Ha! ha!” he cried, clapping his hands, and looking as delighted as a child with a new toy. “What do you think of that?”

This passage uses a number of the key techniques for writing naturalistic and exciting dialogue, including characters speaking over one another and the interspersal of action beats. 

Sherlock cutting off Watson to launch into a monologue about his blood experiment shows immediately where Sherlock’s interest lies — not in small talk, or the person he is speaking to, but in his own pursuits, just like earlier in the conversation when he refuses to explain anything to John and is instead self-absorbedly “chuckling to himself”. This helps establish their initial rapport (or lack thereof) very quickly.

Breaking up that monologue with snippets of him undertaking the forensic tests allows us to experience the full force of his enthusiasm over it without having to read an uninterrupted speech about the ins and outs of a science experiment.

Starting to think you might like to read some Sherlock? Check out our guide to the Sherlock Holmes canon !

8. Brandon Taylor, Real Life

Here, our protagonist Wallace is questioned by Ramon, a friend-of-a-friend, over the fact that he is considering leaving his PhD program.

     Wallace hums. “I mean, I wouldn’t say that I want to leave, but I’ve thought about it, sure.”     “Why would you do that? I mean, the prospects for… black people, you know?”        “What are the prospects for black people?” Wallace asks, though he knows he will be considered the aggressor for this question.

Brandon Taylor’s Real Life is drawn from the author’s own experiences as a queer Black man, attempting to navigate the unwelcoming world of academia, navigating the world of academia, and so it’s no surprise that his dialogue rings so true to life — it’s one of the reasons the novel is one of our picks for must-read books by Black authors . 

This episode is part of a pattern where Wallace is casually cornered and questioned by people who never question for a moment whether they have the right to ambush him or criticize his choices. The use of indirect dialogue at the end shows us this is a well-trodden path for Wallace: he has had this same conversation several times, and can pre-empt the exact outcome.

This scene is also a great example of the dramatic significance of people choosing not to speak. The exchange happens in front of a big group, but — despite their apparent discomfort —  nobody speaks up to defend Wallace, or to criticize Ramon’s patronizing microaggressions. Their silence is deafening, and we get a glimpse of Ramon’s isolation due to the complacency of others, all due to what is not said in this dialogue example.

9. Ernest Hemingway, Hills Like White Elephants

In this short story, an unnamed man and a young woman discuss whether or not they should terminate a pregnancy while sitting on a train platform.

     “Well,” the man said, “if you don’t want to you don’t have to. I wouldn’t have you do it if you didn’t want to. But I know it’s perfectly simple.”      “And you really want to?”      “I think it’s the best thing to do. But I don’t want you to do it if you really don’t want to.”      “And if I do it you’ll be happy and things will be like they were and you’ll love me?”      “I love you now. You know I love you.”      “I know. But if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it?”      “I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry.”      “If I do it you won’t ever worry?”      “I won’t worry about that because it’s perfectly simple.”

This example of dialogue from Hemingway’s short story Hills Like White Elephants moves at quite a clip. The conversation quickly bounces back and forth between the speakers, and the call-and-response format of the woman asking and the man answering is effective because it establishes a clear dynamic between the two speakers: the woman is the one seeking reassurance and trying to understand the man’s feelings, while he is the one who is ultimately in control of the situation.

Note the sparing use of dialogue markers: this minimalist approach keeps the dialogue brisk, and we can still easily understand who is who due to the use of a new paragraph when the speaker changes .

Like this classic author’s style? Head over to our selection of the 11 best Ernest Hemingway books .

10. Madeline Miller, Circe

In Madeline Miller’s retelling of Greek myth, we witness a conversation between the mythical enchantress Circe and Telemachus (son of Odysseus).

     “You do not grieve for your father?”        “I do. I grieve that I never met the father everyone told me I had.”           I narrowed my eyes. “Explain.”      “I am no storyteller.”      “I am not asking for a story. You have come to my island. You owe me truth.”       A moment passed, and then he nodded. “You will have it.” 

This short and punchy exchange hits on a lot of the stylistic points we’ve covered so far. The conversation is a taut tennis match between the two speakers as they volley back and forth with short but impactful sentences, and unnecessary dialogue tags have been shaved off . It also highlights Circe’s imperious attitude, a result of her divine status. Her use of short, snappy declaratives and imperatives demonstrates that she’s used to getting her own way and feels no need to mince her words.

11. Andre Aciman, Call Me By Your Name

This is an early conversation between seventeen-year-old Elio and his family’s handsome new student lodger, Oliver.

     What did one do around here? Nothing. Wait for summer to end. What did one do in the winter, then?      I smiled at the answer I was about to give. He got the gist and said, “Don’t tell me: wait for summer to come, right?”      I liked having my mind read. He’d pick up on dinner drudgery sooner than those before him.      “Actually, in the winter the place gets very gray and dark. We come for Christmas. Otherwise it’s a ghost town.”      “And what else do you do here at Christmas besides roast chestnuts and drink eggnog?”      He was teasing. I offered the same smile as before. He understood, said nothing, we laughed.      He asked what I did. I played tennis. Swam. Went out at night. Jogged. Transcribed music. Read.      He said he jogged too. Early in the morning. Where did one jog around here? Along the promenade, mostly. I could show him if he wanted.      It hit me in the face just when I was starting to like him again: “Later, maybe.”

