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You've settled on the idea for your novel. You've narrowed it to a sentence or two, and you're ready to tackle what seems an insurmountable task-developing your lead character.

If you're an Outliner (one who outlines your novel first), it's time for character development, an endeavor not for wimps.

Spellbinding stories feature believable characters who feel knowable.

Yes, even if your genre is Fantasy or Allegory or Futuristic. Your character may even be a superhero, but he* must be real and knowable within your premise.

[*I use male pronouns inclusively here to represent both genders only to avoid the awkward repetition of he/she or him/her, fully recognizing that many lead characters are female and so are a majority of readers.]

I'd love to impart some gem that would magically make you an expert at character development. But, sorry, no shortcuts. This is as hard as it sounds. Fail at this task, and it shows.

You cheat your readers when your lead character doesn't develop and grow. No growth, no character arc. No character arc, fewer satisfied readers.

How Do Pantsers Develop Characters?

Our name comes from the fact that we write by the seat of our pants. No outlines for us. We write by process of discovery. As Stephen King advises, "Put interesting characters in difficult situations and write to find out what happens."

I identify as a Pantser, so I'm sympathetic if you can't imagine creating a character and giving him a personal history before starting to write. My characters introduce themselves to me and reveal their histories as the story unfolds.

To a new writer or an Outliner, it may sound exciting and dangerous to wade into a story counting on characters to emerge and take over. Believe me, it's both.

Frankly, Outliners have some advantages over Pantsers here. They know a lot about their lead characters before they start writing.

Fellow Pantsers, don't ignore or discount this training. We must start with some idea who's populating our stories. And when we get stuck, there's no shame in going back and engaging in this exercise.

Regardless which kind of a writer you are, character development-character arc-can make or break your novel.

Consider some of literature's most memorable characters -Jane Eyre, Scarlett O'Hara, Atticus Finch, Ebenezer Scrooge, Huckleberry Finn, Katniss Everdeen, Harry Potter. Can you name the novels they come from and what they have in common?

Larger than life, they're also universally human

They see courage not as lack of fear but rather the ability to act in the face of fear

They learn from failure and rise to great moral victories

Compelling characters like these make the difference between a memorable novel and a forgettable one.

So, what are the keys to making a character unforgettable?

Need help creating your characters? Click here to download my character arc worksheet.

What Is Character Development?

It's how your character responds to obstacles-both internal and external, and how he changes by the end of the story.

In the most memorable classics-especially those with happy endings-the character develops skills and strengths that make him heroic.

The more challenges he faces, the better for your story and for his arc. Resist the temptation to make his life easy. Only the toughest challenges transform characters.

Steps to Character Development

1. Introduce him early, by name

2. Give readers a look at him

3. Give him a backstory

4. Make sure he's human, vulnerable, and flawed

5. But also give him classic, potentially heroic qualities

6. Emphasize his inner life as well as his surface problems

7. Draw upon your own experience in Character Development

8. Show, don't tell

9. Conduct thorough research

Character Development Step 1. Introduce him early, by name

The biggest mistake new writers make is introducing their main character too late. As a rule he should be the first person on stage and the reader should be able to associate his name with how they see him.

Naming your character can be almost as stressful as naming a newborn. You want something interesting and memorable, but not quirky or outrageous. Leave Blaze Starr and Goodnight Robicheaux to the melodramas. (Actually, I wish I'd thought of Goodnight Robicheaux; Ethan Hawke plays him in The Magnificent Seven.)

Allegories call for telling names like Prudence and Truth and Pride, but modern ones should be more subtle. I wrote a Christmas parable where the main character was Tom Douten (get it? Doubting Thomas), and his fiancee was Noella (Christmasy, a believer in Santa) Wright (Miss Right).

For standard novels, typical names are forgettable. Ethnicity is important. You shouldn't have a Greek named Bubba Jackson.

Your goal is to connect reader and character, so the name should reflect his heritage and perhaps even hint at his personality. In The Green Mile, Stephen King named a weak, cowardly character Percy Wetmore. Naturally, we treat heroes with more respect.

Give naming the time it needs. Search online for baby names of both sexes, and most lists will categorize these by ethnicity.

Be sure the name is historically and geographically accurate. You wouldn't have characters named Jaxon and Brandi, for instance, in a story set in Elizabethan England.

