# data[].attributes.body
This woman is amazing!

# data[].attributes.attachment_link.readable_text
Structure is everything. In order to become a professional, working screenwriter, you must master it. Understanding structure helps defeat writers' block and conserve energy in the revisions process.
​This 5-module course teaches the foundation of writing a compelling story through:

Building 3-Dimensional Characters

Setting Attainable Tangible & Intangible Goals

Creating Natural Complications that Heighten the Stakes

Writing an Effective Outline to Make the Writing Process Efficient

In this course, you'll be writing an outline for an idea for a feature or a television show. Purchase your course of choice. You will only have access to the course of purchase.
​
Course Includes:

4 Modules available at your convenience

Class Activities & Handouts

HTF do I write an Outline Workbook featuring: The Pixar Formula, #WhoAmI, #Goals, and #TheRoadmap Workbooks

Student Discounted 1:1 Sessions​

Everything in the IDEA TO STORY Online Course PLUS:

Learn Screenplay Structure Directly from The Professional Pen

Work 1:1 with The Professional Pen to develop your story

Offered ONCE PER YEAR

Open to 3 students ready to learn

Build a trusted Writers' Group: The Tribe

Structure is everything. Check! Execution is another. This course is a writing intensive and your ultimate accountability partner. Write your complete screenplay in 8 weeks.

All registrants must be dedicated to writing each week AND reading the work of others. No slacking allowed. Be prepared to give feedback to others and receive feedback to get your script to it's greatest potential.

# data[].attributes.attachment_link.description
Structure is everything. In order to become a professional, working screenwriter, you must master it. Understanding structure helps defeat writers' block and conserve energy in the revisions process.​This 5-module course teaches the foundation of writing a compelling story through: Building 3-Dimensional Characters Setting Attainable Tangible & Intangible Goals Creating Natural Complications that Heighten the Stakes Writing an Effective Outline to Make the Writing Process Efficient In this course, you'll be writing an outline for an idea for a feature or a television show.

# data[].attributes.body
Advice

# data[].attributes.attachment_link.readable_text
Let's talk about the most basic elements of screenwriting that you need to remember as you start that first, second, third, or twentieth screenplay.

Forget all of the books, courses, and seminars you've ingested. Forget all of the secret formulas, structures, and methods you've been taught. There are many ways to write a screenplay and even more ways to communicate and structure a story within a screenplay.

While we always share multiple ways to develop, write, and market a script, understand that these are all just options for you to apply to your own method and process. In the end, if you stick to the basics of screenwriting, you'll be just fine.

With that in mind, we're going to follow the KISS methodology as we say to you, " Keep It Simple, S creenwriters!" Here are ten of the most basic things to remember when you start that next script.

1. Less Is More

There's no magic number for the amount of dialogue, scene description, and scenes that should be within a script. Guidelines and expectations are always applicable for certain reasons, yes, but in the end, all that matters is that you keep a general awareness of the Less is More mantra.
Read ScreenCraft's Why Every Screenwriter Should Embrace Less Is More!
The less dialogue there is, the more likely your script has a better balance between showing and telling.

The less scene description there is, the easier it is for the reader to process those visuals without being bogged down by having to read and imagine those specifics.

The fewer scenes - and pages - there are, the more likely your script is a tight draft that becomes a real page-turner for the reader.

2. Focus on Broad Strokes, Not Details

Details are for novels. The true talent of a screenwriter is evident when they can communicate the heart and soul of a moment ever so briefly without having to go into that detail.

Broad strokes in scene description offer the reader everything they need, allowing them to fill in the blanks and read between those broad lines.

3. Craft a Compelling Opening

Whether it's a drama, comedy, horror, action, or thriller - or any other subgenre or genre hybrid you're attempting - that opening scene needs to be compelling. It needs to engage the reader and make them want more. Your script's beginning and ending are the most memorable moments.

Challenge yourself. Be creative. Conjure dramatic, funny, scary, action-packed, or thrilling opening scenes that we haven't seen before. Take a familiar cinematic moment and flip it.

What better way to start a screenplay?

4. The First Act Is Not for Character Introductions

This is the most common mistake screenwriters make. Slow builds are poison for newcomers trying to get their script noticed. Introduce the characters briefly, give us a quick sense of who they are, and then toss them into the fire of the premise, concept, and conflict. Then let us discover who they are by their actions and reactions amidst the conflict.

Or just forget all character introductions all together...

5. Conflict, Conflict, Conflict

It is everything. For any genre. Every script should have conflict. Every scene should have conflict. Every character arc should have conflict.
Read ScreenCraft's 5 Ways to Create Conflict in Your Story!
Nobody goes to the movies to see a girl meet a guy and fall in love with no conflict. Nobody goes to the movies to see a team of bank robbers execute their plan and get the big payday with no conflict. Nobody goes to the movies to see a victim face a killer and escape with no conflict.

It's not enough for the concept to contain a conflict. It's not enough for each story act to contain a conflict either. Every scene and every moment within a script must have some form of conflict. Take a look at each scene that you write and ask yourself, "What is the conflict?"

6. Create Moments, Not Scenes

Scenes can't be just scenes that carry the plot forward - they need to be moments that engage us, offer twists and turns, reveal revelations, and introduce more and more conflicts that challenge the characters. They need to make the reader laugh, cry, cheer, or scream - whatever you want the moment to call for. Turning a scene into a moment forces you to entice an emotion or response from the reader.

Don't waste your time by just unloading information. You need to offer more than that.

Read each of your scenes that you write and ask yourself, "Is this a moment?"

7. Every Line You Write Must Matter

Everything in your script must be there for a good reason - and it must matter to the story and characters.

A common mistake that readers find in screenplays are scenes, characters, or lines of dialogue that are present in the script for no reason other than to get a laugh, to force a tear, to blow something up, or merely to service some unknown purpose that the writer must have had to include it.

Make sure everything you write matters to the story and the characters. If you find yourself including things that are just cool, are just funny, are just badass, or are only there because they amuse or excite you, rewrite them to inject more meaning by applying them to the story and characters - or just delete them outright and save yourself the space.

8. Stick to Formatting Basics

When in doubt, just give us the location, a little scene description, character names, and dialogue.
Read ScreenCraft's Elements of Screenplay Formatting!
Transitions, inserts, sound effects, camera angles, and anything else beyond INT/EXT LOCATION - DAY/NIGHT followed by scene description and character dialogue are unnecessary 99.9% of the time.

9. See It Before You Write It

How can you possibly communicate a cinematic moment for the reader to envision if you haven't first visualized it cinematically yourself?

It's a common mistake with novice screenwriters. They sit down with general outlines or ideas and start writing with the goal of just getting to the next scene, and the next, and the next. This often leads to scenes that are just information dumps that carry the plot forward, rather than offering a cinematic experience for the reader.

You're writing a movie. See it in your own mind's eye first and then translate what you've seen to the reader.

10. When the Draft Is Done, Take a Vacation From It

When you're done with a draft, walk away from it for two weeks to a month. You need a long break from your script before you start rewriting it.

When you return and read it from beginning to end, you WILL see all of the flaws.

Writing a screenplay is no simple task. While it's great to study up on the various formulas, directives, structures, and methods, all that you really need when you finally start that script are the basics. Everything else will fall into place.

Embrace the Less Is More mantra, and you'll have better dialogue and better scenes.

Focus on the broad strokes within your scene description, and you'll have a script that reads so much better.

Craft a compelling opening to get the reader engaged and excited about your script.

Maintain their attention by using the first act not to introduce characters, but to throw characters into the fire of the concept so we can learn about them through their actions and reactions.

Inject conflict into each and every scene and moment of your script to keep the reader's interest.

Entice emotions and responses within each scene by writing them as moments that reveal, intrigue, and surprise.

Make sure every line you write within the screenplay matters to the story and characters. It keeps that forward momentum moving.

Stick to the formatting basics, so your screenplay is easy to read and visualize.

Visualize each and every scene cinematically before you write it so that you can do your job of translating those visuals for the reader so they themselves can have an easier time visualizing your movie.

And lastly, when you've completed a draft, make sure that you spend some time away from it to clear your mind and then approach it with the outside perspective necessary to see the flaws.
Read ScreenCraft's The Most Underrated Elements of Successful Screenplays! 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. Follow Ken on Twitter @KenMovies For all the latest ScreenCraft news and updates, follow us on Twitter, Facebook, and Instagram.

# data[].attributes.attachment_link.title
10 Most Basic Things to Remember Before Starting a Screenplay - ScreenCraft

# data[].attributes.attachment_link.description
Let's talk about the most basic elements of screenwriting that you need to remember as you start that first, second, third, or twentieth screenplay. Forget all of the books, courses, and seminars you've ingested. Forget all of the secret formulas, structures, and methods you've been taught.

# data[].attributes.attachment_link.readable_text
What many screenwriters don't know is that there is a goldmine of information on the web that can up their game. The Hollywood industry is tough to break into, but if you just follow the advice of these that come before you, it gets a lot easier.

Here is a list of the 101 best, FREE, resources out there on the web that are available to you. Anything on this list will help you achieve your goal of becoming the screenwriter that you want to be.

WRITING RESOURCES

If you need help writing your script, then here are your answers. Yeah, they might not be all screenwriting related, but they will definitely take your script up a notch. Use them to your advantage in order to make your script stand out amongst the tons of scripts that DON'T take advantage of these free tools.

The name says it all! Make sure you're using the right word at the right time to get your message across.

Tired of using the same old words like "looks" or "walks?" Thesaurus.com will help you figure out of your look is more a "glance" and if "strolls" fits your walk better.

Registering your script with the U.S. Copyright Office isn't the easiest of tasks. Luckily, ScreenCraft has developed a special website to help streamline the process. They offer a lot of free information on the process and what needs to be done by cutting through the legalities.

Professor Paul Brians of Washington State University has compiled the ultimate list of common errors that writers make in their work. Want to find out, "for all intensive purposes," if "your" on the list? Find out "hear."

5. The Library of Congress (loc.gov)

Need some sort of reference on something? Yeah, they got it. All of it. Anything you need, the Library of Congress has it. What most people don't know is that they have a massive, searchable, database online.

Yeah, anyone can change it, but it's still very relevant for research purposes. Interesting side-note: If you click "random article" on the left-hand side, you can find yourself in front of a great story to mine for screenwriting gold.

What Wikipedia doesn't do, info please does. It's an atlas, an almanac, a biographical source and a world encyclopedia. Having facts and figures that can be backed up in your script, lends to its legitimacy.

Not sure what the kids are sayin' these days? Or, more importantly, have no idea what they mean? Just head here. Just remember that "with great power, comes great responsibility." So make sure you use these words with care.

Need a name for your awesome protagonist? Well, here's your definitive source. This generator does it all, from the first name to the last name. They can even help you with coming up with a pseudonym.

10. Internet Movie Firearms Database (imfdb.org)

Writing an action script and want to be specific? Ever wonder what gun Rambo uses at the end of First Blood ? Wanna know what rests in Lara Croft's holsters? This database has it all. Searchable by movie, character, actor and even by the writer!

FREE SCREENPLAYS

Musicians listen to music. Authors read books. So it would make sense that screenwriters would read scripts, right? Wrong. Many don't when they clearly should. The internet is a great source to find screenplays to read.

To be fair though, some discretion needs to be had. Read with a grain of salt. Older scripts tend to have techniques and methods that just aren't used anymore. Other scripts are "shooting scripts" which is more about production and less about the art of screenwriting. Thus, they're not prime examples of a script format that sells.

Read each script with a grain of salt and adhere to the rules of screenwriting that gets promoted from, well, everyone.

I should note two things: First, there aren't any descriptions because a lot of these are the same. If you're looking for a script and can't find it on one, try the next and so on. Second, every year there are a multitude of sites that post the screenplays that are up for an Academy Award. These are straight from the studios and are usually the polished draft that gets greenlit. I would highly suggest looking out for those and reading every script you can.

11. The Internet Movie Script Database (IMSDb.com)

17. Screenplays For You (sfy.ru)

SCREENWRITING SOFTWARE

It's a true fact that your script can easily get tossed out due to its format. Doesn't matter if you have the next best picture or big tentpole blockbuster. If your script isn't written right, then you're screwed. To be honest, in this day and age, there's really no excuse for it anymore. There are so many options for writers to have proper screenplay format.

Here's a list of FREE software that will ensure that your script doesn't find the bottom of the trash bin just for the way it looks on the page.

This is the ultimate screenwriting application for anyone who writes with a partner or has any form of collaboration. Writer Duet lets you and your partner work on the script at the same time, each being able to see what the other is doing all in real-time! Of course, it also works just great if you tend to stick to writing on your own.

If Final Draft is the granddaddy of paid software, Celtx is the granddaddy of the free software. In fact, it's been around so long that current versions of the software have come pretty close to what's expected in terms of "industry standard." Definitely can't go wrong with Celtx.

The free version of Story Touch provides basic screenwriting tools much like what the other programs on this list do. What's interesting about Story Touch is that, if you upgrade to the paid version (which comes at a VERY hefty price) the creators claim you'll be allowed to get a deeper analysis of your script like no other. From the script's tone to your character's arc. Definitely, try the trial version before you even think about upgrading.

An Android-only app, Dubstep allows you to write wherever and whenever you want on your Android device. The best part is that is can export in most major software formats from Final Draft files to Celtx files.

Page 2 Stage is free screenwriting but there is NO longer any form of support so use at your own risk. The website is a little vague, but to be fair, it IS an option that's out there.

Storywriter is a completely free, online, screenwriting software option. You can use any mobile device but will require an internet connection as they have discontinued their offline apps. Their one advantage is that they make it easier to submit your script to Amazon Studios.

Only available for Windows and Linux, Trelby is fully free, open-sourced screenwriting software. That means that should you have a feature that will make the program better, you can send in your suggestions.

Fountain isn't really screenwriting software per se. Partially developed by John August, Fountain allows you to write a script in plain text (using any form of writing you can imagine from an email to a plain text editor) and then import that plain text document into most Fountain supportive apps (many on this list) to properly format your screenplay.

29. Final Draft Reader (in the App store)

Reader won't allow you to create a screenplay, but it will let you share and read .FDX files. The best part is that it will let you make notes on your script while on the go. It's a must if you do everything on your iPad.

This is less a piece of software and more of an addition to your current software. Grammarly analyzes your writing for mistakes beyond spelling. It focuses on grammar and punctuation, offering suggestions on how to improve your writing. It works on all devices.

SCREENWRITERS' BLOGS

If you want to learn about screenwriting, who better than to learn from than the people you'd want to call your peers?! All of these screenwriters offer a ton of great information whether lessons that are directly given to you OR just through their rants about dealing with the business. All of which are great lessons to learn.

Some of them even put their own screenplays online for you to read. You'll be able to read early drafts and future drafts to compare the differences. A homework assignment I would strongly suggest every up-and-coming screenwriting wannabe do.

John August is the gold standard of screenwriter blogs. Started in the early days of blogging, August grew tired of answering the same questions over and over from new screenwriters. To better help him (and you), he decided to put the definitive answers all in one place. Thus his site was born and it's literally an encyclopedia of screenwriting wealth.

Carson Reeves has been around for a long time and his site, from day one, has been vital to any screenwriter. One of the more unique features of Carson's site is that he often hosts "Amateur Offerings" which, if he finds your script worthy enough, he'll promote it for free and trust me, when he does, the industry pays attention.

Australian screenwriter Henry Sheppard offers a lot of great insight into, not only story and structure but into pitching and navigating the business.

Bad Boys and Die Hard 2 screenwriter, Doug Richardson, has a slew of blog posts that can help screenwriters, not only improve their writing but improve their life. After all, writing is not only sitting at the keyboard typing. It's also about living life.

Emmy-winning writer/producer, Ken Levine is a veteran in the industry and has a bunch of knowledge and stories from his time in the industry. He also has a great podcast, Hollywood & Levine, that new writers should be listening to.

Simply put, this site gives away secrets. Professional secrets. From working screenwriters Ted Elliott and Terry Rossio.

I'm not going to lie, Geoff is kind of an angry guy, but that's why I love him so. He offers insights into the business and screenwriting itself with a more snarky tone. Sure, he might be a bit of an acquired taste but the thing I love about Geoff is that he keeps it 100, 100% of the time.

Working screenwriter and author Alex Epstein's blog is a great resource for writers who want to see the inner working of a real working writer. Alex offers his opinions on everything from the nuts and bolts of writing to industry news to things like motion capture.

UK screenwriter and director, Danny Stack, has a lot of great information from a working perspective. Having one foot in the directing world allows him to talk about a script from a budgeting standpoint. He, like others, also has a podcast that is a great listen for writer's who want to direct their own scripts.

Working screenwriter Erik Bork has a lot of great takes on common questions that screenwriters ask. Questions like writing outside of LA and writing a mini-series on spec. He also goes in depth on a lot of common issues for burgeoning screenwriters.

SCREENPLAY WRITING 101

If you're going to go from a weekend warrior screenwriter to a fully fledged professional one, you're gonna need to learn your craft. Everything from the structure to character, to formatting basics. Lacking in any of these areas are going to stop you before you even get in the door.

While most people take classes or buy books, there are actually a lot of great, free, websites that will help you learn the art of screenwriting. Here are ten of the best.

There's no shortage of writing resources at The Script Lab. Interviews, chats with women in music, inside information about on-set tweaks that changed a script and a whole section on basic screenplay education.

Try out a free trial to the LARGEST screenwriting education content library and learn from the best! Featuring masterclasses, deep-dive interviews and lectures from Academy Award-winning screenwriters, TV writers, producers, agents, executives - all in one place.

The Story Department is a great place to dives into all aspects of screenwriting. From story and structure to polishing to pitching. They don't stop there they even have a great section for support and training should you need more help with your script.

I'm not going to lie, William Akers not only changed my life, but he's also my hero. Sure, the title of his site (and book) is a turn off to a lot of sensitive writers out there, but ignoring the snarky title and listening to what he has to say will make you a better writer and make your scripts stand out amongst the 99% of scripts in this town that... well... "sucks."

Can't figure out why your script can't seem to make it past the gatekeepers? The Bitter Script Reader can tell you why. They've made a career out of reading scripts and have seen every mistake known to the human race. Go to their site and find out if you're shooting yourself in the foot before you even get it in the door. Oh yeah, and NO, they won't read your script... so don't ask.

Run by Stephanie Palmer, Good in a Room has everything from How to Write a Screenplay all the way through to the age-old question: How do I sell a Screenplay? Good in a Room covers it all and continues to deliver great insight into the industry.

Need a screenplay format guide that covers just about everything? Well, here ya go! This guide has everything and more. Need to know how to write a montage or how to properly format a telephone call? Story sense will tell you how to do it.

Want to go to film school but don't want to pay that obscene tuition? Here's your answer! No Film School gives you everything you need from coming up with an idea to filming it to selling your film for distribution. It's an all-encompassing place for film without a lifetime of school loan debt.

Screenwriting info is an e-book that takes you chapter-by-chapter, step-by-step to writing a script. It's a fast read and covers just the basics but it's more than enough to get you through a first draft. Especially if it's your first attempt at writing a script.

SCREENPLAY CONSULTANTS

When you've done everything you've need to to get your first draft on the page and you're still hitting a brick wall, you might need to contact a professional. Someone that can help you take your script over the finish line. While a lot of consultants don't come cheap, they do offer a lot of free information on their websites.

There are a lot of consultants out there, but only a few really have a foothold on the screenwriting business. They're almost as well known as the screenwriters who are currently working in the industry. Regardless of your opinion of script consultants, they're a spoke on the screenwriting industry wheel.

A veteran in the consultant industry, Lee offers a lot of great advice in both screenwriting and starting your career as a screenwriter. She's not about the sale, she would rather set you up for script SALES.

Robert McKee, A Fulbright Scholar, is the most sought after screenwriting lecturer around the globe. He has dedicated the last 30 years to educating and mentoring screenwriters, novelists, playwrights, poets, documentary makers, producers, and directors internationally.

Ruth's blog offers a lot of great advice on taking your script to the next level. A consultant and story editor, Ruth's focus is on making sure your story and characters make the biggest impact they can.

Step inside the mind of an entertainment executive who recognizes success and can help you achieve it. While Jen charge's for her consulting, her website has a blog and multiple resources and tips for screenwriters.

Home to Barri Evans, Big Ideas (and Barri) of a ton of resources to help screenwriters achieve their goals. Not only does she help with your script, but she looks at your career as a whole.

Script Reader Pro not only offers coverage services but a lot of free "hacks" on their blog that will help better your script. They also have a lot of other great information like their top screenwriting books to read and best contests to enter.

The Script Butcher blog is a wonderful resource that shows you a lot of dos and don'ts for your script, including scene construction and exposition.

Started by a former studio executive, Industrial Scripts is a great place to find real, behind-the-scenes information. They know how Hollywood works and isn't afraid to share it.

Run by Michelle Goode, her site has a lot of great advice and educational articles on bettering your screenplays. There are a lot of great "best of" lists, that break down your needs in simple form.

GENERAL SCREENWRITING WEBSITES

There are obviously a lot of free resources that focus on specific areas of screenwriting. Those aside, there are also a lot of free websites that try to encompass EVERYTHING about screenwriting. Consultants, interviews, blogs, education, podcast... you name it, they've got it.

Here's a list of some of the best general websites that are out there for screenwriting.

If you need it, ScriptMag has it. Formally the industry-leading magazine "Script," it's now an online home to everything screenwriting. Some of the world's leading experts in the craft of screenwriting contribute to ScriptMag on a monthly basis. All free for your consumption.

If you want to know what's happening in the indie-film world than Indiewire is the place to go. They offer a lot of information to, not only screenwriters but independent filmmakers. There's also a slew of interviews and resources to help make your indie film.

ScreenCraft's model is unique and kind of genius. Many of their blog posts keep you on track to getting your script done and polished, ready to send out. Their blog also has a lot of great information to make the process a lot easier.

Started by freelance writer and screenwriter, Angela Bourassa, LA Screenwriter's goal is to give as much information to an aspiring screenwriter all in one place. Want advice? Need coverage? Want to know what's happening in LA? LA Screenwriter is a one-stop shopping trip.

WeScreenplay is known for its affordable, quick-turnaround script feedback and its Diverse Voices Competition, but it also has a very informative blog.

Script Pipeline is not only a competition "must enter" and a script notes service, they also offer interviews, essential reading and news on script sales.

The official blog of The Blacklist not only gives you an annual list of the best, unproduced scripts but gives you a lot of information/education that will better your chances on getting your script ON that list.

Another, now defunct magazine, turned online resource, Creative Screenwriting has interviews, articles, reviews and columns. It's everything a screenwriter needs, all in one place.

The Gotham Resource list has just about everything you need to know about every form of writing. All of it is broken down into specific categories and is easily navigable.

The former brick and mortar Mecca for writers closed its doors late in 2017, but it still exists in digital form. Along with just about everything you would ever need for every type of writing that exists, they also offer blog posts with helpful information on writing and even tech support on common products like Final Draft and Writer Duet.

YouTube CAN teach you just about everything. From fixing a kitchen sink to writing a screenplay. Sure, it might not be a conventional place to find screenwriting tips, but there are hundreds of VERY useful videos that will help you craft a great screenplay.