Dialogue is one of the most crucial aspects of writing romance — what’s a literary relationship without some flirty lines? Here, however, Aciman gives us a great example of efficient dialogue. By removing unnecessary dialogue and instead summarizing with narration, he’s able to confer the gist of the conversation without slowing down the pace unnecessarily. Instead, the emphasis is left on what’s unsaid, the developing romantic subtext. 

Furthermore, the fact that we receive this scene in half-reported snippets rather than as an uninterrupted transcript emphasizes the fact that this is Elio’s own recollection of the story, as the manipulation of the dialogue in this way serves to mimic the nostalgic haziness of memory.

Understanding Point of View

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12. George Eliot, Middlemarch

Two of Eliot’s characters, Mary and Rosamond, are out shopping,

     When she and Rosamond happened both to be reflected in the glass, she said laughingly —      “What a brown patch I am by the side of you, Rosy! You are the most unbecoming companion.”      “Oh no! No one thinks of your appearance, you are so sensible and useful, Mary. Beauty is of very little consequence in reality,” said Rosamond, turning her head towards Mary, but with eyes swerving towards the new view of her neck in the glass.      “You mean my beauty,” said Mary, rather sardonically.       Rosamond thought, “Poor Mary, she takes the kindest things ill.” Aloud she said, “What have you been doing lately?”      “I? Oh, minding the house — pouring out syrup — pretending to be amiable and contented — learning to have a bad opinion of everybody.”

This excerpt, a conversation between the level-headed Mary and vain Rosamond, is an example of dialogue that develops character relationships naturally. Action descriptors allow us to understand what is really happening in the conversation. 

Whilst the speech alone might lead us to believe Rosamond is honestly (if clumsily) engaging with her friend, the description of her simultaneously gazing at herself in a mirror gives us insight not only into her vanity, but also into the fact that she is not really engaged in her conversation with Mary at all.

The use of internal dialogue cut into the conversation (here formatted with quotation marks rather than the usual italics ) lets us know what Rosamond is actually thinking, and the contrast between this and what she says aloud is telling. The fact that we know she privately realizes she has offended Mary, but quickly continues the conversation rather than apologizing, is emphatic of her character. We get to know Rosamond very well within this short passage, which is a hallmark of effective character-driven dialogue.

13. John Steinbeck, The Winter of our Discontent

Here, Mary (speaking first) reacts to her husband Ethan’s attempts to discuss his previous experiences as a disciplined soldier, his struggles in subsequent life, and his feeling of impending change.

     “You’re trying to tell me something.”      “Sadly enough, I am. And it sounds in my ears like an apology. I hope it is not.”      “I’m going to set out lunch.”

Steinbeck’s Winter of our Discontent is an acute study of alienation and miscommunication, and this exchange exemplifies the ways in which characters can fail to communicate, even when they’re speaking. The pair speaking here are trapped in a dysfunctional marriage which leaves Ethan feeling isolated, and part of his loneliness comes from the accumulation of exchanges such as this one. Whenever he tries to communicate meaningfully with his wife, she shuts the conversation down with a complete non sequitur. 

We expect Mary’s “you’re trying to tell me something” to be followed by a revelation, but Ethan is not forthcoming in his response, and Mary then exits the conversation entirely. Nothing is communicated, and the jarring and frustrating effect of having our expectations subverted goes a long way in mirroring Ethan’s own frustration.

Just like Ethan and Mary, we receive no emotional pay-off, and this passage of characters talking past one another doesn’t further the plot as we hope it might, but instead gives us insight into the extent of these characters’ estrangement.

14. Bret Easton Ellis , Less Than Zero

The disillusioned main character of Bret Easton Ellis’ debut novel, Clay, here catches up with a college friend, Daniel, whom he hasn’t seen in a while. 

     He keeps rubbing his mouth and when I realize that he’s not going to answer me, I ask him what he’s been doing.      “Been doing?”      “Yeah.”      “Hanging out.”      “Hanging out where?”      “Where? Around.”

Less Than Zero is an elegy to conversation, and this dialogue is an example of the many vacuous exchanges the protagonist engages in, seemingly just to fill time. The whole book is deliberately unpoetic and flat, and depicts the lives of disaffected youths in 1980s LA. Their misguided attempts to fill the emptiness within them with drink and drugs are ultimately fruitless, and it shows in their conversations: in truth, they have nothing to say to one another at all.

This utterly meaningless exchange would elsewhere be considered dead weight to a story. Here, rather than being fat in need of trimming, the empty conversation is instead thematically resonant.

15. Daphne du Maurier, Rebecca

The young narrator of du Maurier’s classic gothic novel here has a strained conversation with Robert, one of the young staff members at her new husband’s home, the unwelcoming Manderley.