I often refer to World Almanacs to find names for foreign characters. I'll pair the first name of a current government leader in that country with the last name of one of their historical figures (but not one so famous that the reader wonders if he's related, like François Bonaparte).

Character Development Step 2. Give readers a look at him

You want a clear picture of your character in your mind's eye, but don't make the mistake of forcing your reader to see him exactly the way you do. Sure, height, hair and eye color, and physicality (athletic or not) are important.

But does it really matter whether your reader visualizes your blonde heroine as Gwyneth Paltrow or Charlize Theron? Or your dark-haired hero as George Clooney or Ben Affleck?

As I teach regarding descriptions of the sky and the weather and settings, it's important that your description of your main character is not rendered as a separate element. Rather, layer in what he looks like through dialogue and during the action.

Hint at just enough to trigger the theater of the reader's mind so he forms his own mental image.

Thousands of readers might have thousands of slightly varied images of the character, which is all right, provided you've given him enough information to know whether your hero is big or small, attractive or not, and athletic or not.

Whether you're an Outliner (in essence interviewing your character as if he were sitting right in front of you) or a Pantser (getting to know him as he reveals himself to you), the more you know about him, the better you will tell your story.

How old is he?

What is his nationality?

Does he have scars? Piercings? Tattoos? Physical imperfections? Deformities?

What does his voice sound like?

Does he have an accent?

Readers often have trouble differentiating one character from another, so if you can give him a tag, in the form of a unique gesture or mannerism, that helps set him apart.

You won't come close to using all of the information you know about him, but the more you know, the more plot ideas will occur to you. The better acquainted you are with your character, the better your readers will come to know him and care.

Character Development Step 3. Give him a backstory

Backstory is everything that's happened before Chapter 1. Dig deep.

What has shaped your character into the person he is today?

Things you should know, whether you include them in your novel or not:

When, where, and to whom he was born

Brothers and sisters, their names and ages

Where he attended high school, college, and graduate school

Political affiliation

Occupation

Income

Goals

Skills and talents

Spiritual life

Friends

Best friend

Whether he's single, dating, or married

Worldview

Personality type

Anger triggers

Joys, pleasures

Fear

And anything else relevant to your story

Character Development Step 4. Make sure he's human, vulnerable, and flawed

Even superheroes have flaws and weaknesses. For Superman, there's Kryptonite. For swashbucklers like Indiana Jones, there are snakes.

A lead character without human qualities is impossible to identify with. But make sure his flaws aren't deal breakers. They should be forgivable, understandable, identifiable.

Be careful not to make your hero irredeemable - for instance, a wimp, a scaredy cat, a slob, a dunce, or a doofus (like a cop who forgets his gun or his ammunition).

You want a character with whom your reader can relate, and to do that, he needs to be vulnerable.

Create events that subtly exhibit strength of character and spirit. For example, does your character show respect to a waitress and recognize her by name? Would he treat a cashier the same way he treats his broker?

If he's running late, but witnesses an emergency, does he stop and help?

These are called pet-the-dog moments, where an otherwise bigger-than-life personality does something out of character-something that might be considered beneath him.

Readers remember such poignant episodes, and they make your character's development even more dramatic.

It was George Bailey's sacrificing his travel-the-world dreams to take over the lowly savings and loan that made his standing up to the villainous Mr. Potter so heroic in the classic movie It's a Wonderful Life.

Want to turn your Jimmy Stewart into a George Bailey?

Make him real.

Give him a pet-the-dog moment.

Need help creating your characters? Click here to download my character arc worksheet.

Character Development Step 5. But also give him classic, potentially heroic qualities

While striving to make your main character real and human, be sure to also make him heroic or implant within him at least the potential to be heroic.

In the end, after he has learned all the lessons he needs to from his failures to get out of the terrible trouble you plunged him into, he must rise to the occasion and score a great moral victory.

He can have a weakness for chocolates or a fear of snakes, but he must show up and face the music when the time comes.

A well-developed character should be extraordinary, but relatable. Never allow your protagonist to be the victim. It is certainly okay to allow him to face obstacles and challenges, but never portray him as a wimp or a coward.