NETWORKING IN HOLLYWOOD

The actual writing of the screenplay, believe it or not, is the easy part. It's also about 40% of the job. The rest of it is nothing more than straight up networking and marketing. Seeking yourself as much as selling your screenplay. THAT'S the hard part. So how do you get your foot in the door? You start by building your network out and to do that, you have to meet people in real life, face-to-face. Luckily there are a slew of events that happen in Hollywood every week, you just need to know how to find them.

The writer's guild has a wealth of information, both on its site and at its location in Hollywood. Their script library is mind-blowing and completely free to the public. All you have to do is go. Their site also keeps track of events and screenings that benefit writers.

Hanging out with your peers is one thing, but how about hanging out with the people that can actually hire you? The Producer's Guild has a bunch of info that can benefit anyone but the key to screenwriters is the event calendar.

Looking for a local writer's group to provide the feedback you need to improve your script? Maybe you just want to get a drink with your peers in the industry. Either way, Meetup is the place to do it.

More formal events and screenings can be found on Eventbrite. Many of the screenings and events have to have formal RSVP's for head counts and they're usually limited to a certain number of people. That's why studios and companies use Eventbrite, to keep track of the number of people they potentially have coming.

Want to try and win tickets to a premiere or a special early screening of a Hollywood flick? Here's the place to do it! This will give you a free opportunity to rub elbows with the film's writers, directors and maybe even its stars.

This is a great place to find out what's going on in Hollywood. Not only from a news point of view but from a "what's happening on the street" point of view. There are endless message boards that talk about people and services in the industry from a first-hand perspective. Keep in mind you're going to have to talk a lot of what' said with a grain of salt, but if you're looking to spend money on a consultant or send your script to a specific agent, Done Deal Pro will help you scope them out before you do.

This is one of the best kept, non-secrets in Hollywood. It's a list of all of the current jobs available in Hollywood. It's free to access and most production companies post there looking for interns and readers. The UTA job list os how I got my first job in the industry...working for an Oscar-winning producer. A job that led to many years in script development as an executive and got me to writing this list for you.

The UTA job list is your BEST chances of literally getting your foot in the door of a production company, but there are other ways and Craigslist is the alternative. WARNING: While I know many people that have gotten great jobs via Craigslist, I've also heard a lot of horror stories. Use your best judgment and remember: if it doesn't feel right, it probably isn't.

One of the best things you can do to rub elbows and meet a lot of influential people, is attend the LA Film Festival. While it's expensive to attend, what most people don't know is that they're always looking for volunteers. Volunteers get access to everything and will often allow you to make a lot of great networking connections. Even if you don't live in LA, but plan on coming out, I would highly suggest looking into spending your LA trip (or making a trip out here) to work the festival.

Hollywood's premiere source for insider news and exclusives, tracking, analysis and coverage on all things film, television and entertainment. Home to the most robust spec market tracking, in development coverage, annual best lists, reviews, reports, opinions and daily news as it happens.

Every city has a chamber of commerce that has monthly events (google the city + chamber of commerce). I chose Hollywood's for this list because they also maintain the Walk of Fame and the Hollywood Sign, so their events are a little more "industry-centric." Most events are free to attend and a lot of individuals who work in the industry attend. It's a smart way to get in the room with some important people, just make sure you dress and act like you belong there.

PODCASTS

Podcasts offer a plethora of information for young up-and-coming screenwriters. There are so many that it was hard to keep the list down to just ten. If you're serious about being in this business, then you owe it to yourself to learn as much as you can. These podcasts ARE your film school, so learn as much as you can from the people that have come before you.

Host Jeff Goldsmith's podcast is the grandfather of screenwriting podcasts. Every episode has Jeff sitting down with an A-list screenwriter for an in-depth interview that includes their background, their process and how they got their start in the industry.

Hosts John August and Craig Mazin are both powerhouses in the screenwriting world and they provide a wealth of knowledge for free. Their blunt and honest discussions cover a variety of topics from navigating the business, their views of screenwriting software and their "love" for script consultants.

Host Pilar Alessandra is one of the premier consultants in the industry and her podcast covers everything you need to know from feature and TV writing to pitching to networking.

Ever wonder it sounded like to have professional actors read a screenplay out loud? Well, you can find out by listening to the table reads podcast. While it officially ended in 2017, there's still a plethora of episodes to binge through.

85. Draft Zero: a screenwriting podcast (draft-zero.com)

Hosts Chas Fisher and Stuart Willis dive into discovering what really makes a screenplay work. They talk, discuss and sometimes even argue over a deep analysis of the things that make a successful writer's script work.

Host Ashley Scott Meyers has a bevy of interviews with indie filmmakers and consultants.

Host and moderator Ben Blacker sits down with some of the industry's top screenwriters in both movies and TV. Some episodes are specific film-related with the writer, director, and cast while others pull screenwriters from several different TV shows and movies to talk about a specific topic.

Even though legendary screenwriter and producer, Blake Snyder, unfortunately, left us suddenly in 2009, his legacy lives on. The STC "pod cat" covers in-depth topics like theme, structure beats and even has a sprinkling of interviews with theatrically distributed screenwriters.

Are you ready to hear the blunt truth about working as a screenwriter in Hollywood? Welcome to the rant room, where screenwriter/producer, Hilliard Guess, harshly prepares you to be successful in this crazy industry. Not for the thinly skinned screenwriter.

Hosts Manny Fonseca (Hey wait! That's me!) and Cheryl Diffin chat truthfully about everything going on in the industry, common writer mistakes, interviews with managers, producers, stand up comics and actors. Unfortunately, there haven't been any new episodes in a few years, but there is still a ton of great tips for new writers.

If you want an in-depth look into the business, there's no better podcast to listen to. While it's not directly associated with wiring, there are interviews with writers on the podcast. Either way, each interview will help you understand the industry just a little bit more.

Formally known as the Nerdist Podcast, host Chris Hardwick sits down and has an hour long+ conversation with a mass variety of industry professionals. To be fair, you might have to extrapolate some of the lessons and apply them to the field of writing, but I promise that they're there. Don't believe me? Try listening to Hardwick's interview with wrestler/actor John Cena. You'll never get a more motivational speech from him talking about his experience in the WWE. It's worth your time.

OTHER RESOURCES

This list hardly scratches the surface of resources that are available to you, the writer. Here are some other avenues to help you become a successful screenwriter in Hollywood.

93. Your Local Library

Remember those? Believe it or not, they still exist and they're chalked full of helpful resources all the low low price of a free library card. Most libraries will carry at least the basic screenwriting books and, if they have a good reference section, they'll also carry the Hollywood Screenwriting Directory, which has everything you need to know to start sending out queries to companies.

Believe it or not, Twitter is a great source for screenwriting tips. Most consultants use it to promote their services, screenwriters use it to "drop some knowledge" and companies like ScriptMag hosts #scriptchat most Sundays. There's never a shortage of screenwriting discussions, rants and information on Twitter.

While it might seem obvious, you're going to have to know what's going on in this town if you want to be a part of this town. At the end of every major signing, all of the Hollywood news outlets will mention who a writer's reps are. Learn the manager names and what agencies they work for. Deadline is good for the day to day stories that are happening in the moment.

While THR is good for the in-the-moment news stories, what they really do well are the longer exposés. During the awards season, their roundtable discussions with writers, actors and directors are full of insight into the business.

One of the best sources for what's happening in Hollywood. They might not be as in-depth as THR, but they are the most widely read in town. Every writer should know what Variety is reporting, especially at networking events.

98. Internet Movie Database (imdb.com)

Regular, 'ole IMDB is a lifesaver when it comes to researching the details of movies that have come before, hopefully, yours. Who starred in what? Who wrote what? More importantly, you can also find budgets, although you should take those numbers with a grain of salt.

99. IMDbPro Free Trial (pro.imdb.com)

If you're getting ready to send your script out, sign up for the free trial of IMDbPro. With your trial run, you can get all of the same information as IMDB but also add managers, agents and their contact info. This will greatly help you on your quest for success.

When you're getting ready to put your package together to help promote your script, you're going to need facts and figures to help make your case. Box Office Mojo is the place to get that info. You can do things like create a sheet of all of the top directors in a certain genre, that had movies in a certain year with a budget under 5 million that had a box office gross of over 10. It's things like this that will make you a whiz in meetings when they ask you "who do you see directing this?"

AND LASTLY...

Yeah, look... I get it, this is a bit of a cheat, but not really. This list barely scratches the surface of information that's out there for you to find on writing, networking, Hollywood in general and anything else you can possibly look for. All you have to do is know what to search for and have some patience.

It's also great for research. I know, duh, right? But do you know how often I find a "fact" in a script that takes me less than a minute to debunk using Google? Do you also know, that as a reader, how much that angers me? It's not hard to get things right, just Google some sh-stuff.

The world is literally at your fingertips. Take the time to learn and get better. There's really no excuse for the poor quality of a script when all of these resources are right there for you... for free. Do the work before you send your script out and you can easily make yourself stand out as a professional, even if it's your first script.

I promise you, the people that will read your script, will greatly appreciate it and appreciate YOU.
For all the latest ScreenCraft news and updates, follow us on Twitter, Facebook, and Instagram.

# data[].attributes.attachment_link.title
101 Free Resources for Screenwriters - ScreenCraft

# data[].attributes.attachment_link.description
What many screenwriters don't know is that there is a goldmine of information on the web that can up their game. The Hollywood industry is tough to break into, but if you just follow the advice of these that come before you, it gets a lot easier.

# data[].attributes.attachment_link.readable_text
It's easy to feel intimidated by the thought of writing a screenplay. The rules! The formatting! The binding! Don't let the seemingly endless parade of screenwriting elements scare you away from writing your first script. Since a familiarity with the basics of the craft is half the battle, The Writers Store has provided you with resources, a screenplay example, and overview on how to write a screenplay to help you get up to speed on screenwriting fundamentals.

Combine that with the right screenwriting software, books and supplies, and you'll be ready to type FADE IN before you know it.

Enter your email below and receive our Screenwriting Starter Package, a $120 value, absolutely free! Inside you'll find industry-best resources for those just getting started.

In the most basic terms, a screenplay is a 90-120 page document written in Courier 12pt font on 8 1/2" x 11" bright white three-hole punched paper. Wondering why Courier font is used? It's a timing issue. One formatted script page in Courier font equals roughly one minute of screen time. That's why the average page count of a screenplay should come in between 90 and 120 pages. Comedies tend to be on the shorter side (90 pages, or 1 ½ hours) while Dramas run longer (120 pages, or 2 hours).

A screenplay can be an original piece, or based on a true story or previously written piece, like a novel, stage play or newspaper article. At its heart, a screenplay is a blueprint for the film it will one day become. Professionals on the set including the producer, director, set designer and actors all translate the screenwriter's vision using their individual talents. Since the creation of a film is ultimately a collaborative art, the screenwriter must be aware of each person's role and as such, the script should reflect the writer's knowledge.

For example, it's crucial to remember that film is primarily a visual medium. As a screenwriter, you must show what's happening in a story, rather than tell. A 2-page inner monologue may work well for a novel, but is the kiss of death in a script. The very nature of screenwriting is based on how to show a story on a screen, and pivotal moments can be conveyed through something as simple as a look on an actor's face. Let's take a look at what a screenplay's structure looks like.

The First Page of a Screenplay

While screenplay formatting software such as Final Draft, Movie Magic Screenwriter, Movie Outline and Montage frees you from having to learn the nitty-gritty of margins and indents, it's good to have a grasp of the general spacing standards.
Sample First Page-

The top, bottom and right margins of a screenplay are 1". The left margin is 1.5". The extra half-inch of white space to the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page. The entire document should be single-spaced.

The very first item on the first page should be the words FADE IN:. Note: the first page is never numbered. Subsequent page numbers appear in the upper right hand corner, 0.5" from the top of the page, flush right to the margin.

Screenplay Elements

Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.

Scene Heading
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

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.

Subheader
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations.
Remember - only things that can be seen and heard should be included in the action.
Action
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction.

Character
Indent: Left: 2.0" Right: 0.0" Width: 4.0"

When a character is introduced, his name should be capitalized within the action. For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare.

A character's name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example "TAXI DRIVER" or "CUSTOMER."

Dialogue
Indent: Left: 1.0" Right: 1.5" Width: 3.5"

Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs.

Parenthetical
Indent: Left: 1.5" Right: 2.0" Width: 2.5"

A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what's going on with your dialogue, then it probably just needs a good re-write. Second, it's the director's job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's turf!

Extension
Placed after the character's name, in parentheses

An abbreviated technical note placed after the character's name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.).

Transition
Indent: Left: 4.0" Right: 0.0" Width: 2.0"

Transitions are film editing instructions, and generally only appear in a shooting script. Transition verbiage includes:

As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed.

Shot
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely a time when a spec screenwriter should insert shot directions. Once again, that's the director's job.

Examples of Shots:

Spec Script vs. Shooting Script

A "spec script" literally means that you are writing a screenplay on speculation. That is, no one is paying you to write the script. You are penning it in hopes of selling the script to a buyer. Spec scripts should stick stringently to established screenwriting rules.

Once a script is purchased, it becomes a shooting script, also called a production script. This is a version of the screenplay created for film production. It will include technical instructions, like film editing notes, shots, cuts and the like. All the scenes are numbered, and revisions are marked with a color-coded system. This is done so that the production assistants and director can then arrange the order in which the scenes will be shot for the most efficient use of stage, cast, and location resources.

A spec script should NEVER contain the elements of shooting script. The biggest mistake any new screenwriter can make is to submit a script full of production language, including camera angles and editing transitions. It can be very difficult to resist putting this type of language in your script. After all, it's your story and you see it in a very specific way. However, facts are facts. If you want to direct your script, then try to go the independent filmmaker route. But if you want to sell your script, then stick to the accepted spec screenplay format.

Screenplay Formatting Software

Screenwriting software makes producing an Industry-standard script simple and straightforward. Programs like Final Draft and Movie Magic Screenwriter put your words into proper screenplay format as you type, letting you focus on a well-told story rather than the chore of margins and spacing.

There's also a wide spectrum of outlining and development software at the ready to help you get your thoughts together before you begin writing. Popular story development software includes Dramatica Pro, a step-by-step guide to the storytelling process, Contour, a character-based structuring system, and Save the Cat!, a program centered on successful screenwriter Blake Snyder's own proven methods.

And if you want a program that combines story development and formatting? Check out Movie Outline, an all-in-one development package that uses step outlining to build your story, scene-by-scene, and Montage, which includes both outline and submission tracking functions.
Below is a list of items you need to prepare your script to be sent out:
Script Presentation and Binding

Just like the format of a script, there are very specific rules for binding and presenting your script. The first page is the title page, which should also be written in Courier 12pt font. No graphics, no fancy pictures, only the title of your script, with "written by" and your name in the center of the page. In the lower left-hand or right-hand corner, enter your contact information. In the lower left-hand or right-hand corner you can put Registered, WGA or a copyright notification, though this is generally not a requirement.

Script Covers, either linen or standard card stock

Three-Hole Punched Paper

Screenplay Brass Fasteners (also called Brads), Acco number 5 size 1 1/4-inch for scripts up to 120 pages; Acco number 6 size 2-inch for larger scripts

Script Binding Mallet (optional)

Screenplay Brass Washers

Script Mailers

Follow these directions to properly bind your script:

1. Print your title page and script on bright white three-hole punched paper.

2. Insert the title page and the script into the script cover. The front and back covers remain blank. They are just there to protect your script. And remember: pictures and text on script covers scream amateur.

3. Insert two brass fasteners in the first and third holes. Do NOT put a fastener in the middle hole.

4. Flip the script over, and slide the brass washers over the arms of the fasteners. Spread the arms of the fasteners flat against the script. Use a Script Binding Mallet to ensure a tight, flat fit.

5. Use the flat, self-seal script mailers to send your scripts out to buyers.

Materials for Further Exploration

Now that you understand screenplay basics, you're no doubt ready to continue your exploration of the craft and go beyond learning how to write a movie script. The books listed below are some of The Writers Store's favorite guides to screenwriting.

The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script
Wondering how to write a script? This first-rate screenwriting primer provides a concise presentation of screenwriting basics, along with query letters, useful worksheets, checklists, sample scenes and more to help you break into screenplay writing.

From Script to Screen
What goes into the making of Hollywood's greatest motion pictures? Join Linda Seger and Edward Whetmore as they examine recent screenplays on their journey from script to screen.

Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style
The Hollywood Standard describes in clear, vivid prose and hundreds of examples how to format every element of a screenplay or television script.

Save the Cat!
This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can Save the Cat.

Interested in taking a screenwriting class? Visit our courses section for webinars, live seminars, online courses, one-on-one instruction and on-demand courses. You can download a free webinar on "How to Write a Screenplay" from magazine site, ScriptMag.com.

# data[].attributes.attachment_link.title
How to Write a Screenplay: Script Writing Example & Screenwriting Tips

# data[].attributes.attachment_link.description
Learn how to write a screenplay the right way with this script writing example and screenwriting tips! You'll also find the best software for writers and more.

# data[].attributes.body
Before You Show Your Completed Work to Anyone

# data[].attributes.attachment_link.title
U.S. Copyright Office | U.S. Copyright Office

# data[].attributes.body
If you don't know what an archetype is, look it up.

# data[].attributes.attachment_link.readable_text
What are the types of characters screenwriters can use to mold within their own cinematic stories?

What is the difference between Archetypes and Stock Characters? If you want to write a screenplay that's worthy of positive attention from screenwriting competitions, Hollywood development executives, producers and actors - then it's important to understand archetypes and stock character conventions.

Many writers don't know the difference between a Archetypes and Stock Characters, and the truth is, even writers that do walk a very fine line between the two as they develop characters for their stories.
Once you've picked the types of characters you want, learn how to master character names and movie titles with this free guide.
Here are three definitions of terms that all writers need to know when developing characters, whether they are main, supporting, or minor.

Archetype (n): a very typical example of a certain person or thing; types that fit fundamental human motifs.

Cliché (n): A trite or overused expression or idea; often a vivid depiction of an abstraction that relies upon analogy or exaggeration for effect, often drawn from everyday experience. A person or character whose behavior is predictable or superficial.

Trope (n): devices and conventions that a writer can reasonably rely on as being present in the audience members' minds and expectations.

The definitions for cliché and tropes obviously fall in line with what Hollywood has long referred to as stock characters. Stock characters are often unavoidable in screenplays because they usually serve a direct atmospheric - and sometimes structural - purpose.

Archetypes are more broad character types that can be found in all walks of life, literature, and overall fiction. But they are less susceptible to falling under the cliché or trope umbrella because they are usually used as a beginning mold for a character, as the writer adds more depth by giving them flaws and conflicts to overcome. Thus creating characters that, on the surface, may seem more routine until the story challenges them in many ways.

With that in mind, stock characters can benefit from that treatment as well. They are necessary in most stories, but they don't have to be the carbon copies that we often see in lesser screenplays and films. Writers can give them an added edge by offering flaws, conflicts, strengths, and even necessary information that otherwise cliché and trope-driven characters wouldn't have.

With that in mind, we've scoured the internet looking for multiple examples of stock characters, tropes, and variations of the character archetypes from Carl Junger's teachings, as well as Joseph Campbell's mythos. From Wikipedia's The List of Stock Characters, The Big Bold List of 52 Character Archetypes, to TV Tropes's Archetypal Characters and well beyond, here are 99 of our favorite tropes, archetypes, and stock characters that screenwriters can use to mold their cast of characters into something a bit more than what we've seen before.

Use this list either as a tool to develop the inhabitants of the worlds you create or use them as red flags to seek out any cliches that you may have written and overlooked.

99 Archetypes and Stock Characters

All Loving Hero - A character that loves everyone and will suffer for the sins of their loved ones.

Boss - The boss of everyone. They are usually controlling, competitive, stubborn, aggressive, and always call the shots

Boy Next Door - The average nice guy that does everything in the right

Contender - A competitive underdog (Rocky from Rocky or Daniel from The Karate Kid)

Damsel in Distress - A noble and innocent woman in need of rescue (Kim in or Lois Lane in Superman)

Dumb Muscle - This character lacks intelligence, or fails to showcase it, and are tasked with doing the heavy lifting of the villain or any antagonist

Egomaniac - They like to be the center of attention and usually are often very insecure, overcompensating for a deep need to be loved and/or revered.

Fall Guy - The scapegoat that the powerful or empowered use

Ferryman - A character that acts as a guide or aid, allowing characters to travel over near impossible obstacles to reach specific destinations (Heimdall from )

Girl Next Door - An average but attractive girl with a wholesome quality to her

Good King -He is honorable, virtuous, wise, and understanding. He cares about his subjects no matter how seemingly unimportant they are and puts their well-being above his own (King Arthur)

Grotesque - An often tragic character that induces both fear and pity because their deformities overshadow a perfectly normal and likable personality (The Hunchback of Notre Dame)

Harlequin - A clown or professional fool

Hero - The character that faces the most direct danger and conflict as a basis for the central aspect of the story

Ingenue - A young woman who is endearingly innocent and wholesome

Imposter/Pretender - They are intelligent and take advantage of situations and characters

Jock - A male athlete who is often muscular, but not very smart

Kirk - The captain or a similar leader who needs to be practical rather than emotional or distant, often having to make decisions in the middle of The Spock or The McCoy (see below)

Knight-errant - A noble Knight on a Quest

McCoy - He or she cares for others deeply and they always seek to do the right thing, no matter what the situation

Mentor - The mentor is the adviser, the expert, and is usually intelligent and wise in whatever field of expertise or philosophy that they are known for. They care for the hero and want to be in the hero's life, which usually starts with conflict at first

Monster -They are either half human or not human at all and usually provoke fear and panic.

Mother Figure - The mother figure is always the source of nurturing and comfort, offering guidance while also sometimes coming off as over-controlling and worrisome, but always acts from the heart (Mrs. Baker from Boyz n the Hood and Mrs. Gump from Forrest Gump)

Nerd - Usually a socially-impaired, obsessive, or overly-intellectual person. They often have a good heart and always mean well (Sheldon Cooper from The Big Bang Theory)

Noble Savage - A wild outsider with noble characteristics that has little to no experience with society's ways (Tarzan)

Outlaw - Similar to the Rebel (see below). They are romanticized, charismatic, and can often be the social bandit of the story

Peacemaker - They try to force the peace between characters and situations. Usually the voice of reason between all.

Pessimist - For them, the glass is always half empty. They won't take risks and often complain about everything every chance they get (Hudson from )

Psychopath - They have no conscience, are amoral, and have the inability to feel or care for others. All of which together is not a great combination.

