In almost half the scripts I read, the second or third scene is the main character eating breakfast lunch or dinner and establishing the bulk of the exposition at a kitchen table.
#screenwriting
You want to write a great first page? Give us a mystery. At least one, maybe more. Create a need to know in the mind of the reader. Compel us to keep reading like there's an itch we need to scratch. "Who's behind the mask?" "What's in the box?" "When is this taking place?" "Where are they?" "Why are they doing that?" "How did they get there?" It's like the six elements of journalism: who, what, when, where, why, and how. Read p. 1 of any script you like and chances are you'll find a dramatic question just like one of these.
I have MORE respect for writers who make me LAUGH than for writers who make me CRY.
Any competent novelist can make you cry, big or small. But it takes the magic of an innate, unbuyable sense of humour to pull one into helpless hilarity.
To all the fantastic writers out there, the creative souls, the artists, the directors, the actors... The ones who have been working so hard, and nobody's making your stuff, booking you, hiring you, turning your stories in movies, tv, film, etc... You are seen. Keep going.
‘Industry is telling us EXACTLY what they’re looking for.’
Nonsense.
Sorry, gonna bring some truth.
That is the absolute worst way to target these people — FOLLOWER mentality vs TASTEMAKER.
Remember WANTS vs NEEDS?
Write what they NEED, not what they WANT. FACT: The industry doesn’t know what it needs til they read it.
Your odds go way up. Note, after any big hit they always ask for “the next___.” Allllwaaaayz.
How many people do you suppose asked Shari for the next Gone Girl or Devil Wears Prada AFTER they were hits? A: Everyone who -> PASSED.
Do the math. 🧮 Don’t chase moving targets. Bluntly. Create the fucking target 🎯
…be the writer others seek to ripoff. 😘
*How’d I get signed first time with CAA? A: I wrote whatever the fuck I wanted to as a fuck you to the industry. Ironically, they loved it. Do a version of that. 😘
There’s such a major misconception about professional screenwriter’s income. After lawyers and agents and taxes I usually only end up with 20-25 million a year.
I’m at that stage with my latest feature where everything feels crap, I’m doubting the story and choices, worried it won’t be long enough, and new story ideas feel appealing. However, I’ve done this long enough now that I know it’s just a normal day and today I plow forward.
When it feels impossible to understand the movie industry and how you’re going to make it work, that’s where you put your head down and write your stories. That’s all you were ever meant to do. Create. Storytell. Not predict shifts in a constantly changing industry.
I understand the advice ‘stick to one genre’ making you easier to market. But, as someone with 4 different genre scripts, I’m hoping showing diversity is also a plus for some managers.