Give your character qualities that captivate and compel the reader to continue. For example:

a character with a humble upbringing (an underdog) rises to the occasion

a character with a hidden strength or ability subtly reveals it early in the story and later uses it in an unusual or extraordinary way

Make him heroic, and you'll make him unforgettable.

Character Development Step 6. Emphasize his inner life as well as his surface problems

What physically happens in the novel is one thing. Your hero needs trouble, a problem, a quest, a challenge, something that drives the story.

But just as important is your character's primary internal conflict. This will determine his inner dialogue. Growing internally will usually contribute more to your Character Arc than the surface story.

Ask yourself:

What keeps him awake at night?

What is his blind spot?

What are his secrets?

What embarrasses him?

What passion drives him?

Mix and match details from people you know - and yourself - to create both the inner and outer person. When he faces a life or death situation, you'll know how he should respond.

Character Development Step 7. Draw upon your own experience in Character Development

The fun of being a novelist is getting to embody the characters we write about. I can be a young girl, an old man, a boy, a father, a grandmother, another race, a villain, of a different political or spiritual persuasion, etc. The list goes on and the possibilities are endless.

The best way to develop a character is to, in essence, become that character.

Imagine yourself in every situation he finds himself, facing every dilemma, answering every question-how would you react if you were your character?

If your character finds himself in mortal danger, imagine yourself in that predicament. Maybe you've never experienced such a thing, but you can conjure it in your mind. Think back to the last time you felt in danger, multiply that by a thousand, and become your character.

What ran through your mind when you believed you were home alone and heard footsteps across the floor above?

Have you had a child suddenly go missing in a busy store?

Have you ever had to muster the courage to finally speak your mind and set somebody straight?

There's nothing like personal experience to help you develop characters.

Character Development Step 8. Show, don't tell

You've heard this one before, and you'll hear it again. If there's one Cardinal Rule of fiction, this is it.

It also applies to character development.

Give your readers credit by trusting them to deduce character qualities by what they see in your scenes and hear in your dialogue. If you have to tell about your character in narrative summary, you've failed your reader.

Your reader has a mind, an imagination. Using it is part of the joy of reading.

As the life of your character unfolds, show who your character is through what he says, his body language, his thoughts, and what he does.

Would rather be told: Fritz was one of those friendly, gregarious types who treated everyone the same, from the powerful to the lowly.

Or be shown this: "How's that grandson doing, Marci?" Fritz asked the elevator operator. "James, right?"

"Jimmy's doin' great, thanks. Came home from the hospital yesterday."

"Vacation was the tonic, Bud," Fritz told the doorman. "You're tanned as a movie star."

As he settled into the backseat of the car, Fritz said, "Tell me your name and how long you've been driving Uber..."

Show and you won't have to tell.

For more on this, see my blog post: Showing vs. Telling: What You Need to Know.

Character Development Step 9. Conduct thorough research

Resist the temptation to write about something you haven't experienced before conducting thorough research.

Imagination can take you only so far. But you can bet the first time you guess at something, astute readers will call you on it. For instance, I can imagine myself as a woman. I had a mother, I have a wife, I have daughters-in-law and granddaughters, a female assistant, women colleagues.

So I can guess at their feelings and emotions, but I'll always be handicapped by the simple fact that I'm not a woman. I recently ran into an old friend who told me she was homeless.

I mentioned to some women friends that I doubted her because she looked put together, as if she'd been to the beauty shop.

I said, "If you were living in your car, would you spend money on getting your hair and nails done?"

Naturally that's the last thing a man would think about. But women in my orbit said, sure, they could see it. Camouflaging your predicament and maintaining a modicum of self-respect would be worth skipping a few meals.

Say you're writing about what you'd feel if you lost a child. I hope you would only be guessing about such a horror, but to write about it with credibility takes thorough research.

You'd have to interview someone who has endured such a tragedy and has had the time to be able to talk about it.

Is your character a teacher? A police officer? A CEO? Or the member of another profession with which you have no personal experience?

Spend time in a classroom, interview a teacher, arrange a ride-along with a cop, interview a CEO. Don't base your hero on images from movies and TV shows.

The last thing you want is a stereotype readers cannot identify with and whom some would see through instantly.

You'll find that most people love talking about their lives and professions.

Character Development Examples

We all have a favorite (unforgettable) book, television, or movie character.