Rebel - Despite the fact that many believe James Dean in Rebel Without a Cause is the quintessential rebel (he's actually better defined as the loner), the truth is that the rebel takes the loner attributes to the next level as they push up against anyone and everyone, walking strictly to a beat of their own drum without caring what others think (John Bender in The Breakfast Club)

Reluctant Monster - The Reluctant Monster usually has no idea that they're a monster at all. They are often a member of a species that traditionally does nasty things to people, but that is not in their own personal nature (Frankenstein)

Seeker -They are always on a quest for the truth, uncovering mysteries, lies, and deception despite all dangers both big and small that they face on a personal and professional level (Erin Brockovich)

Shrew - A bad-tempered or aggressively assertive woman

Spock -The Spock is an archetype that focuses on logic, rules, and reason while fighting for the greater good

Straight Man - Exists alongside a funny character. Their serious and no-nonsense attitude makes his partner look all the more crazy and funny (Abbott from Abbott and Costello movies)

Storyteller - A character that is noted for his or her ability to tell tales, or those that choose to do so, even to the dismay of the other characters (Wally from "Crocodile" Dundee)

Superhero -A hero with special powers that vows to protect the world around them (Marvel Cinematic Universe characters)

Supervillain - Antithesis to the Superhero

Tortured Artist -They often display constant torment due to frustrations with art and society

Town Drunk - Usually a male in a small town who is known to be drunk in public fashion

Villain - An evil character in a story

Whiskey Priest - A priest or ordained minister who teaches at a high standard but also showcases moral weakness through drinking alcohol or other vices (Father Callahan from )

These are just ninety-nine out of hundreds of archetypes and stock characters that you as a writer can use to mold into bigger and better characters. What are some of the others that we missed? Share this on Facebook and Twitter and let us know which ones weren't on this list.

Also check out ScreenCraft's 15 Types of Villains Screenwriters Need to Know!
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. Follow Ken on Twitter @KenMovies.

# data[].attributes.attachment_link.title
99 Archetypes and Stock Characters Screenwriters Can Mold - ScreenCraft

# data[].attributes.attachment_link.description
What are the types of characters screenwriters can use to mold within their own cinematic stories? What is the difference between Archetypes and Stock Characters? If you want to write a screenplay that's worthy of positive attention from screenwriting competitions, Hollywood development executives, producers and actors - then it's important to understand archetypes and stock character conventions.

# data[].attributes.body
If you want to learn how to write scripts, read them. Lots of them.

# data[].attributes.attachment_link.readable_text
Reading movie scripts is an excellent way to improve your screenplay writing skills. No matter what types of scripts that you read, you'll find that your writing becomes stronger, more organized, and more comprehensible to your acting team.

But, how are you going to be able to find and download movie scripts? There are a lot of websites available that provide this as a resource to you. In this article, we're going to show you the 15 best websites for downloading full-length movie screenplays.

Movie Scripts and Screenplays is a fairly basic site. It's, essentially, a library with a variety of resources listed in alphabetical order. You can find a number of movie scripts of all sorts, and there's an internal Google search that you can utilize in order to find the script you're looking for. The majority of the scripts are in PDF format and require Adobe Acrobat to read.

SimplyScripts allows you to download movie scripts of all types, and they don't stop there! They include scripts from radio, TV, unproduced pieces, Oscar award winning scripts, and more. They even have movie reviews and a discussion board so you can connect with other screenwriters and movie enthusiasts via the site as well.

The Weekly Script is a searchable database of scripts of all types, but mainly movie scripts. They have a small smattering of radio and TV scripts available for perusing, as well. They always feature a "weekly script" (hence their name) at the top of the site, which is usually worth looking at. Then, you can use their search engine to search by screenwriter, film, or show.

Like The Weekly Script, The Daily Script is constantly featuring different movie scripts on a daily basis. They do have a Google Search Engine, but they also offer the ability to browse (it's separated into A-M and N-Z by title). While the site only currently has a couple hundred scripts, they are continuing to expand.

Screenplays for You is a site for free movie scripts and screenplays, and they have a small number of play scripts on the site as well. The site is one of the best laid-out options available, with a complete index and each script organized by letter. They also have a very useful links page available, and site updates are easy to find right on the front page.

AwesomeFilm is a bright and exciting website that was built for movie lovers and scriptwriters of all types. The site is made possible by contributors who work to get the scripts, so there are constant updates and a unique variety of films that you can't always find on these free websites.

Go Into the Story is more than just a script database, even though it has that available as well. It's from the group Blacklist, and they have developed an all-inclusive blog that helps screenwriters to get the resources that they need. The founder of the blog, Scott Myers, also hosts master classes and workshops for screenwriters of all experience levels, allowing you to connect with other screenwriters and hone your craft in a new and unique manner.

Based on the Internet Movie Database, the IMSDB (Internet Movie Script Database) is a massive, well-organized resource for those who are looking for scripts that they can read and follow. From older classics to modern masterpieces, you will find it easy to navigate and seek out whatever scripts you're looking for. They even organize it by genre!

The Script Lab is a multi-faceted resource available to screenwriters of all sorts. Workshops, contests, blog posts, educational opportunities, and even a newsletter are available for those who want to connect with other screenwriters and learn how to hone their craft. This resource is essential if you're looking to write scripts.

As the name suggests, the Horror Lair is a genre-based script compendium, focused on horror films, both classic and modern. Their contributor-based script library is always growing, and they have a complete list of their most recent additions on the front page of their site. It's very easy to navigate and you can find almost any horror flick's script within a few minutes.

John August is a well-known screenwriter, and has written the script for films like Big Fish, Frankenweenie, Charlie and the Chocolate Factory, and Charlie's Angels. His Library is fairly inclusive of all of his work, allowing screenwriters to explore the scripts and see some of the processes that went behind his writing. He even shares things like original scripts, final scripts, and shooting schedules for each of the films he wrote for.

If you're looking for a living, changing library of screenplays and scripts, you'll find it at the Screenplay Database. At the time of writing this article, they had over 400 different scripts on the site, and they are adding more on a semi-regular basis. They even have the screenplay for modern masterpieces like 12 Years a Slave and American Beauty. Each script is listed with any awards it has won, how many pages they have, what format the script is saved in, and their IMDB/Amazon Links.

The Script Savant website includes both movie and TV screenplays. All of the screenplays available through their site are in PDF format, and they are continually adding more screenplays to what they have available. If you're a screenwriter that is in need of additional services and you're looking for someone to critique your work, you can also utilize one of the many services that the Script Savant has available through their website. They also have a newsletter that keeps you in the loop for when new screenplays are added.

If you're looking for a crowd-sourced solution for your movie scripts, be sure that you take a look at No Film School. This forum based website is easy to navigate, and there are always new ones being added "for your consideration" (as the people posting them like to say). If you're looking to get in on the ground floor of a crowd-sourced solution for free scripts, consider joining this site.

Lastly, we have Kaggle, a website built for sharing and comparing different data sets, including free-to-access and free-to-read movie scripts. There is a lot of useful and interesting data regarding the movie industry, how scripts are written, and more on the Kaggle website, and many scriptwriters have found it to be a unique and useful resource.

There are so many great options for reading script. It's up to you which ones you utilize and how you use them! Check out all of these resources for yourself and see how much of a difference that it makes for your screenplay writing if you're reading great screenplays on a regular basis.

# data[].attributes.attachment_link.title
15 Best Websites to Download Movie Scripts for You

# data[].attributes.attachment_link.description
Reading movie scripts is an excellent way to improve your screenplay writing skills. No matter what types of scripts that you read, you'll find that your writing becomes stronger, more organized, and more comprehensible to your acting team. But, how are you going to be able to find and download movie scripts?

# data[].attributes.attachment_link.title
Film Festivals, Screenplay Contests, Submissions

# data[].attributes.attachment_link.description
Enter the world's best film festivals and screenplay contests. FilmFreeway makes it easy to discover, submit and get tickets to thousands of events.

# data[].attributes.attachment_link.readable_text
So you've got a great idea for a movie - awesome! But before you can produce, direct or sell your movie, you have to write the screenplay in the correct entertainment industry format. Final Draft can help you figure out how to format a screenplay so you can focus on what's important - crafting a great story.

There are a few fundamental rules about formatting a screenplay that you should know before you get started. Once you understand these formatting rules, Final Draft can take over and do the rest!

No matter who you are, you have a story to tell - and there has never been a better time to tell it. Hollywood alone produces 700 movies per year, and this number is increasing due to the advent of streaming technology. There are thousands of professional screenwriting opportunities every single year for storytellers just like you, and Final Draft will be the most important tool in your writing arsenal. But what does a screenplay actually look like? Let's break it down for you!

The Importance of Writing with Final Draft

Screenplays written with a regular word-processing program or a free web-based screenplay template can't be used in professional film productions. They often must be retyped or have to go through a complicated conversion process to get them ready for production. Screenplays written in Final Draft and saved in the FDX format are ready for professional use, and it's not just screenplays you can write with Final Draft: you can also write stage plays, musicals, sitcoms, TV dramas, novels, and even graphic novels.

Final Draft isn't just for Hollywood either. Final Draft screenwriting software is used professionally all over the world, including the United Kingdom, Canada, Australia, Germany, France, and over 60 other countries. There are dictionaries in English (U.S., Canada, and British), Catalan, Danish, Dutch, French, German, Swiss-German, Italian, Norwegian, Portuguese (Brazilian and European), Spanish, and Swedish. So whatever country you're in, if you're using Final Draft, you know you're using the industry standard.

Getting Started

In this guide, we'll be showing you examples from scripts for feature films. TV scripts build on this same basic formatting, but also include additional information that varies by genre, studio, or production company. Although there are few rigid rules about formatting a screenplay, there are generally accepted guidelines that you need to know.

Title Page

The first page of your screenplay is called the Title Page. This page shows the title of the screenplay and who the screenplay is written by in the center of the page. The writer's contact details appear at the bottom of the page in the lower left hand corner. If you've registered your screenplay with the Writers Guild, that information can be listed as well.

Final Draft lets you get creative with the Title Page. You can use different fonts to make your title really stand out, and you can even add a picture to set the mood.

Page Margins

Here are some guidelines regarding page margins for your screenplay. Remember - Final Draft automatically formats your margins for you, so you don't have to worry about doing it yourself. But if you're interested in what the guidelines are, this information will be helpful. The top margin needs to be one inch. The bottom margin, and your right- or outside - margin can vary from that by up to a quarter-inch. The left, or inside, margin needs to allow space for the three-hole punch binding for when your screenplay is printed, so that should be about one-and-a-half inches.

Font and Page Numbers

The font is another one of those rigid rules. It must be the Courier font and 12 points. This font is an entertainment industry standard. It makes it easier to estimate screen time from the number of pages. Try to get fancy, with any other font, and your script looks amateurish.

The top of the page-or header-is also lean and clean. All you should have there is the page number, flush right, about a half-inch from the top of the page, and followed by a period. The exception is the first page which shouldn't have a page number on it at all.

Scene Headings

A screenplay is comprised of a number of different scenes, and every scene starts with a scene heading, also known as a slug line.

A scene heading contains three elements:
Whether the scene takes place inside (INT., short for INTERIOR) or outside (EXT., short for EXTERIOR);
The location where the scene takes place (a house, the beach, a cafe etc.);
What time of day it is (DAY, NIGHT, MORNING, AFTERNOON, EVENING, ETC.)

Here is an example of a scene heading:
EXT. KEVIN'S HOUSE - DAY
This scene heading tells us that the scene is taking place outside, that we are at the character Kevin's House, and the scene takes place during the day.

It is good to be very specific with your scene heading, so the reader knows exactly where they are. When writing a scene set inside, you can be very exact about what room the scene is taking place in by adding the room to the scene heading followed by a comma. Example:
INT. BATHROOM, KEVIN'S HOUSE - MORNING
This scene heading tells us that we are in the bathroom in Kevin's house, and it is morning.

Action and Dialogue

A scene in a screenplay is composed of action and dialogue. Action tells you what is happening in the scene, and dialogue indicates what each character is saying. After you write your scene heading, you should always start with a few lines of action to get the reader situated in your story. For example:

EXT. KEVIN'S HOUSE - DAY
A car pulls into the driveway. KEVIN (30s) steps out, heads to the trunk and opens it. He pulls out a BAG OF GROCERIES.

Note that Kevin's BAG OF GROCERIES is written in ALL CAPS. This is a technique you can use to highlight important props, sounds and character movements in your scenes. This technique should be used sparingly as too much capitalization means aspects of the script you want to highlight for importance may be lost.

Next we move on to dialogue. Dialogue is indented and is close to the center of the page. Final Draft sets the proper indents for you - the left indent is between an inch and one-and-a-half inches from the left margin, and a right indent of about an inch and a half.

Above the block of dialogue is the name of the character speaking. This is called a CHARACTER CUE and is indented approximately an inch more than the dialogue. Example:

EXT. KEVIN'S HOUSE - DAY
A car pulls into the driveway. KEVIN (30s) steps out, heads to the trunk and opens it. He pulls out a BAG OF GROCERIES.

KEVIN
Wow. These groceries are heavy.

Sometimes your dialogue might continue over a page break. Final Draft automatically handles this issue for you, but it's helpful to know what the program is doing and why.

On the bottom of a page where a block of dialogue begins you will see the word MORE in upper case letters, parentheses, and centered. This tells the reader there's more dialogue to come on the following page from the same character. Dialogue will be broken for a page break only at the end of a sentence, so don't worry about it cutting your sentences in half. At the top of the following page, the character cue ends with a CONT'D to let the reader know that the dialogue begins on the previous page. Once again, Final Draft will do all of this for you automatically, so all you need to do is keep typing!

There is also a third dialogue element that you should use sparingly. It's called PARENTHETICAL direction, because it's inside of parentheses marks underneath the character cue. It tells the actor how the dialogue should be delivered. A parenthetical should be used when the dialogue doesn't exactly convey how the actor might deliver the dialogue, or for emphasis. It can also illustrate who the character is talking to if this is unclear. Example:

EXT. KEVIN'S HOUSE - DAY
A car pulls into the driveway. KEVIN (30s) steps out, heads to the trunk and opens it. He pulls out a BAG OF GROCERIES.

KEVIN
(to self)
Wow. These groceries are heavy.

A parenthetical can also be used BESIDE the character cue in very specific circumstances: if your character is speaking OFF SCREEN (O.S.) or as a VOICE OVER (V.O.). Example:

EXT. KEVIN'S HOUSE - DAY
A car pulls into the driveway. KEVIN (30s) steps out, heads to the trunk and opens it. He pulls out a BAG OF GROCERIES.

KEVIN (V.O.)
Wow. These groceries are heavy.

Transitions

You don't need to include a transition between scenes, as it's understood that one scene naturally flows into the next. However, sometimes you might want to use a specific transition as a stylistic choice, such as a SMASH CUT or FADE TO BLACK. Final Draft has many different transition options, and will format the transition flush right according to industry standards.

So now we've gone through the elements that make up a script: a scene heading, action, and dialogue. Keep writing those elements for 90 to 120 pages, and you will have succeeded in writing your screenplay. Don't forget, Final Draft automatically formats scene headings, action and dialogue for the writer. All you need to do is input your story and creativity!

Learning the Craft

There is no better way to learn how to write screenplays than to read actual scripts. Thanks to the Internet, it's very easy to find scripts online for all your favorite movies. It only takes reading a few pages of a screenplay for the formatting rules to become clear, and by seeking out great screenplays you can learn tips and tricks from Hollywood's most successful writers. Once you become more comfortable with writing screenplays you may even find yourself wanting to be more experimental with your writing, and subverting some of the rules to make your screenplay a more unique experience for the reader. But remember what a wise person once said: you need to know the rules before you break them.

In addition to the formatting guidelines outlined in this article, Final Draft also comes loaded with TEMPLATES for all your needs. Whether you're writing a feature film, TV show, play or graphic novel, Final Draft comes with files already formatted for these very purposes.

Once you purchase Final Draft and become a registered user, you also gain access to world-class technical support. Got a formatting question? Final Draft are on hand via phone, email or chat to assist you with all your writing needs. Final Draft's blog and social media also contains all the tips, tricks and techniques you need to get started in your career, as well as industry news, reviews and interviews with famous filmmakers. It's never been easier to write your screenplay,

So there you have it! Everything you need to get inspired, start writing, and send your screenplay out into the world. Final Draft is your one-stop shop for all your screenwriting needs, and we are here to assist you every step of the way on your writing journey. Bring your creativity, and we'll do the rest. Happy writing!

To explore Final Draft, click here.

# data[].attributes.attachment_link.title
How to Format a Screenplay | Final Draft®

# data[].attributes.attachment_link.description
So you've got a great idea for a movie - awesome! But before you can produce, direct or sell your movie, you have to write the screenplay in the correct entertainment industry format. Final Draft can help you figure out how to format a screenplay so you can focus on what's important - crafting a great story.

# data[].attributes.attachment_link.keywords[]
screenplay: the foundations of screenwriting

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / style manuals

# data[].attributes.attachment_link.keywords[]
personal development and practical advice

# data[].attributes.attachment_link.keywords[]
screenwriting; film; movies; writing skills; writing guide; how to write a screenplay; how to write a movie; screenplays; screenplay; writing movies; screenwriting books; screenplay books; screenplay writing; script writing; reference; entertainment; hollywood; film adaptation; how to write a script; writing a script; script; screenwriting guide; writing a screenplay; acting; movie scripts; craft; creative writing; filmmaking; drama; movie; storytelling; cinema; screenplays and scripts; acting gifts; writing; writing prompts

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / style manuals

# data[].attributes.attachment_link.keywords[]
personal development and practical advice

# data[].attributes.attachment_link.title
Screenplay: The Foundations of Screenwriting

# data[].attributes.attachment_link.description
Screenplay: The Foundations of Screenwriting [Field, Syd] on Amazon.com. *FREE* shipping on qualifying offers. Screenplay: The Foundations of Screenwriting

# data[].attributes.attachment_link.keywords[]
composition & creative writing - general

# data[].attributes.attachment_link.keywords[]
creative writing & creative writing guides

# data[].attributes.attachment_link.keywords[]
language arts & disciplines/writing - general

# data[].attributes.attachment_link.keywords[]
performing arts / television / screenwriting

# data[].attributes.attachment_link.keywords[]
film; graduation; authorship; business; cinema; drama; filmmaking; guide; instruction; library; literature; narrative; pdf; plot; presentation; reference; screenplay; screenwriting; script; scriptwriting; story; storytelling; structure; textbook; theory; writing; film

# data[].attributes.attachment_link.keywords[]
film; graduation; authorship; business; cinema; drama; filmmaking; guide; instruction; library; literature; narrative; pdf; plot; presentation; reference; screenplay; screenwriting; script; scriptwriting; story; storytelling; structure; textbook; theory; writing; film/tv; 1996; 1997; 1998; bored; corona virus; coronavirus; coronavirus book; coronavirus notebook; covid-19; isolation diary; notebook of doom; pandemic; quarantine diary; shelter in place; social distancing; temporary; virus; viruses; depression; loneliness; memoir; stress; blank; comic; journal; teen; bucket; list; fun; thing; home; write; lined; manifestation; notebook; girl; woman; quiet; social; connection; management; cure; workbook; prompt; rule; craft; creative; fiction; movie; nonfiction

# data[].attributes.attachment_link.keywords[]
tv; 1996; 1997; 1998; bored; corona virus; coronavirus; coronavirus book; coronavirus notebook; covid-19; isolation diary; notebook of doom; pandemic; quarantine diary; shelter in place; social distancing; temporary; virus; viruses; depression; loneliness; memoir; stress; blank; comic; journal; teen; bucket; list; fun; thing; home; write; lined; manifestation; notebook; girl; woman; quiet; social; connection; management; cure; workbook; prompt; rule; craft; creative; fiction; movie; nonfiction

# data[].attributes.attachment_link.keywords[]
performing arts: television / screenwriting

# data[].attributes.attachment_link.keywords[]
composition & creative writing - general

# data[].attributes.attachment_link.keywords[]
language arts & disciplines/writing - general

# data[].attributes.attachment_link.keywords[]
performing arts / television / screenwriting

# data[].attributes.attachment_link.keywords[]
creative writing & creative writing guides

# data[].attributes.attachment_link.title
Story: Style, Structure, Substance, and the Principles of Screenwriting

# data[].attributes.attachment_link.description
Story: Style, Structure, Substance, and the Principles of Screenwriting - Kindle edition by McKee, Robert. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Story: Style, Structure, Substance, and the Principles of Screenwriting.

# data[].attributes.attachment_link.title
The Screenwriter's Bible, 7th Edition, A Complete Guide to Writing, Formatting, and Selling Your Script

# data[].attributes.attachment_link.description
The Screenwriter's Bible, 7th Edition, A Complete Guide to Writing, Formatting, and Selling Your Script [David Trottier] on Amazon.com. *FREE* shipping on qualifying offers. The Screenwriter's Bible, 7th Edition, A Complete Guide to Writing, Formatting, and Selling Your Script

# data[].attributes.body
It's also a story structure guide

# data[].attributes.attachment_link.title
Save The Cat! The Last Book on Screenwriting You'll Ever Need

# data[].attributes.attachment_link.description
Save The Cat! The Last Book on Screenwriting You'll Ever Need [Blake Snyder] on Amazon.com. *FREE* shipping on qualifying offers. Save The Cat! The Last Book on Screenwriting You'll Ever Need

# data[].attributes.body
I know the author. Her book is great!

# data[].attributes.attachment_link.keywords[]
learn screenwriting: from start to adaptation to pro advice

# data[].attributes.attachment_link.keywords[]
fundamental and genre storytelling; cinematic dialogue and narrative; screenplay formatting; hollywood expectations; actor characterization; professional writing and pitching; blake snyder and christopher vogler

# data[].attributes.attachment_link.title
Learn Screenwriting: From Start to Adaptation to Pro Advice

# data[].attributes.attachment_link.description
Learn Screenwriting: From Start to Adaptation to Pro Advice [Walker, Sally J] on Amazon.com. *FREE* shipping on qualifying offers. Learn Screenwriting: From Start to Adaptation to Pro Advice

# data[].attributes.body
An oldie but a goodie!

# data[].attributes.attachment_link.keywords[]
story sense: writing story and script for feature films and television

# data[].attributes.attachment_link.keywords[]
composition & creative writing - general

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / library & information science / general

# data[].attributes.attachment_link.keywords[]
performing arts / film & video / screenwriting

# data[].attributes.attachment_link.keywords[]
composition & creative writing - general

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / library & information science / general

# data[].attributes.attachment_link.keywords[]
performing arts / film & video / screenwriting

# data[].attributes.attachment_link.title
Story Sense: Writing Story and Script for Feature Films and Television

# data[].attributes.attachment_link.description
Amazon.com: Story Sense: Writing Story and Script for Feature Films and Television (9780070389960): Lucey, Paul: Books

# data[].attributes.body
FD is an industry standard; however, it's not the only program out there.

# data[].attributes.attachment_link.readable_text
Industry-Leading Software & Resources to Make Your Vision a Reality.

Final Draft is the choice of professional screenwriters and filmmakers around the world.

SHOP PRODUCTS

Final Draft 12 Upgrade

New and improved features that showcase why Final Draft is the Leading Screenwriting Software in Hollywood.

UPGRADE NOW

Affordable Educational Pricing

Students and teachers can use the same tool the pros use for less!

LEARN MORE

If one could marry a program-or even elope with one- I would choose Final Draft. After all it has been a wise, patient and loyal writing partner that has been by my side for almost fifteen years.

Guillermo del Toro Writer, Director, Producer, Academy Award Winner

Even if you don't own a computer, I recommend buying Final Draft.

JJ Abrams Writer, Director, Producer, Emmy Award Winner

Final Draft makes it so much easier - and it's motivating when what you're working on looks like a script.