     “Has Mr. de Winter been in?” I said.      “Yes, Madam,” said Robert; “he came in just after two, and had a quick lunch, and then went out again. He asked for you and Frith said he thought you must have gone down to see the ship.”      “Did he say when he would be back again?” I asked.      “No, Madam.”      “Perhaps he went to the beach another way,” I said; “I may have missed him.”      “Yes, Madam,” said Robert.      I looked at the cold meat and the salad. I felt empty but not hungry. I did not want cold meat now. “Will you be taking lunch?” said Robert.      “No,” I said, “No, you might bring me some tea, Robert, in the library. Nothing like cakes or scones. Just tea and bread and butter.”      “Yes, Madam.”

We’re including this one in our dialogue examples list to show you the power of everything Du Maurier doesn’t do: rather than cycling through a ton of fancy synonyms for “said”, she opts for spare dialogue and tags. 

This interaction's cold, sparse tone complements the lack of warmth the protagonist feels in the moment depicted here. By keeping the dialogue tags simple , the author ratchets up the tension —  without any distracting flourishes taking the reader out of the scene. The subtext of the conversation is able to simmer under the surface, and we aren’t beaten over the head with any stage direction extras.

The inclusion of three sentences of internal dialogue in the middle of the dialogue (“I looked at the cold meat and the salad. I felt empty but not hungry. I did not want cold meat now.”) is also a masterful touch. What could have been a single sentence is stretched into three, creating a massive pregnant pause before Robert continues speaking, without having to explicitly signpost one. Manipulating the pace of dialogue in this way and manufacturing meaningful silence is a great way of adding depth to a scene.

Phew! We've been through a lot of dialogue, from first meetings to idle chit-chat to confrontations, and we hope these dialogue examples have been helpful in illustrating some of the most common techniques.

If you’re looking for more pointers on creating believable and effective dialogue, be sure to check out our course on writing dialogue. Or, if you find you learn better through examples, you can look at our list of 100 books to read before you die — it’s packed full of expert storytellers who’ve honed the art of dialogue.

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• Scriptwriting

Screenplay Structure Examples — A Guide for Screenwriters

• What is a Scene
• What is The Three Act Structure
• What is Story Structure
• What is a Story Beat
• What Is a Plot
• Plot vs Story
• What is a Non-Linear Plot
• What is a Plot Device
• What is Freytag’s Pyramid
• Screenplay Structure Examples
• What is a Story Mountain
• Joseph Campbell’s Hero’s Journey
• What is Save the Cat
• Dan Harmon’s Story Circle
• What is Aristotle’s Poetics
• What is Exposition
• What is an Inciting Incident
• What is Rising Action
• What is the Climax of a Story
• What is the Falling Action
• What is Denouement
• How to Write the First Ten Pages of a Screenplay
• Plot Structure Tools
• The Ultimate Film Beat Sheet
• Secrets to Great Exposition in Screenwriting
• Writing Exposition in Film
• Best Inciting Incident Examples
• Examples of Midpoint In Movies
• Write Your Script For Free

W hether you searched them out yourself, or whether someone recommended you “work on structure,” all writers have come across a screenplay structure in their day. Some swear by it, others liken it to creative cancer. The truth is, whether you like them or not, there is value in understanding what the formulas are and how they are used. Today, we’ll learn the screenplay structures you need to know, how they work, and run a few scripts through them.

Watch: Anatomy of a Screenplay — Ultimate Guide

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Basic screenplay structure

First, let’s define screenplay structure.

It’s not like there’s a magical equation that can conjure up the perfect screenplay. If there was, we wouldn’t have so many duds at the box office. 

Still, with millions (sometimes hundreds of millions) invested in what we see on the big screen, studios want as close to a sure thing as possible. It’s from this reality that the concept of a screenplay story structure is born. 

Basic screenplay structure DEFINITION

What is a screenplay structure.

A screenplay structure is a guideline of how to write a story. They advise writers on when certain actions/beats should happen, how drama should be built, how to hold audience attention, and more. 

Generally, basic screenplay structure is taught as a rough guideline to help the structure and pace of a script. 

Screenplay Structure Characteristics 

• Most commonly used in feature-film writing
• Many structures have obvious similarities
• Some writers swear by a proven screenplay story structure, while others find then restrictive

The truth is, when the industry began, no one knew what a screenplay structure was. The idea has been retrofitted based on the movies we’ve seen work over the years. 

In a chicken vs. the egg conversation. The screenplays came first, structures/formulas second. That alone tells you that nobody NEEDS a screenwriting structure to make a great script. What you do need is an interesting story. 

More than anything, that is why these exist. They try to help you create an interesting, compelling, bumpy ride for the audience.

Let’s learn about a few of them. And remember to do some research with over 250+ scripts in StudioBinder's script library where you can read and download PDFs of your favorite screenplays.

Three act structure screenplay

Understanding the 3 act structure .

The most well-known screenplay tool is the three act structure screenplay. Most other structures accept this tool in some shape or form. It’s much less a structure than a basic storytelling principle. Here is the general idea behind this structure, including the main story beats and average page counts.

3 act structure screenplay diagram

Act One sets up the plot , establishes characters, establishes home. 