A well-written novel that follows a Classic Story Structure plunges its main character into terrible trouble quickly. Then it turns up the heat and fosters change and growth in the character from the beginning. That's the very definition of Character Arc.

A classic example is Ebenezer Scrooge in Charles Dickens's A Christmas Carol. So specific was the author's portrayal of this character that the very name Scrooge has become synonymous with a selfish, miserly, miserable curmudgeon.

Yet what reader can fail to thrill at the brilliant character arc that sees him become an entirely new man-joyful, generous, and loving-who learns to feel again?

In the popular binge-worthy TV series Breaking Bad, Walter White begins as a nerdy, naïve, kind, and thoughtful high school science teacher who learns he has cancer.

Because his insurance won't cover enough of his treatment costs to keep from bankrupting him, out of desperation he uses his skills to develop and sell quality methamphetamine, which allows him to afford the treatments and dig his family out of a financial hole.

Even after he finds his cancer is in remission, he embraces the illegal drug culture and in the end destroys his own life, his family, and many other lives.

There's possibly no better example of character development than in The Adventures of Huckleberry Finn by Mark Twain.

Huck narrates the tale with humor and brutal honesty. He escapes Widow Douglas's efforts to reform him and a miserable life with his drunken father, joining his new friend Jim, a runaway slave.

Huck lies, cheats, and steals his way down the Mississippi River, learns to survive, perseveres through difficulty, and matures into a young man who chooses to do what's right, regardless the consequences.

Character Development Worksheet

If you're an Outliner, a character arc worksheet like this one can help you get to know your hero.

If you're a Pantser (like me), you may not have the patience for it and might rather dive right into the writing. Do what works best for you.

Need help creating your characters? Click here to download my character arc worksheet.

The #1 Mistake Writers Make When Developing Characters

Making a hero perfect.

What reader can identify with perfect?

Potentially heroic, yes. Honorable, sure. With a bent toward doing the right thing, yes!

But perfect, no.

In the end your hero will likely rise to the occasion and win against all odds. But he has to grow into that from a stance of reality, humanity. Render a lead character your reader can identify with, and in your ending he'll see himself with the same potential.

That way your Character Arc becomes also a Reader Arc.
You can do this.
Develop a character who feels real, and he could become unforgettable.

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Character Development: 9 Steps to Creating Amazing Characters

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Wondering how you can create a character as memorable as Harry Potter or Katniss Everdeen? These 9 character development secrets reveal how.

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When you're ready to start filming in Tennessee, here's what you need to know.

Documentary Film Funding Grants

Looking for a community and funding for your documentary? Search our U.S. & international grants database.
View Grants
TEC Private Public Sponsorship Program

The Tennessee Entertainment Commission ("TEC") Private Public Sponsorship program serves to foster partnerships to support the mission of the TEC: Cultivate activities in the areas of film, television, interactive technology & music and serve the best interest of the State. All applications are reviewed and approved by the Department of Economic and Community Development. The program is NOT a first come first serve program; funding is allocated annually and determined by the Tennessee General Assembly. Applications are open July 1st and close on May 15th. Funding consideration will be based on event or programmatic impacts that: Advance Tennessee content creators, create jobs, provide professional & workforce development; and implement initiatives that reinforce the State as a relevant market for the production & development of multimedia entertainment properties. You must call or email the TEC at tn.entertainment@tn.gov or 615-741-3456 before applying to discuss project eligibility. Please review general guidelines, available below, before reaching out.
TEC Private Public Sponsorship Application (PDF) TEC Private Public Sponsorship Guidelines (PDF)
Regulations

Insurance

The State of Tennessee requires production companies to provide a Certificate of Insurance prior to filming when filming on state property.

Labor and Union

Tennessee is a right-to-work state that welcomes both union and non-union productions.

Child Labor

Disclaimer: "Tennessee law provides important rights, obligations, and protections for employers and employees alike in Tennessee, including children employed in productions incentivized by the TEC. Information provided on this website is intended to convey general information about the employment of children in such productions, not to explain all statutes referenced, nor to provide a comprehensive summary of all applicable state and federal statutes. This information is provided for reference only and does not constitute, and should not be construed or relied upon as, legal advice. For information and advice regarding specific questions of child labor law, qualified legal counsel should be consulted."