Sofia Coppola Writer, Director, Producer, Academy Award Winner

Final Draft is a program made to perform one task with excellence - the writing of a screenplay - by people who support Final Draft users with passion and understanding.

James Mangold Writer, Director, Producer, Academy Award Nominee

Final Draft actually makes getting to the final draft faster, easier and more fun than any other screenwriting program I've tried. I love it!

Nancy Meyers Writer, Director, Producer, Academy Award Nominee

Questions?

We've got answers! Final Draft offers phone, chat, and email support.

CONTACT US

# data[].attributes.attachment_link.title
Final Draft - the industry standard screenwriting software

# data[].attributes.attachment_link.description
Final Draft is the choice screenwriting software of studios and production companies worldwide. Streamlined screenwriting and editing while collaborating. Try Final Draft 12 Today!

# data[].attributes.attachment_link.readable_text
Co-write, create, and collaborate

We built Celtx for creative collaboration. Invite others to read, edit, or approve your script using text-anchored comments. See co-writers work on your script with presence awareness. As your script takes shape, Celtx keeps your project organized with a complete history of script revisions, feedback, and approvals.

# data[].attributes.attachment_link.title
Script Writing Software for Storytellers

# data[].attributes.attachment_link.description
Celtx is a scriptwriting and pre-production management software for film, TV, ads, short-format video, commercial video, documentaries, games, VR, and more.

# data[].attributes.attachment_link.title
WriterDuet | Professional Screenwriting Software You'll Love

# data[].attributes.attachment_link.description
Plan, write, and share with the industry-standard software used by over 1 million screenwriters, TV shows, and blockbusters.

# data[].attributes.body
Good for Apple Devices

# data[].attributes.attachment_link.readable_text
Fade In Professional Screenwriting Software is the most advanced software used by professionals writing for motion pictures, television, video games, the stage, radio, and more.

It features support for multiple languages, tools for outlining, organizing, and navigating, plus extensive screenplay formatting and robust functionality for managing rewrites and revisions. And it's available for Windows, Mac, Linux, iPhone/iPad, and Android.
Why use screenwriting software?
Because you're writing a screenplay - or a teleplay or stage play or any other kind of script. And while you could try and do it in Word (or Pages, or even a basic text editor like Notepad or TextEdit) there are some things - lots and lots of things, actually - that only proper screenwriting software can do. That's where Fade In comes in.

Check out the detailed feature list to see more of what Fade In has to offer - and how it blows other screenwriting software away.

One application. For everything your screenplay needs. From start to finish.
Fade In. The New Industry Standard.

"Fade In has everything you'd want from screenwriting software. It's stable, elegant, stable, full featured, stable, affordable, and stable."

Glass Onion, Knives Out, Star Wars: Episode VIII - The Last Jedi

Venom: Let There Be Carnage, Venom

Ben Collins, Luke Piotrowski

The Night House

"I've written screenplays from conception to completion in every screenwriting software that exists today. There is none better, none more simple and useful and fully-featured, than Fade In."

xXx: Return of Xander Cage

And many more movies, television shows, and other productions...

"Cleaner, and Prettier, and Full-Screen Beautiful"

On the popular Scriptnotes podcast for screenwriters by professional writers John August (Big Fish, Charlie and the Chocolate Factory) and Craig Mazin (Chernobyl, The Hangover Parts II and III), Craig calls Fade In "my secret hope for the future" and a "wonderful piece of...screenwriting software". Listen here | Read more

"The Final Draft Killer"

Actor and writer Rob Corddry (Hot Tub Time Machine, Childrens Hospital), a guest on the Systematic podcast, calls Fade In "the Final Draft killer" and talks about just what makes it better screenwriting software. Listen here

"Best Screenwriting Software"

The Penguin Random House Writers Academy says that "It's the most feature-rich software of its kind... The whole package."

"Brilliant" "Absolutely love it" "Killer software!"

See some of the very nice things that people are saying about Fade In Professional Screenwriting Software on Twitter. Read more

# data[].attributes.attachment_link.title
Fade In Professional Screenwriting Software

# data[].attributes.attachment_link.description
Fade In Professional Screenwriting Software is the most advanced software used by professionals writing for motion pictures, television, video games, the stage, radio, and more.

# data[].attributes.attachment_link.title
#1 Novel & Book Writing Software For Writers

# data[].attributes.attachment_link.description
Discover the #1 novel & book writing software for writers! Streamline your writing process with powerful tools designed to help organize, edit, & bring your story to life.

# data[].attributes.attachment_link.readable_text
Writer Dan Harmon, the creator of TV's Community, has a reputation for being a story structure evangelist. For over a decade, he's been known to 'break' the stories he's working on with a system he known as 'The Embryo,' 'The Dan Harmon Story Circle,' or just 'The Story Circle.'

There's perhaps no better example of this system in action than the sci-fi comedy series, Rick and Morty, which Harmon co-created. In little over 30 episodes, Rick and Morty has gained one of the most devoted fan-bases of any animated show since Matt Groening's Futurama. Known for its fast-paced, pop-culture-inflected humor, affection for science fiction tropes (and its not-so-passing resemblance to characters from Back to the Future) the show has also been praised for its dense storytelling, often fitting in a feature film's worth of plot within a 21-minute runtime.

But you might be thinking, this is a blog for authors, not TV comedy writers. Why are they talking about a cartoon with a burping granddad? Well, it has to do with something no novelist can avoid: structure.

What is the Dan Harmon Story Circle?

The Story Circle is an approach to plotting that Harmon adapted from The Hero's Journey - which itself derives from the work of academic Joseph Campbell. It lays out a kind of narrative arc that's commonly used by myths from all over the world and emphases how almost all forms of storytelling have a cyclical nature. In broad strokes, they always involve:

Characters venturing out to get what they need, and

Returning, having changed.

To get an idea of how The Story Circle differs from other, similar structures, here are the stages of The Hero's Journey as laid out by screenwriter Christopher Vogler:

1. Ordinary World

2. Call to Adventure

3. Refusal of the Call

4. Meeting the Mentor

5. Crossing the Threshold

6. Tests, Allies, Enemies

7. Approach to the Innermost Cave

8. Ordeal

9. Reward (Seizing the Sword)

10. The Road Back

11. Resurrection

Some of these labels allude to a particular type story: tales of squires becoming sword-wielding knights, recovering potions from some hidden cave. Real life-and-death stuff. What Harmon did is refine these to just eight steps (which kind of coincide with standard plot points). These are comprised of basic human motivations, actions, and consequences, which he lays out on a circle:

(via Channel 101)

1. A character is in a zone of comfort,

2. But they want something.

3. They enter an unfamiliar situation,

4. Adapt to it,

5. Get what they wanted,

6. Pay a heavy price for it,

7. Then return to their familiar situation,

8. Having changed.

The benefit of Harmon's version over Vogler's is that it focuses more specifically on character and is much easier to apply to a wider range of stories.

The Story Circle in Rick and Morty

In the video below, Harmon applies the story circle to an episode of Rick and Morty entitled "Mortynight Run." For enough context to understand the clip, here's some background info:
Rick is a mad, drunk, egomaniacal scientist who has invented a portal gun that allows him to have debauched adventures across time and space. He almost always drags his sensitive, anxious grandson Morty along for the ride. In this episode, they also bring along Morty's father, Jerry, for whom Rick only has disdain.
Let's take another look at how the episode's "A" story - which centers on Morty's journey - fits into the story circle.

1. A character is in a zone of comfort

The first beat of the story sees Rick and Morty on what seems like just another one of their adventures. "Morty exists in comfort until he finds out that Rick is an arms dealer," which leads to...

2. But they want something

As Harmon points out, "This is an ethical quandary for Morty." The boy is put in a situation of guilt that compels him to "go across a threshold and search for a way to undo the ethical damage that he perceives Rick as doing." That takes us to the next stage.

3. They enter an unfamiliar situation

Even though he rarely defies his grandfather's instructions, Morty takes Rick's car keys and chases after the assassin, accidentally killing him.

4. Adapt to it

Morty discovers an alien gas entity named 'Fart' - who was the assassin's target. Going against Rick's instructions once more (and making what he believes to be the ethical choice), Morty liberates Fart from space jail.

5. Get what they wanted

Morty has achieved his goal: he's saved a life - and can now rest assured that he's done the right thing.

6. Pay a heavy price for it

"In the second half of the story, we start finding out that the act of saving that life is going to cost a lot of other people their lives," Harmon explains, as we see Fart slaughter many space cops while Rick and Morty make their escape.

7. Then return to their familiar situation

After the escape, the gang returns to a place resembling 'normal life,' crossing what Harmon calls "the return threshold." At this point, Morty realizes that Fart is a truly malevolent creature and means to return with his people to destroy all carbon-based life.
Note: On the circle diagram, Step 7 is directly opposite to Step 3, where Morty crossed the threshold into the unfamiliar situation. Balance and harmony are a big part of storytelling.
8. Having changed

"So Morty makes the decision to change into someone who kills." He terminates Fart, thereby saving the universe and becoming someone different from the person he started as. As Harmon points out, this is not a show for kids: not all protagonists need to learn universally positive messages for a story to ring true.

Harmon has laid out his process for using the story circle in a fascinating set of posts (warning: contains swears) where he also talks about the nature of storytelling, answering questions like...

Why is this structure a circle?

You might be asking why Harmon doesn't just lay this structure out in a flat line. He lightly touches on the rhythms of biology, psychology, and culture: how we all move cyclically through phases of life and death, conscious and unconscious, order and chaos.

The fascinating thing he points out is that cycles like these are, in part, what have allowed humans to evolve.

"Behind (and beneath) your culture creating forebrain, there is an older, simpler monkey brain with a lot less to say and a much louder voice. One of the few things it's telling you, over and over again, is that you need to go search, find, take and return with change. Why? Because that is how the human animal has kept from going extinct, it's how human societies keep from collapsing and how you keep from walking into McDonald's with a machine gun."

"We need [to] search - We need [to] get fire, we need [to find a] good woman, we need [to] land [on the] moon - but most importantly, we need RETURN and we need CHANGE, because we are a community, and if our heroes just climbed beanstalks and never came down, we wouldn't have survived our first ice age."

What Harmon's getting at is that stories are a basic, universal part of human culture because of their millennia-long history as both a teaching and a learning tool. This idea of questing, changing, and returning is not a hack concept concocted by lazy writers, but an ingrained part of our collective psyche. That's why stories from one culture are able to resonate with people across the world.

In Harmon's philosophy, when a book, film, show, or song doesn't meet the criteria above, it's not necessarily bad writing: it's simply not a story.

Does the story circle really apply to every story?

According to Harmon, yes.

"Start thinking of as many of your favorite movies as you can, and see if they apply to this pattern. Now think of your favorite party anecdotes, your most vivid dreams, fairy tales, and listen to a popular song (the music, not necessarily the lyrics)."

So let's put that theory to the test. Let's pick an example that's the furthest away from a profane cartoon for adults and see if it applies: Dickens's Great Expectations.

1. Zone of Comfort: Pip, a young orphan, lives a modest life on the moors.

2. But they want something: He becomes obsessed with Estella, a wealthy girl of his age.

3. They enter an unfamiliar situation: A mysterious benefactor plucks Pip from obscurity and throws him - a fish out of water - into London society.

4. Adapt to it: He learns to live the high life and spends his money frivolously

5. Get what they wanted: Pip is finally a gentleman, which he believes will entitle him/make him worthy of Estella.

6. Pay a heavy price for it: Pip discovers that his money came from a convict, he drowns in debt, he regrets alienating his Uncle, he realizes that his pursuit of Estella is futile.

7. Then return to their familiar situation: Pip makes peace with his Uncle Joe (who nurses him back to health). Pip disappears to Egypt for years, and once again returns home...

8. Changed: Back once again where the story started, a now-humbled Pip reunites with Estella who, due to some plot, is ready to open her heart to him.

Although Great Expectation was a serial, written week-by-week, Dickens must have consciously or unconsciously been aware of this cycle. He sent his characters on a journey towards something they wanted - only for them to pay the price and return home, changed.

As with any sensible advice about structure, the takeaway here is not that you must slavishly adhere to a set formula or risk ruining your story. This story circle, along with other popular story structures like the three-act structure, are simply tools based on observations of stories that have managed to resonate with readers over the centuries. Just know this: if you find yourself at an impasse with any story you're writing - you could do a lot worse than crack out the story wheel, identify where you are, and see what comes next in the cycle.

# data[].attributes.attachment_link.title
The Dan Harmon Story Circle: 8 Steps to a Powerful Structure

# data[].attributes.attachment_link.description
Writer Dan Harmon, the creator of TV's Community, has a reputation for being a story structure evangelist. For over a decade, he's been known to 'break' the stories he's working on with a system he known as 'The Embryo,' 'The Dan Harmon Story Circle,' or just 'The Story Circle.'

# data[].attributes.attachment_link.readable_text
The Hero's Journey is a timeless story structure which follows a protagonist on an unforeseen quest, where they face challenges, gain insights, and return home transformed. From Theseus and the Minotaur to The Lion King, so many narratives follow this pattern that it's become ingrained into our cultural DNA.

In this post, we'll show you how to make this classic plot structure work for you - and if you're pressed for time, download our cheat sheet below for everything you need to know.

FREE RESOURCE

Hero's Journey Template

What is the Hero's Journey?

The Hero's Journey, also known as the monomyth, is a story structure where a hero goes on a quest or adventure to achieve a goal, and has to overcome obstacles and fears, before ultimately returning home transformed.

This narrative arc has been present in various forms across cultures for centuries, if not longer, but gained popularity through Joseph Campbell's mythology book, The Hero with a Thousand Faces. While Campbell identified 17 story beats in his monomyth definition, this post will concentrate on a 12-step framework popularized in 2007 by screenwriter Christopher Vogler in his book The Writer's Journey.

The 12 Steps of the Hero's Journey

The Hero's Journey is a model for both plot points and character development: as the Hero traverses the world, they'll undergo inner and outer transformation at each stage of the journey. The 12 steps of the hero's journey are:

1. The Ordinary World. We meet our hero.

2. Call to Adventure. Will they meet the challenge?

3. Refusal of the Call. They resist the adventure.

4. Meeting the Mentor. A teacher arrives.

5. Crossing the First Threshold. The hero leaves their comfort zone.

6. Tests, Allies, Enemies. Making friends and facing roadblocks.

7. Approach to the Inmost Cave. Getting closer to our goal.

8. Ordeal. The hero's biggest test yet!

9. Reward (Seizing the Sword). Light at the end of the tunnel

10. The Road Back. We aren't safe yet.

11. Resurrection. The final hurdle is reached.

12. Return with the Elixir. The hero heads home, triumphant.

Believe it or not, this story structure also applies across mediums and genres (and also works when your protagonist is an anti-hero!). Let's dive into it.

1. Ordinary World
In which we meet our Hero.
The journey has yet to start. Before our Hero discovers a strange new world, we must first understand the status quo: their ordinary, mundane reality.

It's up to this opening leg to set the stage, introducing the Hero to readers. Importantly, it lets readers identify with the Hero as a "normal" person in a "normal" setting, before the journey begins.

2. Call to Adventure
In which an adventure starts.
The call to adventure is all about booting the Hero out of their comfort zone. In this stage, they are generally confronted with a problem or challenge they can't ignore. This catalyst can take many forms, as Campbell points out in Hero with a Thousand Faces. The Hero can, for instance:

Decide to go forth of their own volition;

Theseus upon arriving in Athens.

Be sent abroad by a benign or malignant agent;

Odysseus setting off on his ship in The Odyssey.

Stumble upon the adventure as a result of a mere blunder;

Dorothy when she's swept up in a tornado in The Wizard of Oz.

Be casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man.

Elliot in E.T. upon discovering a lost alien in the tool shed.

The stakes of the adventure and the Hero's goals become clear. The only question: will he rise to the challenge?

3. Refusal of the Call
In which the Hero digs in their feet.
Great, so the Hero's received their summons. Now they're all set to be whisked off to defeat evil, right?

Not so fast. The Hero might first refuse the call to action. It's risky and there are perils - like spiders, trolls, or perhaps a creepy uncle waiting back at Pride Rock. It's enough to give anyone pause.

In Star Wars, for instance, Luke Skywalker initially refuses to join Obi-Wan on his mission to rescue the princess. It's only when he discovers that his aunt and uncle have been killed by stormtroopers that he changes his mind.

4. Meeting the Mentor
In which the Hero acquires a personal trainer.
The Hero's decided to go on the adventure - but they're not ready to spread their wings yet. They're much too inexperienced at this point and we don't want them to do a fabulous belly-flop off the cliff.

Enter the mentor: someone who helps the Hero, so that they don't make a total fool of themselves (or get themselves killed). The mentor provides practical training, profound wisdom, a kick up the posterior, or something abstract like grit and self-confidence.

Wise old wizards seem to like being mentors. But mentors take many forms, from witches to hermits and suburban karate instructors. They might literally give weapons to prepare for the trials ahead, like Q in the James Bond series. Or perhaps the mentor is an object, such as a map. In all cases, they prepare the Hero for the next step.

GET ACCOUNTABILITY

Meet writing coaches on Reedsy

5. Crossing the First Threshold
In which the Hero enters the other world in earnest.
Now the Hero is ready - and committed - to the journey. This marks the end of the Departure stage and is when the adventure really kicks into the next gear. As Vogler writes: "This is the moment that the balloon goes up, the ship sails, the romance begins, the wagon gets rolling."

From this point on, there's no turning back.

Like our Hero, you should think of this stage as a checkpoint for your story. Pause and re-assess your bearings before you continue into unfamiliar territory. Have you:

FREE RESOURCE

6. Tests, Allies, Enemies
In which the Hero faces new challenges and gets a squad.
When we step into the Special World, we notice a definite shift. The Hero might be discombobulated by this unfamiliar reality and its new rules. This is generally one of the longest stages in the story, as our protagonist gets to grips with this new world.

This makes a prime hunting ground for the series of tests to pass! Luckily, there are many ways for the Hero to get into trouble:

In Jumanji: Welcome to the Jungle, Spencer, Bethany, "Fridge," and Martha get off to a bad start when they bump into a herd of bloodthirsty hippos.

In his first few months at Hogwarts, Harry Potter manages to fight a troll, almost fall from a broomstick and die, and get horribly lost in the Forbidden Forest.

Marlin and Dory encounter three "reformed" sharks, get shocked by jellyfish, and are swallowed by a blue whale en route to finding Nemo.

This stage often expands the cast of characters. Once the protagonist is in the Special World, he will meet allies and enemies - or foes that turn out to be friends and vice versa. He will learn a new set of rules from them. Saloons and seedy bars are popular places for these transactions, as Vogler points out (so long as the Hero survives them).

7. Approach to the Inmost Cave
In which the Hero gets closer to his goal.
This isn't a physical cave. Instead, the "inmost cave" refers to the most dangerous spot in the other realm - whether that's the villain's chambers, the lair of the fearsome dragon, or the Death Star. Almost always, it is where the ultimate goal of the quest is located.

Note that the protagonist hasn't entered the Inmost Cave just yet. This stage is all about the approach to it. It covers all the prep work that's needed in order to defeat the villain.

8. Ordeal
In which the Hero faces his biggest test of all thus far.
Of all the tests the Hero has faced, none have made them hit rock bottom - until now. Vogler describes this phase as a "black moment." Campbell refers to it as the "belly of the whale." Both indicate some grim news for the Hero.

The protagonist must now confront their greatest fear. If they survive it, they will emerge transformed. This is a critical moment in the story, as Vogler explains that it will "inform every decision that the Hero makes from this point forward."

The Ordeal is sometimes not the climax of the story. There's more to come. But you can think of it as the main event of the second act - the one in which the Hero actually earns the title of "Hero."

9. Reward (Seizing the Sword)
In which the Hero sees light at the end of the tunnel.
Our Hero's been through a lot. However, the fruits of their labor are now at hand - if they can just reach out and grab them! The "reward" is the object or knowledge the Hero has fought throughout the entire journey to hold.

Once the protagonist has it in their possession, it generally has greater ramifications for the story. Vogler offers a few examples of it in action:

Luke rescues Princess Leia and captures the plans of the Death Star - keys to defeating Darth Vader.

Dorothy escapes from the Wicked Witch's castle with the broomstick and the ruby slippers - keys to getting back home.

10. The Road Back
In which the light at the end of the tunnel might be a little further than the Hero thought.
The story's not over just yet, as this phase marks the beginning of Act Three. Now that he's seized the reward, the Hero tries to return to the Ordinary World, but more dangers (inconveniently) arise on the road back from the Inmost Cave.

More precisely, the Hero must deal with the consequences and aftermath of the previous act: the dragon, enraged by the Hero who's just stolen a treasure from under his nose, starts the hunt. Or perhaps the opposing army gathers to pursue the Hero across a crowded battlefield. All further obstacles for the Hero, who must face them down before they can return home.

11. Resurrection
In which the last test is met.
Here is the true climax of the story. Everything that happened prior to this stage culminates in a crowning test for the Hero, as the Dark Side gets one last chance to triumph over the Hero.

Vogler refers to this as a "final exam" for the Hero - they must be "tested once more to see if they have really learned the lessons of the Ordeal." It's in this Final Battle that the protagonist goes through one more "resurrection." As a result, this is where you'll get most of your miraculous near-death escapes, à la James Bond's dashing deliverances. If the Hero survives, they can start looking forward to a sweet ending.

12. Return with the Elixir
In which our Hero has a triumphant homecoming.
Finally, the Hero gets to return home. However, they go back a different person than when they started out: they've grown and matured as a result of the journey they've taken.

But we've got to see them bring home the bacon, right? That's why the protagonist must return with the "Elixir," or the prize won during the journey, whether that's an object or knowledge and insight gained.

Of course, it's possible for a story to end on an Elixir-less note - but then the Hero would be doomed to repeat the entire adventure.

Examples of The Hero's Journey in Action

To better understand this story template beyond the typical sword-and-sorcery genre, let's analyze three examples, from both screenplay and literature, and examine how they implement each of the twelve steps.

Rocky

The 1976 film Rocky is acclaimed as one of the most iconic sports films because of Stallone's performance and the heroic journey his character embarks on.

1. Ordinary World. Rocky Balboa is a mediocre boxer and loan collector - just doing his best to live day-to-day in a poor part of Philadelphia.

2. Call to Adventure. Heavyweight champ Apollo Creed decides to make a big fight interesting by giving a no-name loser a chance to challenge him. That loser: Rocky Balboa.

3. Refusal of the Call. Rocky says, "Thanks, but no thanks," given that he has no trainer and is incredibly out of shape.

4. Meeting the Mentor. In steps former boxer Mickey "Mighty Mick" Goldmill, who sees potential in Rocky and starts training him physically and mentally for the fight.

5. Crossing the First Threshold. Rocky crosses the threshold of no return when he accepts the fight on live TV, and 一 in parallel 一 when he crosses the threshold into his love interest Adrian's house and asks her out on a date.

6. Tests, Allies, Enemies. Rocky continues to try and win Adrian over and maintains a dubious friendship with her brother, Paulie, who provides him with raw meat to train with.