Act Two we are thrust into new circumstances. Perhaps a new city, a new mission, a new love interest, etc.

Act Three is where we face the villain one last time, confess our love, go all or nothing, and either fail or succeed. 

Three act structure screenplay explained

Syd Field popularized the concept with his book Screenplay (1978), Robert McKee hammered it home with his book Story (1997) and nearly all other screenwriting formulas accept this simple concept. Original tracings of the idea can be tied back to Aristotle with his strict observation of a beginning, middle, and end.  

When you break it down that simply, it’s easy to understand how nearly all scripts follow this in some way, shape, or form.

For a complete explanation and, read more about the three act structure . 

film script structure for Heroes

The hero’s journey screenplay structure.

Perhaps second in widespread acceptance is The Hero’s Journey . Popularized by Joseph Campbell in the late '80s, The Hero’s Journey still has three acts, but there’s more specificity within it.  

The following image breaks down the Hero’s Journey in Star Wars , Lord of The Rings , and Harry Potter . From this infographic alone, you can see how these types of adventures stories are so well-suited for this mythic structure.

Hero’s Journey screenplay structure diagram

The call to adventure, refusing the call, until something pushes you across the threshold all occur in Act One, typically in the first 30 pages. 

Once that threshold is crossed, you’re officially in Act Two. 

The next few beats occur along your journey. Bumps in the road until you hit the apotheosis (in this case a huge bump) something you’ve been building up to. Maybe you lose, maybe you win… but the story isn’t over yet. 

If you lose, you have to hit rock bottom, sink into despair before. If you win, it’s a tremendous height! But maybe it's a false victory and the rug is pulled out from under you, again, sending you to despair.

But you don’t stay there, something, someone, pulls you out. You confront the bad guy one last time. All for nothing. And this time, you win. You return to your original life, but things have changed, you have changed, often for the better. Here's an animated summary to put this all in context.

Hero’s Journey screenplay story structure explained

Note, it doesn’t have to be a hero in the straightforward “save the princess” sense. Your hero is simply the main character of the story. 

We don’t all have a cave to enter or dragon to slay but instead a “symbolic cave” that someone is scared or hesitant to go into and find the light on the other side. 

If you still have questions, read more about The Hero’s Journey  with different screenplay examples.

Save the Cat screenplay structure 

Save the cat basic screenplay structure.

Next up is Save The Cat . 

Created by Blake Snyder (one of the few script gurus with a produced screenplay) in 2005, Save The Cat features 12 story beats. 

Read on to learn more about Save the Cat and download a free beat sheet.

Screenplay structure diagram

Save the Cat isn’t as specific as The Hero’s Journey. Terms like “setup,” “ theme ,” ”debate,” and “fun and games” are intentionally made applicable to tons of story types. 

Screenplay structures compared 

I left out a few Save the Cat beats like “Opening Image,” “Theme Stated,”  and “Break into 3” but those beats are given in most stories. 

Still, just so I don’t leave you shorthanded, we imported Interstellar (2014) into StudioBinder's screenwriting software and put it through the Save the Cat structure. Check out the results. 

Interstellar Save the Cat screenplay structure  •   Subscribe on YouTube

Interstellar follows Save the Cat extremely well, but it by no means defines the script. For context, The Interstellar script is over 155 pages, Save the Cat offers 12 story suggestions. That’s 13 pages per suggestion! 

Story Circle feature film script structure 

Story circle screenplay formula.

Another more recently adopted concept is Dan Harmon’s Story Circle . 

Dan Harmon is the creator of TV shows Rick and Morty   as well as Community , yet still, his screenplay story structure is reminiscent of the others. 

Story Circle Screenplay Structure Diagram

There are 3 acts, an implied journey, something dramatic in the middle, a change at the end. You get the drill. 

We break it down like this:

• You — A character is in a zone of comfort,
• Need — But they want something.
• Go — They enter an unfamiliar situation,
• Search — Adapt to it,
• Find — Get what they wanted, 
• Take — Pay a heavy price for it, 
• Return — Then return to their familiar situation, 
• Change — Having changed.

If you want more information on this structure, we’ve got a whole article breaking down all 8 beats of Dan Harmon’s Story circle . 

And just for good measure, we imported The Dark Knight  into StudioBinder and ran it through the circle. Check out the following video:

Dark Knight screenplay story structure  •   Subscribe on YouTube

What better movie to apply an order and chaos screenwriting structure to than The Dark Knight ! 

How to structure a screenplay 

Experimental film script structure.

Yet, as we continue making more and more movies, it’s the screenwriter’s job to look for creative, engaging ways to tell stories. 

So far we’ve talked about the 90 page screenplay structure but there is also structure in the sense of storytelling techniques .

For example, there’s the good old-fashioned linear story, non-linear storyline, multiple timeline story, repeated action story, The Rashomon Effect , heck, there’s even a Pixar Formula . 

Let’s talk about a few of them and see how they fit into these bigger screenplay structure examples mentioned above. 

Basic screenplay structure / storytelling techniques

Linear vs non-linear .