Child Labor Act

Minor Musicians or Entertainers

Minors are exempt from Child Labor Law provisions if the child is employed as a musician or entertainer. For further information, contact the Tennessee Department of Labor & Workforce Development, Division of Labor Standards at 844.224.5818

or
View Child Labor TCA 50-5-107

The Tennessee Protection of Minor Performers Act

The Tennessee Protection of Minor Performers Act applies to all resident and non-resident minors and to all in-state and out-of-state production companies, as long as the some or all of the minor's artistic or creative services are to be provided in Tennessee, or the production company is doing business in Tennessee. Utilizing the court process authorized by the Act provides significant benefits for both parties, for example, protecting the minor's income stream and ensuring the production company can enforce its contract. So, although this process is not mandatory, it would certainly be advisable for larger productions where the financial risks born by both parties are greater.

Contracting with Minors
View Child Labor TCA 29-31-101

SAG/AFTRA Young Performers Handbook

View Handbook

Richard Van Syckle
Executive Director for Nashville Local
SAG/AFTRA Nashville
1108 17th Avenue South
Nashville, TN 37212
615.327.2944
richard.vansyckle@sagaftra.org

NASHVILLE, TN

Drones

As of August 29, 2016 the new regulation of drones or Unmanned Aircraft Systems (hereinafter "UAS") is codified at 14 CFR 107 of the Federal Aviation Regulations, commonly referred to as part 107. If you currently have a Section 333 exemption grant, please provide this office the letter from the FAA notifying you that you have been granted a waiver to operate under Part 107.

Otherwise in order to comply with Part 107, a producer of a film involving UAS on or over State of TN property must provide the following to the Tennessee Entertainment Commission:

a. Proof that the UAS has been registered with the FAA or that the UAS being utilized is not required to be registered with the FAA; and

b. A copy of a remote pilot airman certificate with a small UAS rating for the person to be operating the drone.

c. Mandatory contact information for the spotter.

The film producer is charged with instructing the pilot to comply with all of the rules under Part 107 https://www.gpo.gov/fdsys/pkg/FR-2016-06-28/pdf/2016-15079.pdf. The producer is also charged with instructing the pilot to comply with all applicable state laws.

Filmmakers should consult with an attorney to better understand the law and regulations regarding using UAS for commercial purposes in Tennessee.

Workman's Comp

Out-of-state production companies are subject to Tennessee Workman's Compensation laws and must maintain a Tennessee Workman's Compensation Insurance plan covering all Tennessee crews. For more information contact the Tennessee Department of Labor, Workman's Compensation Division at 615.532.4812.

Photography of Tennessee wildlife is permitted as long as there is no attempt to disturb the normal habits of the animal or its environment. The Tennessee Wildlife Resources Agency (TWRA) allows, under permit, the importation into Tennessee of certain domesticated wildlife or exotic species for motion picture purposes.

For more information contact the TWRA at 615.781.6500.

Permit for Flame, Explosions or Spark Emitting Devices

Before using pyrotechnics while shooting in Tennessee, be sure to consult with the Fire Marshal in each county that you are shooting in to ensure you meet their requirements for above effects. Most counties will require that an inspector be present during your effects. There may or may not be a fee for this 'Fire Watch' depending on the requirements of that county. Never use any of these effects without contacting them; regardless if it is in town or a remote country setting. In addition, be aware of Tennessee's Fireworks/Pyrotechnic/Flame Law (Tennessee Code Annotated, Title 4, Chapter 29, Section 68, Chapter 104). Pending conditions of the shoot; a State permit $50 per day may be needed, as well as a local State Shooter, working under a company with a State Exhibitors License. For further information consult with Department of Commerce and Insurance or a local State exhibitor (independent company) for further information.

Economic Development Form

All productions are required to fill out an Economic Data Submission form and submit it to the TEC. It provides us quick information on the Tennessee crew hires, the types of productions that are utilizing our state, and the economic benefit for the State of Tennessee.
Go To Economic Data Submission Form
NASHVILLE TV SERIES

Go Green!

Leave No Footprint When Filming in Tennessee!

The TEC encourages productions that film in the state to follow sustainable practices by reducing their environmental impact. Where to start?