7. Approach to the Inmost Cave. The Inmost Cave in Rocky is Rocky's own mind. He fears that he'll never amount to anything - something that he reveals when he butts heads with his trainer, Mickey, in his apartment.

8. Ordeal. The start of the training montage marks the beginning of Rocky's Ordeal. He pushes through it until he glimpses hope ahead while running up the museum steps.

9. Reward (Seizing the Sword). Rocky's reward is the restoration of his self-belief, as he recognizes he can try to "go the distance" with Apollo Creed and prove he's more than "just another bum from the neighborhood."

10. The Road Back. On New Year's Day, the fight takes place. Rocky capitalizes on Creed's overconfidence to start strong, yet Apollo makes a comeback, resulting in a balanced match.

11. Resurrection. The fight inflicts multiple injuries and pushes both men to the brink of exhaustion, with Rocky being knocked down numerous times. But he consistently rises to his feet, enduring through 15 grueling rounds.

12. Return with the Elixir. Rocky loses the fight - but it doesn't matter. He's won back his confidence and he's got Adrian, who tells him that she loves him.

Moving outside of the ring, let's see how this story structure holds on a completely different planet and with a character in complete isolation.

The Martian

In Andy Weir's self-published bestseller (better known for its big screen adaptation) we follow astronaut Mark Watney as he endures the challenges of surviving on Mars and working out a way to get back home.

1. The Ordinary World. Botanist Mark and other astronauts are on a mission on Mars to study the planet and gather samples. They live harmoniously in a structure known as "the Hab."

2. Call to Adventure. The mission is scrapped due to a violent dust storm. As they rush to launch, Mark is flung out of sight and the team believes him to be dead. He is, however, very much alive - stranded on Mars with no way of communicating with anyone back home.

3. Refusal of the Call. With limited supplies and grim odds of survival, Mark concludes that he will likely perish on the desolate planet.

4. Meeting the Mentor. Thanks to his resourcefulness and scientific knowledge he starts to figure out how to survive until the next Mars mission arrives.

5. Crossing the First Threshold. Mark crosses the mental threshold of even trying to survive 一 he successfully creates a greenhouse to cultivate a potato crop, creating a food supply that will last long enough.

6. Tests, Allies, Enemies. Loneliness and other difficulties test his spirit, pushing him to establish contact with Earth and the people at NASA, who devise a plan to help.

7. Approach to the Inmost Cave. Mark faces starvation once again after an explosion destroys his potato crop.

8. Ordeal. A NASA rocket destined to deliver supplies to Mark disintegrates after liftoff and all hope seems lost.

9. Reward (Seizing the Sword). Mark's efforts to survive are rewarded with a new possibility to leave the planet. His team 一 now aware that he's alive 一 defies orders from NASA and heads back to Mars to rescue their comrade.

10. The Road Back. Executing the new plan is immensely difficult 一 Mark has to travel far to locate the spaceship for his escape, and almost dies along the way.

11. Resurrection. Mark is unable to get close enough to his teammates' ship but finds a way to propel himself in empty space towards them, and gets aboard safely.

12. Return with the Elixir. Now a survival instructor for aspiring astronauts, Mark teaches students that space is indifferent and that survival hinges on solving one problem after another, as well as the importance of other people's help.

Coming back to Earth, let's now examine a heroine's journey through the wilderness of the Pacific Crest Trail and her... humanity.

Wild

The memoir Wild narrates the three-month-long hiking adventure of Cheryl Strayed across the Pacific coast, as she grapples with her turbulent past and rediscovers her inner strength.

1. The Ordinary World. Cheryl shares her strong bond with her mother who was her strength during a tough childhood with an abusive father.

2. Call to Adventure. As her mother succumbs to lung cancer, Cheryl faces the heart-wrenching reality to confront life's challenges on her own.

3. Refusal of the Call. Cheryl spirals down into a destructive path of substance abuse and infidelity, which leads to hit rock bottom with a divorce and unwanted pregnancy.

4. Meeting the Mentor. Her best friend Lisa supports her during her darkest time. One day she notices the Pacific Trail guidebook, which gives her hope to find her way back to her inner strength.

5. Crossing the First Threshold. Shequits her job, sells her belongings, and visits her mother's grave before traveling to Mojave, where the trek begins.

6. Tests, Allies, Enemies. Cheryl is tested by her heavy bag, blisters, rattlesnakes, and exhaustion, but many strangers help her along the trail with a warm meal or hiking tips.

7. Approach to the Inmost Cave. AsCheryl goes through particularly tough and snowy parts of the trail her emotional baggage starts to catch up with her.

8. Ordeal. She inadvertently drops one of her shoes off a cliff, and the incident unearths the helplessness she's been evading since her mother's passing.

9. Reward (Seizing the Sword). Cheryl soldiers on, trekking an impressive 50 miles in duct-taped sandals before finally securing a new pair of shoes. This small victory amplifies her self-confidence.

10. The Road Back. On the last stretch, she battles thirst, sketchy hunters, and a storm, but more importantly, she revisits her most poignant and painful memories.

11. Resurrection. Cheryl forgives herself for damaging her marriage and her sense of worth, owning up to her mistakes. A pivotal moment happens at Crater Lake, where she lets go of her frustration at her mother for passing away.

12. Return with the Elixir. Cheryl reaches the Bridge of the Gods and completes the trail. She has found her inner strength and determination for life's next steps.

There are countless other stories that could align with this template, but it's not always the perfect fit. So, let's look into when authors should consider it or not.

When should writers use The Hero's Journey?

The Hero's Journey is just one way to outline a novel and dissect a plot. For more longstanding theories on the topic, you can go this way to read about the ever-popular Three-Act Structure or here to discover Dan Harmon's Story Circle and three more prevalent structures.

So when is it best to use the Hero's Journey? There are a couple of circumstances which might make this a good choice.

When you need more specific story guidance than simple structures can offer

Simply put, the Hero's Journey structure is far more detailed and closely defined than other story structure theories. If you want a fairly specific framework for your work than a thee-act structure, the Hero's Journey can be a great place to start.

Of course, rules are made to be broken. There's plenty of room to play within the confines of the Hero's Journey, despite it appearing fairly prescriptive at first glance. Do you want to experiment with an abbreviated "Resurrection" stage, as J.K. Rowling did in Harry Potter and the Sorcerer's Stone? Are you more interested in exploring the journey of an anti-hero? It's all possible.

Once you understand the basics of this universal story structure, you can use and bend it in ways that disrupt reader expectations.

Need more help developing your book? Try this template on for size:

FREE RESOURCE

Get our Book Development Template

When your focus is on a single protagonist

No matter how sprawling or epic the world you're writing is, if your story is, at its core, focused on a single character's journey, then this is a good story structure for you. It's kind of in the name! If you're dealing with an entire ensemble, the Hero's Journey may not give you the scope to explore all of your characters' plots and subplot - a broader three-act structure may give you more freedom to weave a greater number story threads. ​​

✍️

Whether you're a reader or writer, we hope our guide has helped you understand this universal story arc. Want to know more about story structure? We explain 6 more in our guide - read on!

# data[].attributes.attachment_link.title
Hero's Journey: Get a Strong Story Structure in 12 Steps

# data[].attributes.attachment_link.description
Learn about the Hero's Journey, the most popular story structure in history, in this master guide. Includes a definitive definition and examples.

# data[].attributes.attachment_link.readable_text
Maureen Murdock is generally regarded as the first to chart an alternative to Joseph Campbell's Hero's Journey narrative paradigm that she believed is more appropriate for women's life journeys. As a student of Campbell's, Murdock, came to believe that the Hero's Journey model did not adequately address the psycho-spiritual journey of women. She developed a model of a heroine's journey based on her work with women in therapy. When she showed it to Campbell in 1983, Campbell reportedly said, "Women don't need to make the journey. In the whole mythological journey, the woman is there. All she has to do is realize that she's the place that people are trying to get to." Perhaps Campbell viewed the hero's journey as a journey toward wholeness, and in a patriarchal society in which men subordinate qualities traditionally associated with the feminine, the search for wholeness would lead to their reclaiming so-called feminine qualities and values. However, it appears that Campbell was either uninterested in women' reclaiming qualities that had been lost to them through enculturation or those that had never been viewed as rightfully theirs, or he was blinded by the fact that the myths that he was examining involved male figures. At any rate, Murdock became convinced that women were involved in their own psycho-spiritual journeys and quests and developed the following model.

Murdock's model, described in The Heroine's Journey: Woman's Quest for Wholeness, is divided into the ten stages:

1. HEROINE SEPARATES FROM THE FEMININE. The "feminine" is often a mother/mentor figure or a societally prescribed feminine/marginalized/outsider role.

2. IDENTIFICATION WITH THE MASCULINE & GATHERING OF ALLIES. The heroine embraces a new way of life. This often involves choosing a path that is different than the heroine's prescribed societal role, gearing up to "fight" an organization/role/group that is limiting the heroine's life options, or entering some masculine/dominant-identity defined sphere.

3. ROAD/TRIALS AND MEETING OGRES & DRAGONS. The heroine encounters trials and meets people who try to dissuade the heroine from pursuing their chosen path, or who try to destroy the heroine.

4. EXPERIENCING THE BOON OF SUCCESS. The heroine overcomes the obstacles in their way. (This is typically where the hero's journey ends.)

5. HEROINE AWAKENS TO FEELINGS OF SPIRITUAL ARIDITY/DEATH. The heroine's new way of life (attempting the masculine/dominant identity) is too limited. Their success in this new way of life is either temporary, illusory, shallow, or requires a betrayal of self over time.

6. INITIATION & DESCENT TO THE GODDESS. The heroine faces a crisis of some sort in which the new way of life is insufficient, and the heroine falls into despair. All of the masculine/dominant-group strategies have failed them.

7. HEROINE URGENTLY YEARNS TO RECONNECT WITH THE FEMININE. The heroine wants to, but is unable to return to their initial limited state/position.

8. HEROINE HEALS THE MOTHER/DAUGHTER SPLIT. The heroine reclaims some of their initial values, skills, or attributes (or those of others like them) but now views these traits from a new perspective.

9. HEROINE HEALS THE WOUNDED MASCULINE WITHIN. The heroine makes peace with the "masculine" approach to the world as it applies to them.

10. HEROINE INTEGRATES THE MASCULINE & FEMININE. In order to face the world/future with a new understanding of themselves and the world/life, the heroine integrates the "masculine" and "feminine" qualities/perspectives. This permits the heroine to see through binaries and to interact with a complex world that includes the heroine but is also larger than their personal lifetime or their geographical/cultural milieu.

Below is the journey laid out in chart form.

# data[].attributes.attachment_link.description
Maureen Murdock is generally regarded as the first to chart an alternative to Joseph Campbell's Hero's Journey narrative paradigm that she believed is more appropriate for women's life journeys. As a student of Campbell's, Murdock, came to believe that the Hero's Journey model did not adequately address the psycho-spiritual journey of women.

# data[].attributes.attachment_link.keywords[]
the writer's journey - 25th anniversary edition: mythic structure for writers

# data[].attributes.attachment_link.title
The Writer's Journey - 25th Anniversary Edition: Mythic Structure for Writers

# data[].attributes.attachment_link.description
The Writer's Journey - 25th Anniversary Edition: Mythic Structure for Writers [Vogler, Christopher] on Amazon.com. *FREE* shipping on qualifying offers. The Writer's Journey - 25th Anniversary Edition: Mythic Structure for Writers

# data[].attributes.attachment_link.description
The Hero With A Thousand Faces [Campbell, Joseph.] on Amazon.com. *FREE* shipping on qualifying offers. The Hero With A Thousand Faces

# data[].attributes.attachment_link.description
From information on writing for film & television to other screenwriting topics, Script Mag has been the #1 source for screenwriters since 1989.

# data[].attributes.attachment_link.title
Screenwriting Magazine | Business & Craft of Screenwriting in Hollywood

# data[].attributes.attachment_link.description
Screenwriting Magazine brings you everything you need to know about the business and craft of screenwriting in Hollywood.

# data[].attributes.attachment_link.readable_text
SCREENPLAY DEFINITION

What is a script?

A movie script or screenplay is the blueprint for any feature film, TV show or video game. Scripts includes characters actions, dialogue and movement as well as stage direction. Movie script format has a unique set of industry standard rules, which are slightly different than the script writing format used in a shooting script. A shooting script is a more precisely formatted version of the script, used in Pre-Production and Production to turn the screenplay into a film. This version can include elements like camera directions, music cues or transitions.

Script Writing Format:

Screenplays are typically 90-110 pages in length

Format helps determine run time, schedule & budget

Why screenplay format?

The importance of movie script format

It's not just stylistic and the "rules" are not arbitrary. Industry standard script format has many functions and benefits through the filmmaking process. A draft in proper screenwriting format denotes professionalism, otherwise it appears amateurish and would likely get tossed before the end of page 1.

Proper film script format also plays a large part in the script breakdown process, one of the most important steps in turning a screenplay into an actual film. Film budget planning and crafting a shooting schedule are both informed by screenwriting format.

In this screenplay template, you can see all the major elements and their positioning on the page.

Screenplay Template & Sample Script Format

Rather than replicate these movie script format rules manually, most writers choose a dedicated script writing software like StudioBinder. This removes all the guesswork and lets the writer focus on what's most important - the story you're trying to tell.

StudioBinder's Free Screenwriting Software * Write Your Script Now

Proper screenplay format will make this process immensely easier. Using these elements correctly is essential to proper script writing format. This is true for everything from short film scripts to million-dollar blockbusters.

For more research to see how professional screenwriters handle screenwriting format, you can read and download over 250+ screenplays in StudioBinder's script library. Now, let's get to specific elements found in screenwriting format.

Screenplay Formatting Sluglines

1. Sluglines

Sluglines (also known as scene headings) tell the reader where the action is happening. It's a location, followed by a time, and looks something like this.

In this screenplay example, you'll see that Scene 1 starts in Mort's Kitchen but what does INT mean in a script? When it comes to sluglines, you first have to establish whether the scene takes place inside (INT.) or outside (EXT.)

Then add the location of the scene, followed by the time of day (Day, Night, Morning, Evening, etc.).

When a scene directly continues from the previous scene, mark it "continuous" in the time slot. If it's a couple minutes later, feel free to use "moments later" in your slugline.

Sometimes you'll have a scene that takes place in both an interior and an exterior. Most of the time, this will be in a moving vehicle of some kind. In those cases, start your slugline with "INT./EXT."

If you're using screenwriting software, it will format it correctly for you, but if you're doing it yourself, be sure to put the entire slugline in ALL CAPS.

Click below to read the full screenplay for The Royal Tenenbaums where you can see how sluglines work in a script.

Sluglines are important because they are how your assistant directors and line producers will plan out how things get shot.

The difference between one scene being night and the next being day is important to continuity for hair, makeup, and wardrobe departments.

That's why this is one of the most essential elements in movie script format - it tells you when and where a scene is taking place in the grand scheme of the script. Knowing the time of day and where the scene takes place affects nearly every department in a major way.

Next up, we'll talk about how to write actions in a script.

FORMATTING A SCREENPLAY & Action

2. Action lines

Your action lines go right beneath the slugline. Proper screenplay format dictates that they always be written in the present tense and as visually descriptive as possible.

Here's a script format example of action lines in a screenplay. Note that the actions are written as "just the facts" in a clear and readable way.

Specifically, action lines tell the reader what they will see and hear in the finished film other than dialogue. And don't take the "action" part too literally - this element covers everything, including fight scenes. In this video, watch as we demonstrate how to write a fight scene like in 5 minutes.

Screenplay Example * How to Write a Fight Scene * Subscribe on YouTube

When it comes to screenplay format, clarity is king - remember, a script is a document to be turned into a movie, not really read on its own.

Department heads will take things literally and, oftentimes, without question. So if you write something ridiculous in the description, they'll take it upon themselves to figure out how to make it real - that's their job.

Make sure you're deliberate and precise with your action lines. Find the balance between letting a director direct a scene, and giving the Propmaster enough information to get exactly what you want.

This is especially true if you're trying something as chaotic as writing a fight scene or writing a car chase, where every detail has to be planned out. The more complicated the production, the more important it is for you to follow proper script format. This type of work is why screenwriting format was developed the way it was.

There are two hard and fast rules for capitalization in screenplay format. Always capitalize a character's name the first time they appear in the action/description, and always capitalize screenplay transitions.

Beyond that, you can also capitalize important props, sound design, and camera movements.

Anything you want to use the movie script format to call out things important enough to merit the attention of those doing the script breakdown.

Just don't go overboard with it. There's nothing more annoying and CONFUSING then when someone RANDOMLY capitalizes EVERYTHING ON THE page.

formatting script elements

3. Character Cues

After the action/description, when a character speaks, we start with their name. You center and capitalize a character ID and put dialogue underneath. Your character ID need not be your entire character's name. It could be a first name, a last name, or an alias.

Whatever best identifies the character as that character. And stay consistent - if a character is identified as "McCloud," he stays McCloud, even if we eventually learn that his first name is "Jack."

The only exception to this rule is if your character goes in disguise, especially if they fake a voice whilst disguised.

For example, this person would be "Bruce Wayne."

Screenwriting Format * Dialogue from Bruce Wayne

While this person would be "Batman."

Screenwriting Format * Dialogue from Batman

Even though they're technically the same person in a different costume.

If you find that to be too confusing, another method is to use a slash. "Bruce Wayne" becomes "Bruce Wayne/Batman" whenever he's Batman, and just regular Bruce when he's not.

formatting script elements

4. Dialogue

Dialogue is straight-forward. At least in terms of formatting. Writing good dialogue is a topic all its own.

Here's how dialogue looks in actual screenplay format. The margins on either side of the dialogue keep it restricted to the middle of the page. This allows for extra white space on the page for notes.

Notice the sample screenplay below from Inglourious Basterds to see how to format dialogue in a script. Follow the image link to read the entire opening sequence, including the moments that never made it into the final film.

When writing dialogue, the idea is to let the characters speak for themselves. Always front and center, of course, is the reality that you, the writer, are shaping those characters.

Therefore, by using software that takes care of screenplay formatting automatically, you can give your attention to the characters and their lines.

formatting a screenplay With Extensions

5. Extensions

Extensions go next to a character name in parentheses and tell us how the dialogue is heard by the audience. Most screenwriting software will provide the standard screenplay format extensions once you start typing the parenthetical.

CONTINUED (CONT'D)

You'll also occasionally used (CONT'D) next to the character's name to indicate the continuation of their lines after they're "interrupted" by some action/description. Consider this moment from The Royal Tenenbaums, one of Wes Anderson's best movies. In this scene, Royal's dialogue is broken up by Etheline's action so we apply a (CONT'D) extension next to Royal's name.

VOICE OVER (V.O.)

Voice over is when a character is speaking over the action, but isn't heard by the other characters in the scene. Usually narration, but can also be a character's internal dialogue. Learn more about how to write voice over in a montage using proper script writing format.

OFF SCREEN (O.S.)

When a character is speaking and is heard by other characters, but can't be seen by the audience or other characters. Just write (O.S.) next to the character's name. "Off camera" written as (O.C.) is also acceptable.

Examples of extensions include:

Someone making an announcement over a loud speaker

A character making a dramatic surprise entrance

A disembodied ghostly voice

INTO DEVICES

Fairly self-explanatory - characters speaking into their phones or radios, rather than to each other in person.

This is most useful when characters are speaking to someone on the phone and someone right next to them. Or when using a local news station to lay out the story's exposition. Learn more with another script format example.

PRE LAP

Pre lap is dialogue from the next scene that starts before the current scene has ended. Simply write "pre lap" in the parentheses next to the character's name.

formatting a script for Performance

6. Parentheticals

Parentheticals can seem like extensions at first glance, but there are a few key distinctions. Extensions are technical directions - they explain where the person saying the dialogue is in the scene.

Parentheticals are directions to the actor - they detail how the line should be performed.

Here's an example of a parenthetical in proper screenplay format. This is the absolutely crushing scene in Marriage Story. Notice how writer/director Noah Baumbach uses parentheticals to map out the internal conflict for his characters. Make sure you read the entire scene to see how Baumbach uses the combination of dialogue and parentheticals to craft a multi-layered and emotionally dynamic scene.

As far as script format goes, parentheticals are placed directly beneath the character ID in (parentheses). Some examples include:

Parentheticals can also include actions for the actors to perform while speaking. This is especially common when writing for television, where page space is at a premium.

SHRUGGING

STRETCHING

DRAWING HIS WEAPON

FALLING TO HER KNEES

If you're using screenwriting software, it's important to change elements when writing parentheticals. You can't just write them into parentheses and hope it reads correctly!

FORMATTING A SCREENPLAY

7. Screenplay transitions

Screenplay transitions indicate how an editor should switch between two scenes - they're on the far right of the page (right justified) and placed between two scenes. Proper screenplay formatting usually indicates these as being capitalized.

So, rather than mark everything with a "CUT TO:" only use screenplay transitions ONLY when you want it to stand out in some way. For example, in this moment from Ocean's Eleven, writer Ted Griffin uses this transition to emphasize the switch of location to Las Vegas.

Pay attention to how the dialogue and description build momentum going into the next scene, which is punctuated by the "CUT TO:" transition, and concluded with a vibrant description of Sin City.

Knowing how to use screenplay transitions is a major part in knowing how to format a screenplay. These days, however, most editors know that no transition indicates a standard cut.

The "CUT TO:" is also widely used when formatting multi-cam television scripts as it marks the end of a scene. Because multi-cam scripts are formatted with page breaks for both scenes and acts, it's important to mark the ending of the scene versus when it's an act break, which is also a commercial break.

Much like with parentheticals, your screenwriting software will likely have the other standard screenplay transitions preloaded for you. These include, but are not limited to:

SMASH TO:

This is a really abrupt cut, like a "CUT TO:" times ten. The kind of cut that comes in mid-sentence. Smash cuts are used here to as a form of montage (which we'll get into later).

DISSOLVE TO:

When one scene "dissolves" into another scene, almost transforming into that scene. This is primarily used to indicate that time has passed.

MATCH CUT TO:

A tricky form of edit - where you cut the film so the last shot in the previous scene (say, a hand reaching for a knife) matches the first shot in the new scene (a hand reaching for an apple). Here are some example of how and when match cuts are used in film to give you an idea of how they might be written.

INTERCUT:

Intercutting (or cross-cutting) is where you bounce back and forth between two different scenes. It's usually used for phone calls, but not always.

formatting a screenplay With Subheaders

8. Subheaders

Subheaders are like mini-sluglines that indicate another place or time within a scene. They're even formatted like sluglines - left-justified and capitalized. Take a look at this example to get an idea of what we mean:

Script Example * Ratatouille uses subheaders

If you're using screenwriting software, you'll probably have to format it as a "scene header" - that's perfectly fine!

If you're shooting within a large house, a subheader might be used to indicate a change in rooms. From the creepy FOYER to the haunted LIBRARY, for example. Or to indicate a detail of a certain location.

Or you might want to use a subheader to indicate a jump in time. If a cop is on a long stakeout and you want to show that time has passed, you'd throw it under the subheader LATER.

This is one of the gray areas in script format where some (mostly those in production) say it should be slugged as a new scene (since it's a different time and may require a different setup).