Your typical screenplay structure chart is linear. Most films follow a relatively linear path. Most, but definitely not all. 

Any type of flashback or flash-forward is non-linear. Dreams sequences tend to be non-linear. Time travel is about as non-linear as it gets. 

The first non-linear films that pop into my head are Pulp Fiction , Reservoir Dogs , every Chris Nolan movie , and Eternal Sunshine of the Spotless Mind .

To help visualize: 

Non-linear screenplay story structure

An extreme example of this is the reverse chronological story structure, where the story is told backward. Think Cristopher Nolan’s Memento . Its wildly complex structure is explained in the video below.  

Memento  •  Screenplay Story Structure

Yet still, even cross-cutting between flashback, black-and-white, with the story moving forwards and backward… Memento is about a man on a mission, facing foes, meeting a temptress, and following many of the “traditional” story beats we’ve learned so much about. 

How to structure a screenplay… like a circle?

Circular screenplay structure.

This one is basically how it sounds. A movie that acts as a circle. 

However, the audience often won’t know the film is a circle until the circle is completed at the end. 

A circle can imply inevitability, trapping, a cyclical nature, but it can also just be a cool way to look at a story. An ah-ha moment. 

Circling back (wink wink) to Memento . It ends, timeline-wise, right after it begins. This makes sense as our protagonist can’t remember anything and therefore keeps “circling” on similar journeys. 

12 Monkeys is a sci-fi film that uses time travel to make the beginning and end of the film intersect at the very same moment. A crucial moment where a decision must be made. Time travel films love to play around with circular structure, fate, and what-ifs. 

It’s a much different concept than Dan Harmon’s “story circle” depicted earlier, but the character’s journey often follows a similar path.  

Feature film script structure

Single vs multiple protagonists.

The majority of movies focus on a single protagonist . One hero, one clear villain. James Bond, the best superhero movies , the cop vs killer story. 

However, with multiple protagonists, we get more than one hero. The Departed , The Prestige , 21 Jump Street , Brokeback Mountain all have 2 leads. Read more on how to write a script with dual protagonists . 

With 2 leads, sometimes both get character arcs on the same journey.  And if not, the character unwilling to change will likely be the one who ends your film in despair. 

But don’t feel limited to two characters! Pulp Fiction , Magnolia , Crash , The Avengers use numerous characters/timelines all sharing relatively equal weight and attention. 

Pulp Fiction feature film script structure

These storylines can converge on one climactic event, but sometimes they won't. Perhaps their meaning is more symbolic…(e.g., Cloud Atlas , Magnolia , Babel ). 

Or maybe it's just a collection of stories, a film that hops from one person to the next. This is called The Daisy Chain Plot . (e.g.,  Slacker , Night on Earth , The Ballad of Buster Scruggs ). 

The Daisy Chain Plot is the least likely to follow classic screenwriting story structure and character arcs. 

Screenplay structure examples… time-loop

Repeated action plot.

I call this one the “ Groundhog Day story” but it’s perhaps most known as a time-loop movie. You know where the same character is stuck in a reality that repeats day after day after day. 

This has become increasingly popular in recent years and is extremely useful for character development . By creating a loop, you force the character to look inwards to see how they have been interacting with the world and find the secret to escaping the time loop. 

Act 1 — Regular life. Then… discover the loop. 

Act 2 — Explore the loop and ways to escape. 

Act 3 — One final attempt to get out. 

Groundhog Day dying montage 

Palm Springs , Edge of Tomorrow , Source Code , Happy Death Day , Russian Doll all employ this method. 

However, the structure's downfall might be the very thing that makes it great. Repetition. The idea was great the first time I saw it. Great the second time too but I can’t help feel fatigued from this structure as more and more time-loop films are made. 

Different screenplay structures

The rashomon structure.

The Rashomon Effect involves detailing the same event from multiple viewpoints. It is named after the 1950 film Rashomon  directed by Akira Kurosawa. In the film, a crime is recalled from the perspectives of a bandit, the bride, the samurai's ghost, and a woodcutter.

Generally, we have a mystery, and new contradictory information comes to light with each additional version of the story. This can be seen in more recent films like Gone Girl, Reservoir Dogs , and The Usual Suspects.  

The Rashomon method builds mystery, mistrust, and is a very compelling way to format a screenplay. 

Summarizing the 90 page screenplay structure

Wrapping it up.

Are there more structures out there? Most definitely. Is any one much different for better than another? Not really.

Don’t worry too much about the structure. Worry about writing an entertaining and unique script. You can use all these structures and still write a very bad screenplay. You can use no structures and write an amazing screenplay.

Most Hollywood writers aren’t sitting next to a copy of Save The Cat as they write, but they do understand that a compelling script follows a trajectory, with highs, lows, complications, and a beginning, middle, and end. 

Related Posts

• Watch: How to Format a Screenplay →
• Read More: Write a TV Pilot That Sells →
• FREE: StudioBinder Screenwriting Software →

Writing better dialogue 

You have the structures down, you know the general outline of your story, now it’s time to start writing. It’s no secret that dialogue can make or break a film, luckily for you, we’ve got a whole article on how to write compelling dialogue from start to finish.  