Hire an Eco Supervisor or Consultant like Green Spark Group Located in TN

Encourage untouched leftovers from Craft Services to be donated to programs that feed the homeless

Use FSC approved wood when constructing sets

Make sure the wood and other materials used for construction of sets are given to local Habitat for Humanity Donation Centers

Use LED lights

Do not let cars idle

No plastic water bottles. Using a bottled water service is less expensive, more environmentally friendly, better for your health, plus save your production $$!

Go paperless

Receive tips on best practices by visiting the Green Production Guide from the Producer's Guild of America http://www.greenproductionguide.com/

Sexual Harassment

Sexual harassment is a form of sex discrimination that violates Title VII of the Civil Rights Act of 1964.

Common examples of sexual harassment include:

Unwelcome sexual advances.

Requests for sexual favors.

Verbal or physical conduct of a sexual nature.

Conduct that implicitly or explicitly affects an individual's employment, unreasonably interferes with an individual's work performance, or creates an intimidating, hostile, or offensive work environment can be considered sexual harassment.

In Tennessee, the conduct underlying a sexual harassment claim need not be overtly sexual in nature. Any unequal treatment of an employee that would not occur but for the employee's gender may constitute a hostile environment.

If you feel you are the victim of sexual harassment, report the conduct to the appropriate person. Your employer should have a well-documented reporting process. If not, contact an attorney and the EEOC www.eeoc.gov/ immediately.

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Resources for Filming In Tennessee | Tennessee Film Entertainment and Music Commission | Tennessee Entertainment Commission

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Looking for a community and funding for your documentary? Search our U.S. & international grants database. View Grants The Tennessee Entertainment Commission ("TEC") Private Public Sponsorship program serves to foster partnerships to support the mission of the TEC: Cultivate activities in the areas of film, television, interactive technology & music and serve the best interest of the State.

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Screenwriters Create Beloved Characters for Decades to Come

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Screenwriters Create Beloved Characters for Decades to Come

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Writing for movies is a specialized skill-it differs greatly from "normal" writing (i.e. writing a novel). Books and movies both start with a story idea and depending on the kind of book, there should be a three-act arc. From there, however, the process of how to write a movie is vastly different from writing a book.

Unless you've been contracted to write a screenplay by a director, producer, or movie studio, there are a few steps you can take before starting a screenplay in earnest. Essentially, you'll start with a short explanation of your idea (loglines) and then add more detail in subsequent works (synopsis, treatments).

These efforts will help you expand that idea into a feature film. It will help organize your thoughts, give you opportunities to make small edits or wholesale changes, and can even help secure financing for your movie before you've written one page of a script.

How to Write a Movie: Loglines

Assuming you already have an idea for a movie, your next step should be to carefully craft a logline. The logline is a very brief (25 words or less as made famous in ) summary that describes the central conflict of your story, introduces the characters, and hooks the reader. Here are a couple of logline examples-can you tell which movies they describe?

Logline One: The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

Logline Two: The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.

A logline is a valuable tool in selling your idea. It's essentially an elevator pitch for your movie. In the two examples used above, the first is for Pulp Fiction and the second is for The Godfather. You want your logline to excite a producer enough to ask for a synopsis or a treatment of your idea.

How to Write a Movie Synopsis

A synopsis is a one to three-page document that summarizes your plot, highlights your main characters, and describes what happens to them during your story. It's best when it emphasizes the conflicts and resolutions as it unveils the plot. A synopsis can also help organize your movie idea, although it can be written after you've already completed your screenplay.

A synopsis is also a way to get some copyright protection for your story idea before you've actually written your screenplay (you can't copyright an idea.) Make sure to include your movie title and your contact information on your synopsis. Most of all, make sure your synopsis does not deviate from your logline.

Writing a Treatment of Your Movie

Your next step in writing a movie is to create a treatment for your idea. A treatment can be thought of like a screenplay for a silent movie-in other words, it is a step-by-step, scene-by-scene breakdown that describes the action that takes place on the screen but contains no dialogue. Treatments for feature films usually run between 10 and 40 pages.

Not only does a treatment tell the story, but it also states how the story unfolds by going into the nuts and bolts of how your narrative is to be presented on screen. This is where the writer's vision is unveiled-the structure, the tone, the pacing, the characters, and their roles all need to be fleshed out in the treatment. A treatment offers far more copyright protection of your original idea than a synopsis.