Writers, on the other hand, tend to prefer to save the line so they don't push a page. So instead of saying INT. CAR - LATER, which requires more space, they'd just say LATER and continue the scene since it never changed locations. Either way is proper script formatting, but using subheaders is more casual.

Script Format For Camera

9. Shots

Formatted like a caps-locked action line, shots direct our attention to a specific visual or way of seeing something. This can include various camera shots, camera angles or camera movements.

In modern times, they're typically used by writer-directors, but also when the writer feels that a visual is key to the entire scene and wants to be sure the director knows it.

Here's a screenplay example from There Will Be Blood, where P.T. Anderson (who will also eventually direct the film) writes multiple shots and angles throughout. Again, unless you're directing the film, it's best to leave these decisions out of your script.

For this script example, we've included the entire opening sequence so you can see for yourself how Anderson tells us everything we need to know about this character without a word of dialogue.

Most screenwriters today only specify shots when it's absolutely critical to the interpretation of the scene.

By indicating various shot types in a script, keep in mind that you as a writer are also hammering home to the reader that this is a movie and cameras will be recording it. On a certain level, this can take the reader out of the story, so you might want to use the technique sparingly.

Montage Script formatting

10. Montage

To start a montage, training or otherwise, write "Begin Montage" as if it were a subheader. Then list out your scenes as you normally would.

Once the montage is over and Rocky finally ran up all those steps, close off your montage with "End Montage," again written as if it were a subheader.

Click below to read a montage example:

There is some leeway when writing a montage. For example, writers often prefer to simply list individual lines, or lines set off by hyphens, within the action to indicate different montage locations and sub-scenes.

Just know that if you want to format your script for production, you'll need a slugline for each individual shot or scene within a montage (as in the montage example above). That's because each location means a different setup and a whole separate set of production concerns.

formatting a screenplay For Music

11. Lyrics

Lyrics are tricky when it comes to how to format a screenplay, particularly when they have to be matched to action on the screen. No screenwriting software has a "lyrics" element.

An important rule of thumb when learning how to write a screenplay is that, when done properly, one page of film script equals roughly one minute of screen time. Emphasis on roughly.

Since lyrics take up a lot of page space, but don't take as much time to sing, that can throw the balance off.

You have two options for solving this problem.

SPACE IT OUT

You can spread out the lyrics on the page with shots and action directions. This will let you design a little of the choreography and help establish the rhythm and pacing of your big musical number.

DESCRIBE THE SEQUENCE

Rather than list out each individual lyric, describe the general feel of the song and the sequence that accompanies it. This is how writer/director Damien Chazelle wrote the musical sequences in his script for La La Land.

Script Format Example for Lyrics

While leaving the actual lyrics out of the script, it saves space but just remember to account for the scheduling later. The "musical number" described here might take a lot of time to shoot, more than this simple mention suggests.

script format & Exposition

12. Chyrons

Chyrons are the text that appears over the screen - usually used to indicate the time and place of the scene to the audience. You'll see this sort of thing a lot in military or spy movies.

Start an action line with the word "CHYRON" (yes, in all caps) followed by the text of the chyron. Some writers like to use "TITLE" instead of "CHYRON." It's a personal choice. If you were using Title, it would look like this:

Screenplay Example * Chyrons in Script Writing Format

Other than the scene heading, this is another opportunity to describe the setting of the story or any additional information or context for the reader.

Using "Chyron" would look exactly the same, only swapping the word "Chyron" for "Title." Either one is also considered proper script format.

script format in TV

13. End of Act

This is a special kind of formatting that's only important if you're writing for network television.

Whenever you reach the end of an act (or teaser) where the show would cut to commercial break, note it by putting "End of Act One," (or Two or Three) centered and underlined, into your script.

Then you skip a page and put "Act One" (or Act Two or Three) at the very top - again, centered and underlined.

If you're using screenwriting software, it's very important that you open your template as a "one hour" or "half hour" drama. If you open it as a feature film script, the screenwriting software may not include that element.

Also, keep in mind that a single-cam sitcom and a multi-cam sitcom have a very different script format.

The single-cam is, essentially, a movie script with act breaks. While the multi-cam has double-spaced dialogued, capitalized action lines, and the new acts begin halfway down the page, and each new scene starts on a new page (as we mentioned).

Make sure you know which one you're writing and then write to that screenplay format. These two types of comedies have quite different tones, aesthetics, and productions. It's critical that the reader, and even more so the production crew, know which one you've written.

# data[].attributes.attachment_link.description
Screenplay format can seem daunting, but once you understand that it's all there for a reason, you'll have it mastered in no time.

# data[].attributes.body
YouTube Channel

# data[].attributes.body
YouTube Channel

# data[].attributes.attachment_link.keywords[]
"video essays" movies cinematography videography commentary review tutorial "tyler mowery" m0w3ry "united states" hollywood directors editors production prod...

# data[].attributes.attachment_link.description
Struggling to actually FINISH your screenplays? Watch this video training here: https://www.practicalscreenwriting.com/pl/146051

# data[].attributes.attachment_link.title
ScreenCraft - Screenwriting Competitions and Talent Discovery

# data[].attributes.attachment_link.description
ScreenCraft is a screenwriting consultancy and competition platform dedicated to helping screenwriters and filmmakers succeed.

# data[].attributes.attachment_link.readable_text
My name is David Titcher. After attending UCLA Film School, where I was part of the most successful screenwriting class in the history of the film business, I've been a professional screenwriter for thirty years.

I've written film screenplays for "Around the World in 80 Days," with Jackie Chan and Arnold Schwarzenegger, and for "Morgan Stewart's Coming Home," with Jon Cryer and Lynn Redgrave. I've also written for every possible television format and genre.

I created the Librarian franchise with Noah Wyle and Bob Newhart that's led to three TV movies and which got me nominated for a Writers Guild of America Award and a Saturn Award and has since been turned into a TV Series, "The Librarians" TNT's highest rated TV Series premiere in 2014.

I wrote the miniseries "The Curse of King Tut's Tomb" featuring Malcolm McDowell and Hallmark's last Valentine Day's movie, "Be My Valentine" which starred Billy Baldwin. I wrote for sitcoms like "Who's The Boss," "Punky Brewster," and "The Love Boat," as well as for various Disney animated series. I've also sold lots of film scripts, TV pilots, and pitches that haven't been made yet but hopefully soon will be.

# data[].attributes.attachment_link.title
Screenwriting 101: Writing for Film & Television

# data[].attributes.attachment_link.description
My name is David Titcher. After attending UCLA Film School, where I was part of the most successful screenwriting class in the history of the film business, I've been a professional screenwriter for thirty years. I've written film screenplays for "Around the World in 80 Days," with Jackie Chan and Arnold Schwarzenegger, and for "Morgan Stewart's Coming Home," with Jon Cryer and Lynn Redgrave.

# data[].attributes.attachment_link.readable_text
What was the last film you saw? What television shows do you follow? What is your favorite film or television series? None of the things that we watch on the screen would even be possible without screenwriters. These people are responsible for researching the story they're telling and portraying it in a way that the desired audience will understand clearly and enjoy. Have you ever wanted to be a part of the creation of the stories that everyone loves? Do you have a talent for writing and storytelling? Look through the list below to find a variety of courses that can help you get your start and expand your screenwriting abilities.

Oscar winner and TV hitmaker Aaron Sorkin teaches you screenwriting. Is there any better way to learn how to write good scripts? No, Aaron's classes are perfect for you. These classes are full of dynamics and fun. You will learn about storytelling rules, dialogues, and character development. The worst thing you can do is to tell an audience something they already know. Because of that, learning how to write unforgettable screenplays is important. Take this opportunity and become an expert in screenwriting.

Study.com - Online Screenwriting Courses and Classes Overview This screenwriting program is the perfect place to start your new and exciting career in screenwriting. Learn the fundamentals of screenwriting as you dig deeper into the craft, exploring the different genres and methods of formatting. Benefit from the personal experiences of qualified professionals as you find out what is involved in the art of screenwriting.

Lynda.com - Screenwriting Training and Tutorials It's often useful to learn about the experiences of others while pursuing a career of your own. That's why these training resources and tutorials partially consist of professionals' stories of success (and failure), as well as instruction on the proper methods of writing, editing, and formatting.

Future Learn - Online Course: An Introduction to Screenwriting What is the process of writing a story? This is something that needs to be understood in order to thrive in the screenwriting business, and can be taught in this introductory screenwriting course. This course is short, but packed with useful information on the basics of screenwriting and how to get started in your career. The beginning of anything can be daunting, but it's important to remember that everything worth doing has to start somewhere - just look at the biggest films ever to hit the big screen!

Class Central - Free Online Courses in Screenwriting These free screenwriting courses allow for flexibility as you work at your own pace around your own schedule. Choose the course that's right for your experience level, whether that's basic, intermediate, or soon-to-be expert. Learn the steps of screenwriting and how to turn your idea into something more.

Universal Class - Online Class: Screenwriting 101 This course provides everything you need to know to get started on your path to being a professional screenwriter. Find out the essential aspects of screenwriting and what you need to succeed, from skills in brainstorming and creating storyboards to pitching your idea in a clear and effective format.

Find A Masters - Distance Learning Masters Degrees (Screenwriting) Getting a proper education in what is involved in screenwriting is the best way to launch yourself into the professional world of screenwriting and story development. Learn how the film industry really works and what you need to do to find your perfect fit within it. Harness your writing abilities and further your skills to push yourself forward towards success.

National University - Master of Fine Arts in Professional Screenwriting Master your creative skills with the help of this Master of Fine Arts program for professional screenwriting. Learn to develop well-structured pieces with ideas that will shine on the big screen. Upon completion of this program, you'll know how to push towards the direction you desire to go in and how to use your learned skills to succeed in the screenwriting business.

Indie Film Hustle - Screenwriting Courses Have you ever wondered what it would be like to learn from one of the "greats"? These screenwriting courses are offered by extremely successful professionals, such as those responsible for films like A Few Good Men, Glengarry Glen Ross, and August Rush. Find out the secrets behind their success and how to best go about writing and pitching your ideas for a potentially award-winning story.

Online Studies - Best Online Courses in Screenwriting 2018 When starting out a new career, you want to know that you're getting the best education possible. Online Studies wants to help you move forward in your education and career and make sure that you know everything you need to in order to succeed. These online screenwriting courses can help you to learn the difference between television and film writing styles and the necessary skills to write something that will fascinate those who read (or hopefully watch) it.

Lights Film School - Free: Live Screenwriting Courses Working towards success in the film industry can be a long and trying process. Lights Film School's goal is to help students to get a good start in this process. Learn how to write for differently sized and structured projects. Find out what aspects of a story keep it moving forward. Discover how the atmosphere within the story contributes to its overall successfulness.

Screenwriters University Do you want to launch your career in screenwriting but have no idea where to get started? Look no further than Screenwriters University, where you'll learn to write for different platforms (stage, screen, etc.) and the different parts necessary to build a compelling story. Screenwriters University can help you to get off on the right foot and find your true calling within the entertainment industry.

Industrial Scripts - Ultimate Online Screenwriting Course We often don't realize the finer details of our chosen career path until we get into the thick of it. Ultimate Online Screenwriting Course aims to fill you in on these details before you enter the workplace, bringing insight and understanding to your screenwriting career. This course takes you through the basics of what you need to know through to the finer points that are sure to point you towards success in your screenwriting efforts.

Open Suny - ENGL 200-BL1 - Screenwriting Find out everything you need to know to get started in screenwriting with this beginner's screenwriting course. Learn how to properly structure your stories for premium readability and help your audience see your writing come to life before them.

Free Educator - Free Online Course on Screenwriting With this free online course in screenwriting, learn the fundamental principles behind a successfully-written screenplay. An Introduction to Screenwriting is meant to help beginners in screenwriting to get off to the best start possible as they pursue their dream career. Remember, the screenplay itself is the springboard from which the entire production is launched, so writing in an effective way is key to the success of the entire project.

BlueCat Screenplay Competition - Online Screenwriting Courses The screenwriting courses offered by BlueCat founder and instructor Gordy Hoffman are geared towards beginners in screenwriting who are looking to expand their understanding of the importance of effective writing. Courses are offered for both writing and rewriting, and will provide everything you need to know to build a compelling story.

European Scripts Online - Scriptwriting Courses Online These convenient and thorough screenwriting courses are meant to give you the best start possible in your screenwriting career. Do you want to produce a real gem of a story that will impress those who come across it? Do so with the help of these courses, taught by professionals in the field who can help you to understand the basics of the screenwriting process and show you how to take your next steps.

Best Custom Writing If you're looking for help in your writing process, look no further than Best Custom Writing, here to help when you're feeling overwhelmed. Your writing will be improved where possible, checked for plagiarism, and given a grammar and spelling check to ensure top quality.

City Varsity Online - Screenwriting 101: Introduction to Screenwriting Online Short Course This course has been designed by leading experts in the writing field and in ensured to be relevant to your study goals. Fine-tune your screenwriting skills with the help of easily accessible resources and tutors from wherever is most convenient for you. With this Screenwriting 101 course, you're sure to learn the information necessary to push yourself forward into the world of screenwriting.

MOOC List - Screenwriting MOOCs and Free Online Courses These MOOC List screenwriting courses will help you to master the fundamentals of screenwriting and thoroughly understand the principles involved in this field. Give your writing a professional feel with the help of these course, which are sure to boost your skills and help you get to the next steps in your pursuit of a screenwriting career.

Writers Store - Best Selection of Online Screenwriting Courses and Classes Have you wondered about the secrets of screenwriting that set apart successful screenplays from those that are unsuccessful? These Writers Store screenwriting courses can help you to unlock and use these secrets, turning your amateur screenplays into works of art. Learn everything from the basics of screenwriting to the best ways to promote your screenplay.

# data[].attributes.attachment_link.title
20 Best Online Screenwriting Courses - Online Courses Review

# data[].attributes.attachment_link.description
What was the last film you saw? What television shows do you follow? What is your favorite film or television series? None of the things that we watch on the screen would even be possible without screenwriters. These people are responsible for researching the story they're telling and portraying it in a way that the desired audience will understand clearly and enjoy.

# data[].attributes.attachment_link.readable_text
hen you're starting out as a screenwriter, it can be hard to know how to forge a path. There are lots of "experts" out there, but you want to get your information from the best screenwriting websites. That's why we've compiled a list of the best twelve screenwriting websites so we can help you on your way to success.

Best Screenwriting Websites

The Go Into The Story blog, run by Scott Myers, was named the "Best of the Best" screenwriting website by Writer's Digest.

It covers the business, art, and day-to-day struggles of being a writer.

Screenplay sites don't get better than Go Into the Story.

Certainly one of the best screenwriting blogs.

Scott's access to A-list writers means you're getting information from the top that trickles down. The best part of this site is that it all comes from a genuine place. Scott is a college professor, works with students daily, and cares about your success.

When you move to Hollywood, you may already be a good storyteller, but you'll have no idea how to navigate "the business." Scott has an entire section dedicated to navigating the business.

"The Business of Screenwriting is a weekly series of GITS posts based upon my experiences as a complete Hollywood outsider who sold a spec script for a lot of money, parlayed that into a screenwriting career during which time I've made some good choices, some okay decisions, and some really stupid ones. Hopefully, you'll be the wiser for what you learn here."

- Scott Myers

Screenwriting Sites

It seems like everyone has advice on Hollywood, but who can you trust? John August is one of Hollywood's best screenwriters. He was nominated for an Oscar for Big Fish, and is constantly working on large studio films like Aladdin, Charlie and the Chocolate Factory, and Charlie's Angels.

The John August blog has become a place people go to for screenwriting news and advice from someone doing it every day.

Let John teach you how to become a screenwriter

Let John and Craig teach you how to become a screenwriter

Free SCREENWRITING WEBSITES

Inspiration is half the battle when writing, but what if you hit writer's block and just can't move forward? StudioBinder's blog is centered around helping emerging and experienced filmmakers achieve their dreams, but StudioBinder's platform is where you can shine.

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

StudioBinder can not only help inspire your screenplay, but it can also help out with production. After you're done writing your masterpiece, you can upload the script into StudioBinder. You can check the formatting of your script, and even help the production out by teaming up with the Assistant Director to tag each of your story elements.

When you're done tagging, or ready to write your next project, the blog is full of helpful tools. There are tips on creating the best inciting incidents, Dan Harmon's Story Circle, and even tips on how to write movie dialogue. It's all in one place.

Best Script Writing Websites

If you're going to write scripts for a profession, you better get used to reading them. But professional scripts can be hard to find.

The IMSDB is a vast database to find old and new work for you to peruse. The website has new, old, and classic scripts for you to dissect and study.

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

Life is a never-ending journey of learning. And this website's giant inventory of scripts is a treasure trove for new and experienced writers.

You can learn about character development and how to create solid story structure just by reading. There are new scripts added every day, so chances are, what you're looking for is inside.

The best screenwriting website for real advice from a reader

The top screenwriting website for coverage services

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

The Black List reappropriated the term from the 1950s McCarthy era and has since become a place where industry execs vote on their favorite projects of the year.

Since then it's expanded to an online database where users can submit their scripts for coverage and be ranked amongst competitors.

There's a lot of contests and places to submit your scripts out there. This one gives you access to managers, agents, and producers in Hollywood, even if there is a fee.

Best Screenplay Writing Websites

One thing that's nice about the internet is that it's led to the democratization of the arts. Anyone with wifi can look up information on how to do anything.

Reddit Screenwriting is a great place to ask questions, get answers, or find scripts you're looking to read. Make friends and join the community.

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

Reddit is a great spot to network. There's always new posts to read, informative AMAs, and lots of resources.

That's what makes this the best screenwriting website

Reddit screenwriting is different every day, so it varies. Sometimes it's just a place to discuss the problems you have in Act II and other times it's where you can find that rare bit of advice that cinches up your climax.

There's always helpful links to articles. It's like having a personal curator for the internet. One of the top posts today is about "Five Famous Screenplays Hollywood Rejected."

Best Screenwriting Websites

Founded by late screenwriter, Blake Snyder, Save The Cat has become synonymous with a breakdown of film and television scripts.

The website offers breakdowns of the latest releases and constantly updates with advice from writers, executives, and even the occasional podcast.

Best Screenwriting Websites * Save The Cat

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

The real immediate value here are the beat sheets. If you're starting to write in a particular genre it's imperative that you spend time studying the some of the selections that genre has to offer. And some of the worst.

Save The Cat has beat sheets for you to see how plot is mapped by A-list writers and a template to help you break down your own ideas into cohesive stories.

The website uses these breakdowns to help you think about your own ideas. Use them as a jumping-off point and a way to subvert expectations and keep things fresh.

12 BEST SCREENWRITING WEBSITES TO FAST TRACK YOUR CAREER

The Bitter Script Reader's byline says it all, "The advice and rantings of a Hollywood script reader tired of seeing screenwriters make the same mistakes, saving the world from bad writing one screenplay at a time. Learn what it takes to get your script past one of these mythical Gatekeepers."

Want to sell your script? Chances are you'll have to get it past this guy.

The Bitter Script Reader is the gatekeeper of this screenwriter website

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

For those looking to break into the business as a screenwriter, your script first has to get passed up the ladder. At some point, a "reader" is going to get the script to determine the quality. It can't just be good. It HAS TO be great. But most of the stuff these readers get sent are terrible.

These readers can be...bitter...What makes this an important place to visit is his expertise, film and television breakdowns, and his spectacular book on Michael Bay. He's not a genre snob. He doesn't lean in any particular direction, he just wants there to be excellent writing.

Bitter Script recently broke down 13 Reasons Why and followed one character's arc throughout the show, but based on the five stages of grief. It's a great read as a fan of the show but also for a writer to learn and understand how those arcs get spread over an entire season and how they play out through the character archetypes. This is the place to go for inspiration and dissection.

13 Reasons Why you should read the best screenwriting websites

One of the essential screenwriting sites

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

It seems self-explanatory, but being in the Guild is important. Writers are constantly getting the short end of the stick and it's great to have an institution have your back.

The WGA is a great place to meet peers, pick up tips, and grow within your profession. They also have pages and events dedicated to new scribes and helping them learn the craft.

The site has many useful pages, but if you're looking to get paid, the Minimum Basics Agreement is the spot for you.

The WGA West even has their own magazine, Written By, that highlights achievements among guild members.

The best screenwriting website for video breakdowns

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

Not only does he have a top quality YouTube video channel, Michael also interviews the creatives behind famous movies like Independence Day ( Lindsay Ellis). He dives deeper into the storytelling of individual movies, and explains many narrative details behind them.

Be the part of the screenwriting community on Twitter!

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

Aside from the plethora of noise on Twitter, there's a lot of people using #screenwriting to be heard. Writing is often a solo endeavor.

Even if you have a partner, it can feel like you're both on an island, especially if you're trying to break in. Twitter can help you join a community.

WHO TO FOLLOW:

There are dozens on A-listers on Twitter. A few with frequent writing advice are:

There are thousands more as well!

Screenwriting Sites

Yeah, I'm going to guess you've heard of this one. But Netflix is for more than just watching movies. It should be a go-to spot for research. See what's being made and why. Stay current.

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

According to Variety, Netflix is thinking of purchasing and making 700 projects in the next two years. That rivals most studios. If you want to write scripts that don't sell, go for it.

But digital streaming services like Netflix are going to be buying more and more content as time goes by. It's important to keep up with what they're releasing.

Netflix offers a wide array of genres and stories. There are hour-long dramas. Half hour comedies. And stuff that lies in the weird tonal abyss of the in-between.

No matter what, there are new releases every week. If you hate it, you can turn it off. But it's important to try it out.

I'm Thinking of Ending Things * Charlie Kaufman on Netflix

WHY IT MADE THE BEST SCREENWRITING WEBSITES:

The breadth of information here is impressive. Topics range from basic to specialty screenplay formatting, to larger concepts like The Hero's Journey, to day-to-day issues like pay scales.

The most valuable feature of this blog is the open forum in which anyone can ask questions...and then actually get answers. It is this fostering of community that puts this script writing site on the list.

International Screenwriting Assocation

Up Next

Which screenwriting software is best?

Now that you've got the social networking and websites under your belt, it's time to get writing. But maybe you're still typing your scripts in Word? We recently broke down the seven best screenwriting software tools to help you get ahed.

# data[].attributes.attachment_link.description
hen you're starting out as a screenwriter, it can be hard to know how to forge a path. There are lots of "experts" out there, but you want to get your information from the best screenwriting websites. That's why we've compiled a list of the best twelve screenwriting websites so we can help you on your way to success.

# data[].attributes.body
Over 70,000 Members

# data[].attributes.attachment_link.description
Screenwriting has 73,819 members. We believe in good fun conversations about the craft of screenwriting. New members, PLEASE READ THIS before posting questions. The seasoned members of this group...

# data[].attributes.attachment_link.readable_text
The WGAW Registry also accepts stageplays, novels, books, short stories, poems, commercials, lyrics, drawings, music and various media work such as Web series, code, and other digital content.

# data[].attributes.attachment_link.title
Writers Guild of America West - Script Registration - Home

# data[].attributes.attachment_link.description
The WGAW Registry also accepts stageplays, novels, books, short stories, poems, commercials, lyrics, drawings, music and various media work such as Web series, code, and other digital content.