Up Next: Tips for Better Dialogue →

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Examples and Guide to Creative Writing

The roots of creative writing lie in creative thinking. But what if you're not the most creative person in the room? That's simply not a good enough reason to lose hope in writing the best creative piece anyone's ever read. In this article, I will show you what you need to get started and the tools with creative writing examples that will help you learn how to write creatively.

What is Creative Writing?

Creative writing is a form of writing that diverges from the more formal and structured types of writing like technical or academic writing. It typically includes various genres and styles, focusing on character development, narrative, and plot, infused with imagination and storytelling. The primary objective is to evoke emotions and create a vivid experience for the reader.

Creative writing includes many forms, such as children's books, creative nonfiction, graphic novels, memoirs, novels, plays, poetry, screenplays, and short stories. Each form offers unique opportunities for writers to explore different themes, styles, and storytelling techniques. Essential elements of creative writing include as follows that work together to create engaging and immersive narratives that resonate with readers.

Action: Characters’ actions should be purposeful and drive the story forward, based on their motivations and goals.

Character Development: Characters should be unique, three-dimensional, and relatable, with distinct personalities, appearances, and backstories.

Conflict: Essential for moving the story forward, conflict creates tension and stakes, making the story compelling.

Dialogue: Realistic and meaningful dialogue reveals character emotions and advances the plot without being overly expository.

Genre: Creative writing spans various genres like romance, mystery, thriller, horror, fantasy, and more, each with its own conventions and appeal.

Pacing: The speed at which a story unfolds, determined by scene length and information distribution, affects the reader’s engagement.

Plot: The sequence of events that make up a story, starting with an inciting incident and building through rising action, climax, falling action, and resolution.

Point of View: The perspective from which the story is told, such as first person, second person, or third person, shapes the reader’s experience.

Scenes: The building blocks of a story, scenes vary in setting and advance the plot while containing tension and conflict.

Setting: The time, location, and physical environment where the story takes place, contributing to the story’s atmosphere and context.

Style: An author’s unique way of communicating with words, shaped by their voice and overall tone, which can vary based on the type of writing and target audience.

Tension: Keeps readers on the edge of their seats by creating stakes and suspense, essential for maintaining interest.

Theme: The underlying message or concept an author wishes to convey through their work, offering deeper meaning to the narrative.

Examples of Creative Writing

The best way to prompt yourself to write creatively, even when your creativity is running low, is by seeking inspiration. I'll be sharing some examples of creative writing to help you get inspired and understand the essence of creative writing. But first, let's explore the different genres of creative writing:

Fiction is all about creating imaginative stories with characters, events, and settings that are not simply real. This genre allows for complete creative freedom, enabling you to build intricate worlds and compelling narratives from scratch. For instance, "Harry Potter and the Sorcerer's Stone" by J.K. Rowling is a fantasy novel that introduces readers to a young wizard's magical adventures, showcasing how fiction can transport readers to entirely new realms.

2.Non-Fiction

Non-fiction, on the other hand, focuses on real-life events, facts, and people. It aims to provide truthful and informative content. A prime example is "The Diary of a Young Girl" by Anne Frank, which offers a poignant glimpse into the life of a Jewish teenager hiding from the Nazis. This genre captures reality and shares genuine experiences, often leaving a profound impact on readers.

Drama is written to be performed, typically on stage or screen. It centers around dialogue and action, aiming to convey a story through live performances. Shakespeare’s "Romeo and Juliet" is a classic example of drama, a tragic play that explores the intense emotions and conflicts between two young lovers from feuding families. The dramatic structure and dialogue drive the narrative forward, engaging audiences in a powerful live experience.

Poetry uses rhythmic and often figurative language to express emotions and ideas in a compact and evocative manner. It can vary from short verses to lengthy compositions, and its flexibility allows for deep personal expression. Edgar Allan Poe’s "The Raven" demonstrates poetry’s ability to create a haunting atmosphere through rhythmic and lyrical language, inviting readers into a world of mystery and emotion.

5.Complex Genres

Beyond these primary categories, there are complex genres that blend elements of traditional writing with unique formats:

Blog posts, for instance, offer an informal and conversational approach to writing about various topics. "10 Tips for Traveling on a Budget" provides practical advice for budget-conscious travelers, showcasing how blog posts can combine personal insights with useful information in a relatable manner.

Screenplays are another complex genre, focusing on scripts for film and television. "The Social Network" by Aaron Sorkin presents the story of Facebook’s creation through dialogue and scene descriptions, illustrating how screenplays translate a narrative into a visual and auditory experience for the audience.

Memoirs, like Michelle Obama’s "Becoming", offer personal reflections and stories tied to a larger theme. This genre allows authors to explore their experiences and convey significant life lessons to readers, creating a connection through shared humanity.

Graphic novels combine text with illustrations to tell a story, as seen in "Maus" by Art Spiegelman. This genre blends art and narrative to explore complex themes, making the storytelling experience both visually and textually rich.