As an aspiring screenwriter, the treatment can be an effective bridge between the idea/synopsis and the final screenplay. Since the treatment breaks down your story into a scene-by-scene format, it gives you, the screenwriter, an opportunity to tinker with the structure before it gets locked in with dialogue. There are a few things to consider when creating your treatment:

1. Write in the present tense. It should come across as if it were narrating your story in real-time.

2. Each scene should have a slug-INT or EXT, location and time of day.

3. Only write about that which can be shown on screen. In other words, don't write about a character's thoughts.

4. Do include emotions as these can be shown on the screen.

5. Be detailed when it comes to describing physical actions.

6. Include a description of the information the dialogue will convey in each scene.

7. Make sure you haven't strayed from your logline.

Begin Writing Your Movie

Your penultimate step is to write your screenplay. Depending on how thorough you made your treatment this could be as simple as adding dialogue to the treatment or as complex as adding slugs and additional details to every scene. You'll want to make sure you have everything in proper screenplay format, that spelling and punctuation are spot on, and that you copyright it as soon as you are finished.

When you write a movie script, there is a very specific format you must follow if you want to be taken seriously. Just like the essay you had to write in 11th grade English class, margins, scene headings, page numbers, and even font size must be followed. Fortunately for you, there are several screenwriting software options online for you to follow.

Scriptwriting is both art and craft. Create a plan or schedule that you adhere to. You should use self-imposed deadlines in all phases of the process from logline to final screenplay. You should plan on doing multiple rewrites if necessary, to ensure that your final screenplay matches your initial logline and eliminate things that do not move the story along or are extraneous to the logline.

The goal is to write the best screenplay you are capable of, not the best screenplay you can write in 100 hours. If it takes two years, it takes two years. The final step is selling your screenplay and having it made into a film. This should always be your goal. While all of this can sound straightforward and easy to do, it's not. It's something that repetition will help you improve and expert guidance can be invaluable.

Learn How to Write a Movie With a Professional

The Film Connection Screenwriting Workshop pairs you with a professional screenwriter via live, one-on-one remote sessions where you learn how to write like a professional screenwriter by being trained by one. We give you the rules, tricks, and tips for writing a Killer Script from someone who's already making a living in the field.

Not only will the workshop help you as you write your own screenplay, but it will also open your eyes to the practices and principles that professional screenwriters use. Why move to Los Angeles to attend a "name" school for four years when you can have a finished screenplay in less than a year?

Additionally, the Film Connection can help you prepare for, and set up, a pitch meeting to sell your finished screenplay. If you're looking to master the art of writing a screenplay, the best thing you can do is write as much as possible. But we'll give you the tools to take that great idea and start writing a screenplay that gets read.

Ron Peterson's insights on effective screenwriting.

Film Connection student Cheryl Gallegos Agbunag Channels Military Career into TV Pilot.

Arronn Lepperman Gets Mentored, Shoots Feature in 16 Days!

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(Updated Sept. 14, 2022) Writing for movies is a specialized skill-it differs greatly from "normal" writing (i.e. writing a novel). Books and movies both start with a story idea and depending on the...

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Structure and Technique is Important, However You Must Dig Deep to Really Get a Touching Story

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Structure and Technique is Important, However You Must Dig Deep to Really Get a Touching Story

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Producers are One of the Main Heartbeats of a Movie

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Producers are One of the Main Heartbeats of a Movie

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Having a Relationship with the Director is Essential. Being Good at Your Job Helps the Relationship.

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Having a Relationship with the Director is Essential. Being Good at Your Job Helps the Relationship.

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The nomenclature's different for both TV and films. Here's a way to match titles with functions.

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The Responsibility of a Producer is to Make Sure the Film is Done Efficiently, yet Still Reaching Creative Goals

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The Responsibility of a Producer is to Make Sure the Film is Done Efficiently, yet Still Reaching Creative Goals

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Going Local and Using Local Resources Helps Maintain Budget

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Going Local and Using Local Resources Helps Maintain Budget

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Many Good Movies Come From the Statement "This is a crazy idea"

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Many Good Movies Come From the Statement "This is a crazy idea"

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Investors Helping the Budget is Easier and More Efficient than Studio Funding

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Investors Helping the Budget is Easier and More Efficient than Studio Funding