# data[].attributes.attachment_link.readable_text
Writing a screenplay is an extremely rewarding process, but it's not an easy task. It takes a serious amount of time and dedication to develop a good screenplay, and if your goal is to sell it, completing a first draft is only the beginning. You'll have to refine the story, often with several more drafts, get an agent, submit your script to studios and producers, and have someone like it enough to risk a substantial amount of money to buy it. Unless, of course, you're planning to finance and produce it yourself.

Each year, the major Hollywood studios purchase a combined 100-200 original screenplays. When you consider that somewhere between 25,000 and 50,000 new screenplays are registered with the WGA every year, it's easy to see how difficult the task actually is. But, don't be discouraged. Most people don't invest enough time learning how to develop a good screenplay; they just try and write one. By dedicating yourself to the craft, your screenplays will start out well ahead of the pack. There are a few steps to follow when developing and writing your screenplay. Remember, though, there are no real rules, so they can happen in any order, or not at all. It's up to the story, and ultimately you.

Related Post Storytelling 101: The 6 Elements of Every Complete Narrative

Step 1: Craft a Logline

A logline is a brief summary of your story, usually no more than a single sentence, that describes the protagonists and their goal, as well as the antagonists and their conflict. The protagonist is the hero/main character of the story, while the antagonist is the villain/bad guy/opposing force. The goal of a logline is to convey both the premise of your story and its emotional undertones. What is the story about? What is the style? How does it feel?

In the old days, the logline was printed on the spine of the screenplay. This allowed producers to get a quick feel for the story, so they could decide whether to invest the time into reading it or not. Today, the logline serves the same purpose, although it's usually communicated verbally, or included with a treatment.

Writer at Work by by Iakovenko

Step 2: Write a Treatment

A treatment is a longer 2-5 page summary that includes the title of your screenplay, the logline, a list of main characters, and a short synopsis. Like loglines, treatments are mostly used for marketing purposes. A producer may read a treatment first before deciding if the script is worth their time.

The synopsis should highlight the main beats and turning points of your story. Anyone who reads it should get a very good idea of the story, the characters, and the style. They should learn enough to feel empathy for the characters and want to follow them on their journey to see how it plays out. Writing a treatment also gives you the opportunity to view your story as a whole and see how it reads on the page, and it can help you understand what's working versus what needs work before you dive into the details of writing each scene. Since your treatment will be used to market your screenplay, be sure to include your name and contact info, too.

Step 3: Develop Your Characters

Think about the story you want to tell. What's it about? Do you know the theme yet? Create characters who will contrast the central question, and who will have to undergo a major transformation to answer it. There are plenty of character profile worksheets online that can be helpful in bringing your characters personalities to life. Two that I've found to be helpful are here and here.

The most important thing when developing your characters is that you make them empathetic and interesting. Even the bad guy should have a reason he's bad, although it may be unjustified.

Laptop with Coffee Cup and Book by Pat1984

Step 4: Plot and Outline

Break your story down into its narrative-arc components and map out every scene beat by beat. I know a number of writers who use flash cards or notebooks for this. Personally, I use Trello for outlining my screenplays. I create a board for each script, then I make a list for each of the narrative-arc components, with a card for each scene. On each card, I make a checklist of the story beats and write notes about the characters or plot.

Do whatever works for you. The goal is to plot out your story. The more detailed you make your outline, the less time you'll waste down the road. As you plot, keep in mind that tension drives a story. Building and releasing tension is key to keeping the audience engaged and driving the story forward. When hope is faced with fear, tension is created. This is what forces the hero to change.

Step 5: Write a First Draft

Using your outline as a map, write your script scene by scene, including the dialogue and descriptive action. The first ten pages of a screenplay are the most critical. A reader or producer usually has a ton of scripts flying across their desk and they don't have time to read them all. They'll give a screenplay ten pages to pull them in. If the script has interesting characters and the proper structure elements, they'll likely continue reading. If not, it's going in the trash.

The screenplay is a unique format of writing. While it's true that there are a number of elements common to any story regardless of medium, screenwriting is different in that every word of descriptive action must be written in present tense and describe something the audience can see or hear.

Although typewriters and word processors work just fine, I suggest investing in software that will do the formatting for you. Hollywood follows a fairly strict format when it comes to screenplays. While this can cause quite a bit of confusion, it was more of a problem in the past. Modern screenwriting software makes it a very easy process. The most commonly used apps include Final Draft, Movie Magic Screenwriter, and Adobe Story.

Writer's Work Desk by NARstudio

Don't stop and go back to fix dialogue or update action description until you've written the screenplay all the way through. Then you can go back through it, tear it apart, and rebuild it. Don't be too self-critical during the first draft. Just write.

Step 6: Step Back and Take a Break

Once you finish a first draft, it's a great idea to relax a bit and take your mind off of it. That way when you finally do come back to it, you can read it with a fresh set of eyes.

Step 7: Rewrite

Now that you have a completed draft, you have a much better picture of your story as a whole. Go back and refine the action, tighten the dialogue, and edit the script. Chances are you will have to do this more than once. When creating a final version, using more white space on your pages is better. It's easier to read and seems quicker to get through. When a producer has to read multiple scripts a day, it's discouraging to see a script filled with pages of dense action description and long monologues.

Overall, writing a screenplay is a difficult task - one that takes sacrifice and a dedication to the craft. In the end, it's a rewarding process, in which you get to create characters and watch them come to life as they make choices to navigate the obstacle course you've placed before them. Take some time to study the craft, and your script will be done in no time.

For more in-depth tips on learning to write a screenplay, there are a handful of books considered by most industry professionals to be must-reads for any aspiring screenwriter. Each one offers valuable insight into a different aspect of developing a story, creating interesting characters, and crafting a thoughtfully motivated screenplay. These include Screenplay by Syd Field, by Robert McKee, The Art of Dramatic Writing by Lajos Egri, and Save the Cat by Blake Snyder.
Top Image: Screenplay with Markings and Pen by phildavison1959

# data[].attributes.attachment_link.title
Screenwriting 101: 7 Basic Steps to Writing a Screenplay

# data[].attributes.attachment_link.description
Writing a screenplay is an extremely rewarding process, but it's not an easy task. It takes a serious amount of time and dedication to develop a good screenplay, and if your goal is to sell it, completing a first draft is only the beginning.

# data[].attributes.attachment_link.readable_text
What is writer's block? Writer's block is the creative slump that authors face when they don't know what to write. It affects writers in all stages of their career - and if left unchecked, it can impede your writing for days, weeks, or even months.

The good news is there are plenty of concrete ways to combat writer's block! If you feel like you've hit a brick wall with your writing, you've come to the right place. In this post, we'll reveal 10 ways to break through that wall and soundly defeat your writer's block.

1. Determine the root of the problem

Contrary to what you might think, writer's block isn't a sign that you're a "bad writer" - it's something that almost every writer will face at some point. But while most writers have this experience in common, the underlying causes can be quite different.

So let's dig deep: why are you really blocked? Ask yourself:

Do I feel pressure to succeed and/or compete with other writers?

Have I lost sight of what my story is about, or interest in where it's going?

Do I lack confidence in my own abilities, even if I've written plenty before?

Have I not written for so long that I feel intimidated by the mere act?

Am I simply feeling tired and run-down?

Each of these problems has a different solution. For example, if perfectionism is strangling your writing, you might try leaning into the fact that no one's first draft is perfect - in which case, tactic #4 on this list could really help you. Or if you're feeling uninspired, you could turn to some of the resources in #7!

Of course, there's no quick fix for any one of these causes. But understanding where your problem lies will help you know which tips are best for you as you go through our list.

2. List your favorite books and writers

What inspired you to start writing in the first place? Perhaps you've got a favorite book you could turn to - or an author you admire. When you find yourself feeling stuck, it can really help to return to these sources to reignite that initial spark.

Make a list of favorite books and authors, then consider what you love about each of them. What do they have in common vs. how are they unique? Think about specific writing techniques or literary devices you could implement in your own work, or themes that you find especially compelling.

Take The Great Gatsby,for example - are you drawn to the parties and glamor of 1920s New York? Perhaps you're captivated by the extravagant, larger-than-life characters or the drama and intrigue throughout the story. Or maybe you love the literary embellishments of Nabokov - it might be tough at first, but you could try writing in a similarly elaborate style.

Work out what you look for in the books you read, whatever it might be, and incorporate that into your own work. (And the next time you find yourself wanting inspiration, well, that's a perfect excuse to read even more!)

3. Build a solid routine

Author and dancer Twyla Tharp once wrote, "Creativity is a habit." This might seem counterintuitive to some - isn't creativity something that naturally ebbs and flows, not something you can schedule? But the truth is, if you only write when you "feel creative", you're bound to get stuck in a rut. One of the best ways to push through is by writing on a regular schedule.

You may already have a routine of sorts, but if you're experiencing writer's block, it's time to switch things up. Figure out the days and times that really work best for you - if you feel most productive in the mornings, it could be worth waking up half an hour earlier to squeeze in some writing. Or if you prefer low-pressure writing sessions, you could try Sunday afternoons when you have no other commitments.

Whichever days and times you choose, be consistent. The only way to build a reliable routine is to actually stick to your chosen sessions! Give it at least 3-4 weeks and you'll start seeing real progress.

4. Write it badly at first

Many writers suffer from perfectionism, which is especially debilitating during a first draft. Reedsy editor Lauren Hughes says:

"Blocks often occur because writers put a lot of pressure on themselves to sound 'right' the first time. A good way to loosen up and have fun again in a draft is to give yourself permission to write imperfectly."

Writers often spend hours looking for the perfect phrasing to illustrate a concept. You can avoid this fruitless (and block-engendering) endeavor by putting, "In other words..." and simply writing what you're thinking, whether it's eloquent or not. You can then come back and refine it later by doing a CTRL+F search for "in other words."

And if you're truly paralyzed, you might consider the extreme solution of The Most Dangerous Writing App. Just set up a timed writing session, and if you stop typing for more than a few seconds, all your text will disappear. Needless to say, this app lives up to its name - but if you're desperate to stop overthinking everything you write, it's sure to get the job done!

5. Find a different way into the story

To move beyond a block, Hughes also suggests trying to see your story from another perspective. "How might a minor character narrate the scene if they were witnessing it? A 'fly on the wall' or another inanimate object?" Altering your story's point of view (even temporarily) is a great way to break out of mental constraints and gain new insight.

To see point of view in action, here's an in-depth look at what POV is, complete with various examples.

Alternatively, going deeper into the backstory of one of your main characters could give you a better understanding of their motivations - which will, in turn, drive your story forwards. Ask yourself what would make your character satisfied with their life. What are their goals? What are they willing to risk to achieve them? Once you have the answers to these broader questions, you can look at them in any scenario and ask "What is their goal in this particular situation? What action(s) will they take to pursue it?"

For example, if your protagonist's main goal were to save up and move away, how would they react if their best friend asked for a loan? Or if they entered a new relationship right before they were due to leave?

Different personalities and goals lead to conflicts that drive your story - indeed, if a POV change or more backstory doesn't fix your writer's block, go ahead and dive straight into conflict! Which leads into our next tip...

Understanding Point of View

6. Start in the middle

There's no hard-and-fast rule about starting at the beginning when writing a story - if you feel more excited about the middle, then start there! Or maybe you know exactlyhow you want your story to end and would prefer to work backward. Either way, you'll feel less pressure to make a good impression with your very first scene - and by the time you return to the beginning, you'll be all warmed up!

If you haven't already, you could also try mapping out your story in full to get a better idea of the bigger picture. Though improvising is fun, an outline will provide a much clearer picture of where your story's heading, and might give you a boost to keep writing! Not to mention that figuring out your story's trajectory can not only solve your current block, but also prevent more blocks in the future.

Get our Book Development Template

As author Tom Evans says, when you start outlining, you'll find that "the information that you need to write that following chapter has an uncanny way of just showing up. Your brain tunes in to what you need to write... and the chapter just flows." With this blueprint in hand, you'll have a much easier time constructing your story.

7. Optimize your toolkit

Just as switching to a different scene can help with writer's block, so can upgrading your tools! Whether you're struggling with a boring word processor, character development, or even coming up with something to write in the first place, there are plenty of tools out there to help:

The Reedsy Book Editor is a free tool that will format your book for you as you write - it even comes with a built-in goal reminder system!

The Plot Generator with one million plot combinations is a great place to start if you're stuck for inspiration.

Or try the Character Name Generator if you're working on fleshing out some of your side characters.

8. Write something else

Sometimes it can help to take your mind off your current project and work on something else. Don't worry - we're not suggesting you ditch your novel and start a new one, but taking some time away to write something else could leave you feeling refreshed and even spark ideas for your other work!

Using the tools from our last tip, you could try writing the outline for a plot completely different from your main project, or fleshing out the backstory of a random character from the generator (use the questions from #5 to help you out!). If none of these take your fancy, check out Reedsy Prompts for over 1,000 short story prompts to help get your creative juices flowing!

9. Do something other than writing

After sitting at your desk for hours at a time, it can help massively to take a break and mentally "reset", then start a new writing stint.

Showering, going for a walk, and preparing a nutritious meal are tasks that most people would agree are easier than writing a novel - but they can all help give you space to daydream and make creative connections that you might otherwise miss. Just lather, rinse, and repeat until you've kicked that block to the curb!

Creativity breeds creativity

Feel like you need more time away? That's no problem! Try and find other creative projects to inspire you. Children's book editor Maria Tunney finds that one of the best ways to climb out of a writing funk is to take yourself out of your own work and into someone else's:

"Go to an exhibition, to the cinema, to a play, a gig, eat a delicious meal - immerse yourself in great stuff and get your synapses crackling in a different way. Snippets of conversations, sounds, colors, sensations will creep into the space that once felt empty. Perhaps, then, you can return to your own desk with a new spark of intention."

Remember, everyone needs to take a break from their work from time to time. Trying to force words onto a page when you're burnt out will do more harm than good - and taking some time away could be just what you need to get the wheels turning again.

10. Stop believing in the myth of writer's block

Writing is hard - there's no doubt about it. After spending anywhere from weeks to years working on a project, you're bound to feel frustrated if you reach a seemingly insurmountable roadblock. That said, there is always a root cause of the problem - and though it may take some time and dedication, there'll be a way to solve it.

On top of all the tactics listed above, here are a few mantras to keep in mind as you attempt to tackle your writer's block:

"There is no permanent block, only temporary setbacks."

"It does not matter how slow you go so long as you do not stop."

"Every great writer has been here too."

There's no magic trick or formula when it comes to overcoming writer's block. But if you add these 10 tips to your creative arsenal, you'll be well on your way to kicking it to the curb!

- Originally published on Nov 06, 2019

# data[].attributes.attachment_link.title
Defeating Writer's Block: 10 Ways to Get Out of a Slump

# data[].attributes.attachment_link.description
What is writer's block? Writer's block is the creative slump that authors face when they don't know what to write. It affects writers in all stages of their career - and if left unchecked, it can impede your writing for days, weeks, or even months.

# data[].attributes.body
Based on research of real people

# data[].attributes.attachment_link.title
The 9 Enneagram Types — The Enneagram Institute

# data[].attributes.attachment_link.description
Get detailed descriptions about each of the nine Enneagram types for free. Find your Enneagram Type by taking the RHETI test.

# data[].attributes.body
What's your story about?

# data[].attributes.attachment_link.readable_text
Disciplines > Storytelling > Plots > Georges Polti's 36 Dramatic Situations

Georges Polti was a 19th century French writer described 36 situations that may be found in many stories, based on the list identified by Goethe who said it was originated by Italian Carlo Gozzi (1720-1806). Perhaps some of the themes and examples do betray a bias towards the stories of the day, yet they are still very useful stimuli and provide interesting examples of enduring and real human dilemmas.

Here are his 36 situation, including a discussion on each one:

Although this has been taken as definitive by some and Polti initially said there was 'exactly 36 dramatic situations ... and therein we have all the savour of existence', he later admitted that there could be more or less than this (it all depends on your criteria for division). He also said that these aligned with 36 basic emotions, although he did not list these (and has been criticized for this).

See also

Polti, Georges. (1916). The Thirty-Six Dramatic Situations. Boston: The Writer, Inc.

# data[].attributes.attachment_link.description
Disciplines > Storytelling > Plots > Georges Polti's 36 Dramatic Situations Georges Polti was a 19th century French writer described 36 situations that may be found in many stories, based on the list identified by Goethe who said it was originated by Italian Carlo Gozzi (1720-1806).

# data[].attributes.attachment_link.keywords[]
45 master characters: mythic models for creating original characters

# data[].attributes.attachment_link.keywords[]
characters and characteristics in literature.

# data[].attributes.attachment_link.keywords[]
characters and characteristics in literature

# data[].attributes.attachment_link.keywords[]
characters and characteristics in literature.

# data[].attributes.attachment_link.keywords[]
composition & creative writing - general

# data[].attributes.attachment_link.keywords[]
creative writing & creative writing guides

# data[].attributes.attachment_link.keywords[]
creative writing and creative writing guides

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / publishers & publishing industry

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / style manuals

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / writing / composition

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / writing / fiction writing

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / writing / general

# data[].attributes.attachment_link.keywords[]
language arts & disciplines/publishers & publishing industry

# data[].attributes.attachment_link.keywords[]
language arts & disciplines/writing - general

# data[].attributes.attachment_link.keywords[]
writing; creative writing; writing prompts; education; linguistics; reference books; gifts; reference book; reference guide; essays; short stories; language; how to; anthology; biography; film; business; craft; art; literary criticism; self help; grammar; creativity; philosophy; collection; reference; guide; languages; gifts for writers; writing books; language books; publishing; gifts for writers women; book publishing; marketing; trivia; screenwriting; design; acting; comedy; storytelling; games; editing; quotations; communication

# data[].attributes.attachment_link.keywords[]
composition & creative writing - general

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / publishers & publishing industry

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / style manuals

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / writing / composition

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / writing / fiction writing

# data[].attributes.attachment_link.keywords[]
language arts & disciplines / writing / general

# data[].attributes.attachment_link.keywords[]
language arts & disciplines/publishers & publishing industry

# data[].attributes.attachment_link.keywords[]
language arts & disciplines/writing - general

# data[].attributes.attachment_link.keywords[]
creative writing & creative writing guides

# data[].attributes.attachment_link.keywords[]
creative writing and creative writing guides

# data[].attributes.attachment_link.title
45 Master Characters: Mythic Models for Creating Original Characters, Revised Edition

# data[].attributes.attachment_link.description
45 Master Characters: Mythic Models for Creating Original Characters, Revised Edition [Victoria Lynn Schmidt] on Amazon.com. *FREE* shipping on qualifying offers. 45 Master Characters: Mythic Models for Creating Original Characters, Revised Edition

# data[].attributes.attachment_link.readable_text
Using character archetypes in your book is a great way to ensure you have a diverse cast with specific roles.

Because without good characters...your readers won't find a good reason to keep reading...

The character development of your story can make the biggest difference in hooking real fans for life...and losing readers for good.

We'll help you discover some character archetypes you can use to ensure your readers are ensnared in the grasp of your story from start to finish.

Here's a list of 14 character archetypes:
What is a character archetype?

A character archetype is a typical character that represents specific actions, nuances, and characteristics, and can also be known as "character tropes." These characters have well-known qualities that shape their narrative and the story.
There are many characters that have similar and recurring qualities that are easy to recognize in stories.
Take mentors or professors for example. This can include any "wise one" that is a resource for support and knowledge for the main character.

We'll cover more of this in that section below, but Albus Dumbledore is a great example of this character archetype.

Character Archetypes List of the Top 14 You Need to Know

Not every story needs a character archetype, and having a few doesn't mean your characters aren't well-rounded or unique. At the same time, your characters can also have multiple qualities of these archetypes, which adds to their complexity.

Character archetypes are used in order to ensure your character cast is diverse, while also fulfilling plot and story structure needs.

There are certain elements every good story needs in order to satisfy readers and character archetypes are a big part of what does that.

That's why we're covering 14 character archetypes to think about when writing a novel.

#1 - Character Archetype: The Leader

The leader is a well-known and widely used character archetype for a number of reasons.

Firstly, this archetype is always active, meaning they don't allow things to happen to them but rather, they move the plot forward through decisions and their own actions.

You'll often find that main characters often possess the qualities of a leader, which makes for an alluring book.
Qualities of a The Leader character archetype:

Active and not a passive character

Makes decisions for other characters

Leads the "charge" in almost all scenarios

Is the go-to character for advice

Can grow into the leadership role if they're not there right away

They are typically a key-player in the plot and overall story

Character Archetype Examples: The Leader

For more clarity, here are some recognizable examples of this character archetype where you can easily identify these traits.

Harry Potter in the Harry Potter series by J.K. Rowling - Throughout the series, Rowling paint Harry as a leader in several ways. We first see him as less than a leader, living under the stairs but as the story progresses, his leadership shines in several ways. Firstly, he decides to forgo friendship with Draco Malfoy because, well, he doesn't believe him to be a good person. This sets the stage for even more leadership characteristics as he stands up to Snape, and ultimately takes on Voldemort in the end. His leadership continues to grow as he leads his friends and classmates through difficult times in the series.

Katniss Everdeen in Hunger Games trilogy by Suzanne Collins - The first act of leadership we see from Katniss is the very beginning of the story. She is hunting for her family...so they can eat. It's a very basic form of leadership that's necessary due to her mom's state after her father passes away. We continue to see her leadership flourish as she volunteers as tribute, sets a precedent of distaste for the games, and ultimately saves both her own and Peeta's life by the end of the first book.

Tobias Kaya in The Savior's Champion by Jenna Moreci - Tobias begins the book as a provider for his family. This leadership role is necessary due to his sister's disability. As the book progresses and Tobias enters the deadly tournament, allies seem to be his only means of survival. He bands together (somewhat reluctantly) with a few key competitors and soon finds himself as the voice of their group, making decisions out of instinct without even realizing the position he's in.

#2 - Character Archetype: The Outsider/Wildcard

This character archetype serves a very distinct purpose. Oftentimes, this is a character that adds a layer of mystery and intrigue to the story.

For example, this character won't be "close" to your main character or even other secondary characters. They often come into the story to aid or solve a specific issue, but can also be seen as untrustworthy.

Character Archetype Examples:

Johanna Mason in The Hunger Games trilogy - Johannah Mason meets Katniss and Peeta during the opening of the 75th Hunger Games. Wild, unpredictable, and untrustworthy is our first reactions to her, solidifying her character archetype as the outsider or wildcard. Because her character is so unpredictable, we're both worried and interested in what she'll do next, which increases the tension when she appears on the page.

Luna Lovegood in the Harry Potter series - Luna Lovegood is a very important character in the Harry Potter series but is often seen as an outsider not only from her own perspective but from others. We don't really know what she'll do next and this adds to the intrigue of any scene she's in.

#3 - Character Archetype: The Caregiver

This character archetype speaks for itself. The caregiver is essentially the character who serves to take care of others.

They often have qualities that are "parently" and can be the voice of reason when the plot thickens. This character is one others often turn to for help, reassurance, and even encouragement.

Characters may also wonder how they'd get through what they have without this one character ensuring their safety and wellbeing.