Examining these genres reveals the diverse ways creative writing can be approached. Fiction allows for imaginative storytelling and world-building, while non-fiction grounds writing in real-life truths and experiences. Drama and poetry bring unique stylistic elements to their narratives, whether through performance or lyrical expression.

Complex genres like blog posts, screenplays, memoirs, and graphic novels add further depth to creative writing, each offering distinct ways to engage and entertain audiences. Understanding these genres can provide valuable insights and inspiration, helping you find your own creative voice and craft compelling stories.

How to Start Creative Writing?

Starting your creative writing journey can be an exciting and rewarding experience. As someone who's passionate about writing, I'm eager to share some insights that can help you begin your own creative writing adventure. As we learn how to write and improve our creative writing skills, I'll also teach you how to use tools like WPS Office that fit naturally into the process of writing poetry, articles, and guides. So let's begin the journey of exploring our creativity and transform these thoughts onto a piece of paper or a document in WPS Writer.

Explore Your Thoughts

The first step to beginning any form of creative writing is exploring your thoughts. I believe we all have our own creative side—thoughts and dreams that we wish to bring to life. Creative writing is a way to express these thoughts and help others visualize them.

Start by imagining a scene. For example, envision a magical hero living in a village surrounded by mystical powers, facing troublemakers. Type this down in WPS Writer, which you can access even on your mobile. This allows you to save your thoughts and revisit them later when you have more ideas. Your work will be saved and accessible anywhere because inspiration can strike at any time.

Ponder Your Thoughts

Next, ponder these thoughts. Think deeply about the scene, the characters, the setup, the background story, and the mystical powers you want to include. A well-thought-out story is always more compelling. If you need help, use the WPS AI assistant to brainstorm ideas for your story. With AI, you can boost your imagination and develop richer narratives.

Start Writing

Now, start writing down your thoughts or the ideas from your brainstorming session with WPS AI. This process can take time; you might finish your story in one sitting, or you might write it over several sessions. If you're on a deadline and need to submit your creative story quickly, ask WPS AI to write it for you. Simply describe your plot to WPS AI through a prompt, and have your short story ready in no time. Be sure to edit a few parts to add your unique touch.

Refine Your Story

Once your story is complete, ensure it flows well, uses words correctly, and clearly expresses your thoughts to your readers. If you think improvements are needed, ask WPS AI to make those enhancements for you. The WPS AI “Improve writing” feature can help students and writers refine their stories to make them more effective.

Proofread Your Story

Proofreading is crucial. A story with grammatical errors can leave a poor impression on your readers. Fortunately, WPS Writer, with its built-in AI spell check, can help you make all the corrections with a single click.

Format Your Story

The story is complete, but there's still some work left to do. Your story should not only read well but also be easy to navigate. To achieve this, use WPS Writer's formatting tools: set clear headings, choose a readable font, and adjust the line and paragraph spacing.

Proper formatting can be crucial to engage your readers because if your story looks cluttered, it can negatively impact their reading experience and ultimately their opinion of your writing.

Share Your Story

Finally, save your story and share it with your family, friends, and teachers directly from WPS Office via email. Let others enjoy your writing and discover the creative side you've been nurturing!

While I can't provide a step-by-step guide to writing creative pieces because freehand writing is highly valued in creative writing, I can emphasize how incredibly helpful WPS AI can be in assisting with creative writing tasks. From crafting non-fictional stories to writing poems, brainstorming, and formatting, WPS AI can offer invaluable support in every aspect. It's a perfect writing partner not just for creative writing but for all your academic needs.

Here are some creative writing examples generated with the help of WPS AI:

Start with Observation

The world around you is full of inspiration. Take a moment to truly observe your surroundings.

Read Widely

Reading is essential for becoming a better writer. Explore different genres and styles to broaden your horizons and inspire your own work.

Write Regularly

Like any skill, writing improves with practice. Try to write a little bit every day, even if it's just for 10 minutes. Use WPS Writer to jot down your ideas and format your work as you go.

Embrace Imperfection

Remember, your first draft doesn't have to be perfect. The most important thing is to get your ideas down on paper. You can always revise and polish later.

Seek Inspiration from Various Sources

Look beyond books. Movies, art, music, and even conversations can spark creative ideas. Try writing a story inspired by your favorite song or describing a character based on a painting you love.

Remember, everyone's creative writing journey is unique. Don't be afraid to experiment, make mistakes, and find your own voice. The most important thing is to enjoy the process and keep writing. Who knows? Your next sentence could be the beginning of something amazing!

How to Improve Creative Writing

When you're done with your creative writing piece, you might feel like there's still room for improvement. Identifying where it needs improvement is the first step to figuring out what to fix. Once you know what needs adjustment, you can start making those changes. Here's how you can improve your writing and create a better version of your piece.

What is Good Writing?

Good writing is natural and flows effortlessly, without the writer appearing self-important or overly serious. It's one of the least precise forms of communication since the true intent of the writer is often ambiguous unless they explicitly state their biases and purposes. Writing often reflects another person’s reality, which might not align with our own and can sometimes lead to misunderstandings.

