It all starts with an idea, that usually hits at 3:00 in the morning. There is a story you are burning to tell and you want to tell it via film. But how do you start? There are many pitfalls I have fallen into after writing two feature-length screenplays. But thankfully, I have incredible mentors who have helped me navigate the choppy waters of the screenwriting world. To pay it forward, I am sharing my very own screenwriter checklist to help you get your story on the page.
1. Ask yourself why you are telling this story.
So many screenwriters are trying to write a screenplay they think will sell. They have no investment in the story and it shows. If you don’t feel passionate about superhero films, but try to write a superhero movie because that’s what is hot right now at the box office, it won’t do well. Producers can smell apathy. They want to know that you are invested in this story. Why do you want to tell it? What do you want the audience to come away with after watching your movie? You have to care about the story you’re telling.
2. Theme.
The theme of the film is like the lighthouse that guides you in the dark waters of screenwriting. It’s a way for you to check in with your characters and your story. Is the character living true to the theme of the film? Or is he way off base and suffering because of it? The theme of a film is usually revealed by about page 10 of a feature-length script. And it’s usually not a main character who says what it is. That way the main character can venture away from the theme before finding the truth in it.
3. Outline, Outline, Outline!
I HATED writing outlines in the beginning. I would get excited and just start writing scenes. I wanted to get to the fun part and couldn’t be bothered with outlines. But I would inevitably write myself into a corner without a clue as to how to get out. Many ideas have been abandoned because the writer did not outline first. There are different ways to outline a script. One is to make a beat sheet. This outlines the major plot points in your story. Film Daily breaks down a beat sheet beautifully. I’ll put the link at the bottom. John August also has an example beat sheet on his website (link also below). You can also create a more in-depth outline. For this, you would list every single scene in the movie and write a brief description. This comes in handy for the next item on our checklist.
4. The Board.
When you’ve got your script outlined and you know what the important beats of the story are, you’re ready to go to the next step, the board. This is where you tack up note cards or sticky notes with the description of each scene or beat of your screenplay so you can see a visual representation of your story. Break it up into four sections: Act One, Act 2 before the midpoint, Act 2 after the midpoint, Act 3. For more on this, I highly recommend getting Blake Snyder’s book, “Save the Cat.” (Link at the bottom). The idea of the board is to show you where the weak spots of your film are. If you have more cards in Act One than you do in Act 2 or 3, you’ll easily be able to see it and even out your story. You’ll be able to see the flow of your film. It’s a valuable tool and I highly recommend it.
5. Logline.
A logline is a brief, one or two sentence summary describing what your film is about. Blake Snyder suggests writing a logline before you do anything else. The idea is that you have a focal point for your story and will easily be able to see if you veer off course. I have done it both ways. I have written the logline first, and I have started the outline and then the logline came. It is definitely important to have a good logline before you start writing the screenplay. All of your scenes should be serving that logline.
6. The Hero’s Journey.
This is a detailed character arc so you can see how much your character has changed from the beginning to the end of the movie. If you aren’t familiar with the parts of the hero’s journey, I’m providing a link below that breaks down Star Wars in terms of the hero’s journey. It is VERY important that your character transforms by the end of the film. Otherwise, what was the point of the story? No one wants to watch a film where the protagonist gained nothing, changed nothing, and learned nothing. Snoozefest! And don’t be afraid to make your character flawed, especially at the beginning. Then she will have a more dynamic journey toward her better self at the end. Or make your character seem like an upstanding, good person and take them on a steady decline into villainy, like “Breaking Bad.”
7. Rewrites.
Ask any screenwriter to show you the files on their computer, and you’ll see a folder FULL of older versions of the same script. I recommend saving each version with the full date, including the year. Some screenplays can take years to perfect. Don’t let that discourage you! Just start writing and it will pay off. Saving older drafts of your work can be life-saving. If you’ve cut a scene in a rewrite, but later decide you want to add that scene back in, it will be right there in your older versions. Once you have read your script aloud, rewritten it, cut out scenes, added them back in, cried, laughed, rearranged your closet to avoid your script, come back to it with a fresh perspective, and rewritten again, you’ll be ready for the next step in the checklist.
8. The Table Read.
Now, this is the time when you call in favors from your trusted friends. It’s time to print out that script, pass it around, cast your friends to read the roles, including a friend to read the stage directions, get out your laptop, and listen to your story told out loud. Take notes on what you liked, what you didn’t like, etc. Then, after the table read is finished, ask your friends what they thought worked and what didn’t. Now, there are two VERY important things you MUST do during this process. One, feed them. Feed them well to show your appreciation for helping you make your script the best it can be. Even if it’s pizza, they will appreciate it and they will give it their best when reading. Two, leave your ego at the door. Don’t argue with them if they give you their insights about the script. My writing teacher once told me that if someone is gracious and generous enough to give you a note on your work, you have one job: receive the note and say, “thank you, I’ll consider that.” That’s it! No justifying. No explaining. Say thank you. That doesn’t mean you have to apply their notes, just receive them. In fact, it’s important to know whose notes to take and whose to let go.
9. Polish.
By now, you’ve probably got a pretty solid piece of work. All that’s left is deciding which notes from the table read will serve your story, and which ones to discard. I once received a note at a table read that was way off base. I knew it right away. I still thanked the person and said I would consider it. But ultimately I realized that this person didn’t have any experience in this part of the character’s journey. He just didn’t know what he didn’t know. That’s not his fault. We all have different life experiences. The important thing is that I didn’t try to shoehorn his idea into my screenplay. This comes from knowing your story. If you follow the steps on this checklist, you’ll know your story inside and out. Then you will know which notes to use to help you polish and create the final draft of your script. After you hear your own script read aloud back to you, you should be able to hear any glaring, obvious mistakes or things that just don’t work. Most of the time, these can be easy tweaks. Other times, it may require rewriting an entire act of the screenplay. The important thing is not to get discouraged and give up.
10. Congratulate yourself!
In Hollywood, everybody has an idea for a film. But only a fraction of those people have actual, FINISHED screenplays to show for it. It’s a big investment to write a screenplay. And you did it! Now find the right screenwriting festival and send your work out! But be discerning about which festivals you choose. Many screenplay fests are just designed to take a writer’s hard-earned money. John August’s podcast has a great episode about screenplay competitions. I highly recommend giving it a listen. He and Craig Mazen only recommend a handful that are worthwhile, namely Austin Screenwriting Competition, and The Academy Nicholl Fellowship. Do your research and be selective. Also, read the fine print. I almost submitted my work to this one particular competition and there was one little sentence in the terms section that said that by submitting, I would be giving the sponsor all the rights to my project, that the sponsor would become the “author” of my project, and that I would also be giving away any derivative works related to this project. I totally dodged a bullet with that one.
Did you find this checklist helpful? Did I miss anything? Let me know in the comments.
Happy writing, everyone!
https://johnaugust.com/Assets/charlies_beat_sheet.pdf
http://writeonsisters.com/writing-craft/outlining-method-3-the-wall-of-sticky-notes-aka-the-board/
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