Essentially, good writing should make you forget you are reading. It should be immersive, making you feel connected to the writer’s thoughts as if they were your own. When done well, it creates a seamless experience where you feel as though you know the writer personally and can predict their next words. This connection is achieved through clarity, organization, and a strong sense of purpose.

Ways to Improve Your Writing

If your writing isn't good enough, it might be lacking in several key areas. Consider the following:

1.Usage of Verbs Instead of Adverbs:

Strong verbs can make your writing more dynamic and precise. Instead of saying "ran quickly," say "sprinted."

2.Showing and Not Telling:

Good writing often involves showing rather than telling. Instead of saying "he was angry," describe his actions and expressions, like "his face turned red, and he slammed the door."

3.Diversity of Sentences:

Varying sentence structure can keep your writing interesting. Mix short, punchy sentences with longer, more descriptive ones.

4.Editing After Finishing Your Writing:

The first draft is just the beginning. Revising and editing your work is crucial for clarity, coherence, and overall quality.

5.Using WPS AI to Improve Your Writing:

Tools like WPS AI can help enhance your writing by offering suggestions for clarity, style, and grammar. It's a valuable resource for refining your work and ensuring it's the best it can be.

6.Real-Time Grammar and Syntax Suggestions:

WPS Office includes a powerful grammar and syntax checking tool that operates in real-time. As you write, it continuously scans your text for grammatical errors, punctuation mistakes, and syntactical issues, highlighting them immediately. This helps you maintain a high standard of writing by ensuring that your text is free from common errors. The real-time feedback allows you to correct mistakes on the go, preventing them from accumulating and making the editing process much smoother.

7.Detailed Explanations and Recommendations:

Beyond simply highlighting errors, WPS Office provides detailed explanations and recommendations for corrections. When it detects a grammatical mistake or a syntactical issue, it offers suggestions and explains why a particular correction is needed. This feature is incredibly beneficial for learning and improvement, as it helps you understand the rules of grammar and syntax better. By consistently using these recommendations, you can enhance your writing skills and produce more polished and professional creative pieces.

1. What is the great opening line for a story?

A compelling opening sentence is almost as crucial as the entire story that follows. It draws the reader in, piquing their interest and establishing the story's atmosphere. They can be startling, humorous, enigmatic, or poignant. Writing can seem daunting when uncertain about topics, but story starters or writing prompts effectively engage the imagination from the outset. Hence, they also inspire students who may face challenges in generating ideas. Here's an example of a great opening line:

"As I wandered through the old, abandoned house, I stumbled upon something overlooked by everyone else."

This opening sentence creates a mysterious and captivating atmosphere, prompting readers to ponder the discovery made by the protagonist and anticipate the unfolding events.

2. Can creative writing be taught?

Yes, creative writing can indeed be taught. Here are some effective methods:

Workshops and Constructive Feedback: Participating in workshops provides a supportive environment where writers receive valuable feedback from peers and instructors. This collaborative process helps refine their skills and discover their unique voices.

Mastering Craft and Technique: Creative writing classes teach essential techniques, including character development, plot structure, and dialogue. These skills develop gradually through practice and guidance.

The Reading-Writing Connection: Exposure to diverse literature enriches a writer’s understanding of storytelling. By reading widely, writers gain insights that inform their own writing practice.

Consistent Practice and Dedication: Regular writing practice, combined with persistence, leads to improvement. Like any skill, creative writing benefits from dedicated effort.

Ignite Your Creative Spark with WPS Office

If you are writing anything, unless it is strictly professional, adding a touch of creativity can make it far more interesting and help you engage with your readers, drawing them into your work. The challenging part about writing creatively is finding that initial spark to make your writing come alive.

WPS Office can help you ignite and sustain that creative spark. It enhances the quality and impact of your creative writing, ensuring that your work is not only technically sound but also engaging and evocative. So, download WPS Office —you might just discover your creative spark there!

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17 Team-Building Activities for In-Person, Remote, and Hybrid Teams

• Rebecca Knight

Employees with strong relationships at work are more creative, collaborative, and likely to stay with their organization.

Managers sometimes turn to team-building activities to build connections between colleagues. But which activities and practices would work best for your team? And how can you put them into action most effectively? In this article, the author offers advice and recommendations from three experts. Their activity suggestions are intended to inspire ideas that you can then tailor to your team’s size, sensibilities, and circumstances. These activities don’t need to be extravagant or overly structured — what matters is being intentional about making team building happen. Stay attentive to your team members’ needs, involve colleagues in planning, and show sincere interest in getting to know them. By doing so, you’ll help build a positive, inclusive team culture that tackles loneliness and helps everyone succeed together.

In the era of remote work and scattered teams, managers face a key challenge: fostering connections among employees, no matter where they happen to be located.

• RK Rebecca Knight is a journalist who writes about all things related to the changing nature of careers and the workplace. Her essays and reported stories have been featured in The Boston Globe, Business Insider, The New York Times, BBC, and The Christian Science Monitor. She was shortlisted as a Reuters Institute Fellow at Oxford University in 2023. Earlier in her career, she spent a decade as an editor and reporter at the Financial Times in New York, London, and Boston.

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