Character Archetype Examples:

#4 - Character Archetype: The Rebel

Many main characters can fall under The Rebel character archetype because this trait often leads to interesting and intriguing conflict readers latch onto.

Keep in mind, however, that this is also a great archetype to use for villains or antagonists.

The qualities that make up The Rebel archetype are exactly what you'd expect; the characters often go against the grain, resist rules, regulations, and orders, as well as follow their own paths.

Character Archetype Examples:

#5 - Character Archetype: The Mentor

One of the most iconic (and sometimes clichéd) characters in stories is The Mentor.

I'm sure many examples are already popping up in your mind for this one. A classic example of this is Albus Dumbledore in the Harry Potter series.

The Mentor character archetype is someone who serves as a source of information, motivation, support, and encouragement usually for the protagonist or that group in a novel.

This character is also commonly used as an exposition element in the sense that they can provide information to the protagonist that the audience also needs to know, but in a natural way that doesn't feel like "info-dumping."

Character Archetype Examples:

#6 - Character Archetype: The Professor

The Professor and The Mentor are very similar character archetypes. However, with The Professor the emphasis is on their role as an educator and teacher instead of just a mentor.

Therefore, Dumbledore can be seen as The Professor, though another character occupies that role in this series.

This character archetype is usually a teacher or educator the main character grows close to. The key defining factor is that The Professor both teaches in a formal way, but also takes an interest in aiding your character's personal life and journey. They offer guidance and help when the characters need it most and can be a go-to for information for your characters.

Character Archetype Examples:

John Keating in Dead Poet's Society - In this iconic story, Professor Keating guides his students on a journey through poetry...and adolescence. Not only does he teach his students poetry in a way they can understand and appreciate, he's also instrumental in developing Todd Anderson, the main character and student.

#7 - Character Archetype: The Warrior

When you think of this character archetype, it's very evident which characters fall under this category.

Think of the best warriors in any movie where they appear. Those characters are often tough, confident, and skilled in combat. Many army officers, commanders, and persons in charge of armies will occupy this archetype.

But a character doesn't need to be in a role of combat or military in order to be The Warrior. They can possess qualities of a warrior without the title.

The Warrior can also be both a good or bad character.

Character Archetype Examples:

#8 - Character Archetype: The Hunk

Also known as "The Adonis," this character is the stereotypical "hot guy" in stories.

While he may also serve other roles, this character is a distraction (often to the main character) and is usually the love interest in stories.

This character can go one of two ways. You can have the stereotypical hunk who is unintelligent and only gets by on their looks, or he can be the hot guy who is misunderstood and has more going for him than people believe.

Either way, the main factor is that he's very handsome to the point of distraction.

Character Archetype Examples:

The Adonis in The Savior's Champion by Jenna Moreci - In the Sovereign's Tournament, a competition to the death to win the hand of The Savior, there are several competitors, one of which is nicknamed The Adonis. This character is very much the stereotypical hunk with no brains, and it serves a very distinct purpose in this novel. He's a fan-favorite of the spectators and stirs up jealousy amongst the competitors.

Christian Gray in 50 Shades of Gray - On the other hand, this character is more in line with the second version of The Hunk, a hot guy with more to him than meets the eye. Christian Gray is written as being so attractive, it turns heads when he walks by. But he's also a billionaire businessman with a lot more than meets the eyes. He's very smart while being a hunk, and then some.

Cedric Diggory in the Harry Potter series - This character serves as a mix of both types of The Hunk. He is a competitor in the Triwizard Tournament, and the ladies love him. He's handsome, charismatic, and also a highly intelligent and skilled wizard. All of these add to the conflict of Harry competing because others root for Cedric and not him, creating issues at school and in his personal life. Not to mention the fact that Harry's crush ends up dating Cedric.

#9 - Character Archetype: The Wise

This character archetype is someone who often serves as a destination for characters in adventure or epic novels.

You may recall stories of characters needing to travel to meet this "Wiseman" who could tell them what to do or where to go next.

With a character like this, their role in their personal life is also in line with being The Wise in the sense that they also serve as aid, advice, and intellect outside of your main character's needs.

Character Archetype Examples:

Gandalf in the Lord of the Rings Series - While this character also serves as The Mentor, it's important to note that he's a very wise, all-knowing character as well. Throughout the series, he proves himself a source of information for several characters.

#10 - Character Archetype: The Orphan

While many authors aren't bad people, we do tend to put our main characters through the wringer and orphaning them is one of the top ways to create sympathy for the character...and we all know that doing that makes readers love them more.

There are so many examples of characters whose parents passed away shortly after they were born or even later, into their teen years.

The most distinguishing factor for this character archetype is that the loss of their parents, whether it when they're a baby or adult, has to add to the conflict of the story, including internal problems. If the story can exist as-is without their deaths, it's not useful for the parents to be dead.

Character Archetype Examples:

Snow White - We all know this story. Because her mom dies, her father has to remarry, which puts her in the path of Maleficent, the villain of this story.

#11 -Character Archetype: The Hero

The Hero is one of the most common character archetypes there is in stories, and this is because good stories often have a "triumphant" character who prevails over evil and save others.

Many heroes also embody other character archetypes as well.

The best defining factor for The Hero is that they save others through their actions against the antagonist.

Character Archetype Examples:
Here's a long list of The Hero character archetypes:

#12 - Character Archetype: The Jester

If your favorite character in stories is ever the goofball who's really funny, they're likely The Jester character archetype.

This type of character has a few jobs, the main one being comedic relief. They can serve as a strong literary device to cut the tension in order to give characters a relief, or to distract from something worse coming up.

A couple of key identifiers of The Jester in stories is that they cut tension either with what they say or do, are the butt of every joke, or make others the butt of every joke. The Jester's job is to elicit laughs and keep the scene and mood light.

Character Archetype Examples:

#13 - Character Archetype: The Seductress/Seducer

With this character archetype, there's a very specific goal of the seducing behavior.

Most often, this character is someone who's attractive and can seduce someone in order to get something they want, or even to subdue them in order to do this.

The main point of The Seducer archetype is to trick someone into being vulnerable in order to gain the upper hand in any type of situation, whether that's life or death or simply getting out of a speeding ticket.

Character Archetype Examples:

Dominika Egorova in Red Sparrow - This character archetype for this movie is quite unique. While her character, with the alias of Katerina, may not have been this type to start, she is taught this very specific skill in order to achieve her goals as a spy.

#14 - Character Archetype: The Bully

We all know a bully in real life and stories have no exception to their presence. Of the character archetypes, this one is easy to stop.

It's is often used to make your main character's life a lot harder. They can be a bully physically or even emotionally. As long as they belittle your character to the point of increasing conflict in the story, they're The Bully.

Character Archetype Examples:

Patty in Diary of a Whimpy Kid -There are several bullies in this story, the main character's own brother being one, but Patty indeed holds this title as well. She consistently bullies Greg throughout the story.

# data[].attributes.attachment_link.title
14 Character Archetypes to Help You Build a Strong Character Cast

# data[].attributes.attachment_link.description
Using character archetypes in your book is a great way to ensure you have a diverse cast with specific roles. Because without good characters...your readers won't find a good reason to keep reading... The character development of your story can make the biggest difference in hooking real fans for life...and losing readers for good.

# data[].attributes.body
It says "for fiction writers," but screenwriters can use it too!

# data[].attributes.attachment_link.title
Character Chart for Fiction Writers - EpiGuide.com

# data[].attributes.attachment_link.description
If you're a fiction writer -- whether you're working on a novel, short story, screenplay, television series, play, web series, webserial, or blog-based fiction -- your characters should come alive for your reader or audience. The highly detailed chart below will help writers develop fictional characters who are believable, captivating, and unique.

# data[].attributes.attachment_link.description
Free screenwriters screenplay resource and discussion board. Make your script better. Read professional movie scripts and screenplays. Searchable database of movie, television, radio, anime scripts, transcripts and plays. A screenwriter’s resource. The screenplays may not be used or reproduced witho…

# data[].attributes.attachment_link.readable_text
Written By: Alex Garland (screenplay), based on the characters byJohn Wagner & Carlos Ezquerra

Synopsis: In a violent, futuristic city where the police have the authority to act as judge, jury and executioner, a cop teams with a trainee to take down a gang that deals the reality-altering drug, SLO-MO.

# data[].attributes.attachment_link.description
Here are the best free movie scripts online. A library of some of the most iconic and influential screenplays you can read and download right now.

# data[].attributes.attachment_link.readable_text
Free Movie Scripts Selection - A like "Argo"

You'll find here a selection of screenplays with a title starting with the letter A.

From Comedy to Drama, from Adventure to Biography, from Sci-Fi to Horror, we've got you covered.

On top of that, many of the scripts listed have won an award.

Enjoy!

Air Force One

Ali

Screenwriter: Stephen J Rivele & C. Wilkinson and Eric Roth & Michael Mann
Movie script type: Undated Draft
Movie script genre: Biography, Drama
Screenplay Awards: N/A
Related Articles: Formatting Commandment #2 and 4
Movie:

Almost Famous

Amadeus

The Amazing Spider-man

Screenwriter: James Vanderbilt and Alvin Sargent and Steve Kloves
Movie script type: Draft
Movie script genre: Action, Adventure, Fantasy
Screenplay Awards: --
Related Articles: A Compelling Fictional Character in 11 steps (Step 9)
Movie:

American Beauty

American History X

Screenwriter: David McKenna
Movie script type: Draft
Movie script genre: Crime, Drama
Screenplay Awards: Nominated Satellite Award
Related Articles: Formatting Commandment #2, Compelling Character Descriptions
Movie:

American Hustle

Screenwriter: Eric Warren Singer and David O. Russell
Movie script type: Draft
Movie script genre: Crime, Drama
Screenplay Awards: Won BAFTA; Nominated Oscar, Golden Globe, WGA
Related Articles: --
Movie:

The American President

Screenwriter: Aaron Sorkin
Movie script type: Draft
Movie script genre: Comedy, Drama
Screenplay Awards: Nominated Golden Globe
Related Articles: Aaron Sorkin
Movie:

Amour

Screenwriter: Michael Haneke
Movie script type: Draft
Movie script genre: Drama, Romance
Screenplay Awards: Won Oscar, Cesar Award
Related Articles: --
Movie:

Anna Karenina

Annie Hall

Screenwriter: Woody Allen, Marshall Brickman
Movie script type: Draft
Movie script genre: Comedy, Drama
Screenplay Awards: Won Oscar, Nominated Golden Globe
Related Articles: Exaggeration, Juxtaposition, Formatting commandment #10, Dialogue rule #9
Movie:

Apocalypse Now

Screenwriter: John Milius and F.F. Coppola
Movie script type: Draft
Movie script genre: Drama, War
Screenplay Awards: Nominated Oscar
Related Articles: Dialogue Rule #7
Movie:

Arbitrage

Argo

The Artist

As Good as It Gets

Screenwriter: Mark Andrus and James L. Brooks
Movie script type: Undated Draft
Movie script genre: Comedy, Drama, Romance
Screenplay Awards: N/A
Related Articles: --
Movie:

August: Osage County

Avatar

Awakenings

Screenwriter: Steven Zaillian
Movie script type: Draft, October 1989
Movie script genre: Biography, Drama
Screenplay Awards: 1991 Nominated Oscars, WGA
Related Articles: --
Movie:

Aright guys uh.. Lets start sharing. Don?*

* Hancock - screenplay written by Vincent Ngo and Vince Gilligan

Want More Free Movie Scripts?

# data[].attributes.attachment_link.title
250 Free Movie Scripts - 250 Priceless Stories

# data[].attributes.attachment_link.description
You'll find here a selection of screenplays with a title starting with the letter A. From Comedy to Drama, from Adventure to Biography, from Sci-Fi to Horror, we've got you covered. On top of that, many of the scripts listed have won an award. Enjoy! Screenwriter: Stephen J Rivele & C.

# data[].attributes.body
From a screenwriter's personal library

# data[].attributes.body
Don't let the title fool you. All great writing is poetry. Find the poetry in your screenwriting.

# data[].attributes.body
Yes. Iowa.

# data[].attributes.attachment_link.readable_text
Welcome to the Iowa (Endless) Summer Writing Festival Online!

The Festival is now offering workshops online. These are live (synchronous) courses via Zoom, supported by Canvas Catalog/UI Learn. We couldn't be more excited about the opportunity this adventure gives us to offer workshops and other programming throughout the year, in a variety of new formats, to longtime friends and newcomers alike.

Click "Online Workshops" above and select "See Workshops" for details about upcoming workshops. We'll be launching new workshops each month through 2021.

Get your coffee and pull up a chair. Summer is now all year!

# data[].attributes.attachment_link.description
Welcome to the Iowa (Endless) Summer Writing Festival Online! The Festival is now offering workshops online. These are live (synchronous) courses via Zoom, supported by Canvas Catalog/UI Learn. We couldn't be more excited about the opportunity this adventure gives us to offer workshops and other programming throughout the year, in a variety of new formats, to longtime friends and newcomers alike.

# data[].attributes.attachment_link.readable_text
Creating Movie Scripts

In the beginning, there is always the idea... and then there is a wall, a great white wall. Your own personal Moby Dick, an impossible climb that you must make if your idea is ever to see the light of day. And that wall is the blank page. Whether you write on paper or on a screen, that empty space in need of words is a daunting and intimidating task, even for the most seasoned of professionals.

When it comes to filmmaking, the screenplay is the absolute first step which must be taken. Composing a complete script that works is the foundation upon which your project will be built. You have to get it right or it all falls down. Now that blank screen has a whole film riding on it. No pressure, right?

Here's the good news: you can totally do this. It's hard work, and you have to follow formats, structure and plenty of rules, but it's not as impossible as it might look in the beginning. Below I offer a mix of philosophical, mechanical, and logistical approaches to getting a screenplay done. This isn't just about physically producing the document. It's about pulling the best work out of yourself that you can. And more importantly - it's about reaching readers and audience.

Write Every Single Day

Readers are the people you need to believe in your vision. They are the investors and production people you must convert into patrons and partners. You must hook them with a read that flows easily while striking deep into their imaginations. Convert them and your film gets made.

But film audiences don't read screenplays - they watch movies. Your concoction must also be able to materialize onto the screen. It's quite a bit of magic you have to pull off: the written word transforming into the audiovisual execution. So put on your wizard hat and learn as many tricks as you can.

This doesn't just apply to screenplays, but to any kind of writing. A completed work is an elusive animal living within yourself which does not want to be captured. It comes from the place inside of yourself that dislikes the light of day. Consider this a no-kill hunt: to track down your quarry, you cannot lose its trail. Give it some sweat without fail at least one hour for every 24. Accept this reality before you learn the first thing about screenplays.

Organize the Key Elements

Now that you've committed to the writing routine, it's time to get to your awesome idea. Before writing a word of the script, capture the essence of the screenplay - story, plot and characters - with these three essential tools:

Story Outline

This should be short, no more than a couple of pages. Here you describe in broad strokes what happens in your tale. It's a big picture map of the journey ahead, serving as a compass to keep you on track with the course of the script. Set up the circumstances. Describe the challenges to be faced. Explain the resolution to it all. Short, sweet, simple.

Scene-by-Scene Plotting

Create a series of notes - digital or index cards - and write down what happens in each scene of your film on each note. Individual scene notes represent 3-4 minutes of screen time. Put 30 of these notes together, you reach standard feature film lengths (90-120 minutes). Adjust this formula for shorter works (commercials, YouTube, etc.). Be detailed, use bullet points, lists, and other tricks to cram information in. From here will issue your screenplay.

Character Bible

Write up a list of your characters. Main characters should have a few paragraphs about who they are, where they've been, and what motivates them. Secondary characters don't need as much info. Even characters who have just one line should be named. This not only keeps tabs on the population of your screenplay's world, it makes them real. Don't be afraid to add or alter characters on the way - they tend to surprise writers with lives of their own.

Learn the Form

This is the part that will feel like school and there's no way around it. If you want your work to be read, it MUST be written in the standardized form. That means following margins, using film terms, the 3-act structure, and even spelling (for real). The good news is that several excellent screenwriting programs do a lot of this automatically for you. Nevertheless, the writer needs to understand these mechanics if she is to construct a script. The industry standard on the subject is Syd Field's The Foundations of Screenwriting. Seek it out, read it. And remember: one page in the format equals one minute of film time. Feature scripts need to be 90-120 pages long.

You Have Five Pages to Win Them Over

Here you are, at the start of your script, ready to roll. Remember how I said earlier you have to hook the reader? Well that needs to happen fast. In the real world, people who read scripts professionally are sick of reading scripts. If they aren't interested in literally the first five pages, they will throw your work in the trash and move on to the next. I know - that's harsh. But it's the way it is. Even friends and family will lose interest quickly. So make sure everything that's awesome about your script makes a big splash right off the bat.

This Isn't a Book, It's an Instruction Manual

One of the biggest mistakes screenwriters make is over-explaining things. The fear is that unless every thought, every action, every moment is described in great detail, the reader won't "get it." But that's all wrong. The art of filmmaking is in the final execution. A screenplay should only explain what NEEDS to be seen and heard on the screen. For example, you can't "see" a character's thoughts, so you shouldn't be explaining them on the page. And when you describe a scene, don't go crazy. A prose book is forced to use words to show us a place, film is not. Give the production some room to find its own look and spare the poor reader's eyes. That doesn't mean you skip the important stuff, though. Spell those things our clearly and concisely. Remember - just because you wrote this doesn't mean you're directing it. Always write as if someone else will have only your script to know how to make the film. It really is a set of instructions as much as its own work of art.

Filling Up on Emptiness

There's an old screenwriting trick known as "white spacing." This means not having lots of words on lots of pages and being sure to leave a lot of empty space. Anytime a script has large clumps of description or dialogue, it usually means trouble. We already know readers have short attention spans. And the writer needs to trust cast and crew to add to her initial vision. So, don't clog up your script. Economize your words. Say more with less. It not only makes for an easier read, it opens up room for things to happen cinematically.

Let Go and Let the Story Control You

At some point, after learning all the rules, after outlining the story and plot, after meeting your characters - forget everything. Let your fingers do the talking. Trust in your tale and let your characters speak for themselves. Yes, there are goals you must direct the action towards, things people must say. But the stories and the people in them have more to tell you than you might know. Let your creation use you as a host. Unleash the subconscious with surrender. I know it sounds corny, but let me tell you, being possessed by a story is a powerful feeling.

Exercise

Don't forget that your writer's mind is attached to a writer's body: fingers, spines, and of course, butts. Don't fool yourself - just because you're sitting around writing all day doesn't mean it's not physical. Carpal tunnel syndrome, cramps, back pain, and much more plague writers. Keep them muscles strong! Do some light weights or pushups. Take walks to get leg blood flowing. Stretch out. Maintain proper posture. All this will strengthen your insides to endure the long hours you will need to abuse your hands. Not only that, but it will feed your brain and soul with endorphins and psychological release. Take care of your tools.

Read, Edit, Repeat

You're done with your first draft of your screenplay? Awesome! You've probably got two or three more to go. Read your work slowly, patiently. Check grammar and spelling like a hawk. Challenge yourself with questions. Does the story make sense? Are these jokes funny? Will people buy this plot twist? And get other people to read it. Ask them to be merciless and provide lots and lots of notes. Consider all suggestions seriously. The truth might hurt, but friends and peers can often see things you don't see. Be strong - not everyone will get what you are doing. But comparing notes from several parties can reveal patterns you didn't know were there. Finally, if you're at your fifth draft or so, stop where you are. You should know if it's pitchable or not by then. Some scripts may not work - but that's part of the process. Keep going on the next one. You'll get better. I promise.

At the end of the day, whether you wrote the best damn thing ever or end up unsatisfied with your final product - congratulations! You finished a screenplay! Do you have any idea how few people actually do that? Take pride in the accomplishment, no matter what the outcome. It's a great skill you have taken on and one which will always teach you about film, about writing and about yourself.

There's lot of other "rules", trick, and devices to get that screenplay out of you. The ones I offer here are just the ones I think are the most important. They should at least get you off to a good start. Use them as markings on your own path to writing your script. And please try to enjoy the adventure. It can take you anywhere you can imagine... literally.

About the Author

# data[].attributes.attachment_link.title
How to Write a Screenplay or Movie Script | Script Writing

# data[].attributes.attachment_link.description
In the beginning, there is always the idea... and then there is a wall, a great white wall. Your own personal Moby Dick, an impossible climb that you must make if your idea is ever to see the light of day. And that wall is the blank page.

# data[].attributes.attachment_link.readable_text
Coverfly is such an excellent service for writers. The platform has been so vital to my writing career. Industry leaders were able to read my work and because of the exposure, I now have a wonderful literary manager who has skyrocketed my career.

Are you a Writer?

Stand Out.

Create your writer profile to track the performance of your submissions to writing programs while highlighting your successes.
This is how industry professionals find you.

Submit to the Best.

We work to be good stewards of your resources by curating the most impactful writing programs and coverage services, so you can focus on your craft and your career.

Coverfly is also trusted by these great programs to find top writers.

See more programs

Recognition without Barriers.

Free. Free is great. So we provide you with a slate of free programs to tangibly move your career forward.

(Take a peek below for a few writers we helped sign with these programs)

Monthly Signings and Staffings.

Through our free programs, industry-facing discovery platform, and dedicated Development Team, we connect great talent with the right professionals.
Check out a few writers we've helped out recently.

4 Ways Serves the Industry

SERVING THE INDUSTRY BY

Curating Top Writers.

Our Story Analysts and Development Execs read thousands of scripts a month, giving you vetted and personalized weekly recommendations.

Sign up to stay in the loop

SERVING THE INDUSTRY BY

Tracking Writer Performance.

We aggregate writer performance across every major writing fellowship, program, and list. We then present it to you in a beautiful, easy-to-use, searchable interface.
Check out some of the top industry placements.

See the latest winners and finalists

# data[].attributes.attachment_link.description
Coverfly is such an excellent service for writers. The platform has been so vital to my writing career. Industry leaders were able to read my work and because of the exposure, I now have a wonderful literary manager who has skyrocketed my career. Are you a Writer?

# data[].attributes.attachment_link.readable_text
WATCH TOUR Our Mission

"Stage 32 is Lynda meets LinkedIn for Film, Television and Digital Creatives." - Forbes

500,000

Connect with over a half million film, television and theater creatives from around the world. Our community ranges from students to Academy, Emmy and Tony award winners.

1,000

There are over 1000 hours of education available on Stage 32. No matter what your discipline or interest, an extensive library of webinars and classes awaits.

500

Stage 32 works directly with over 500 industry executives from around the world to provide education and other unique opportunities for our members.

100,000

There are over 100,000 conversations on craft and industry happening right now on Stage 32.

The Stage 32 Application

Is available for all Apple and Android devices.
Click below to find us in the App Store and on Google Play:

App Store Google Play

# data[].attributes.attachment_link.title
Social Network & Education for Film, TV and Theater Creative

# data[].attributes.attachment_link.description
Stage 32 is the world's largest social network and educational hub for film, television & digital creatives. Connect instantly with 500,000 global members either privately or through the Stage 32 Lounge. The talent in our community ranges from novices to Academy, Emmy, and Tony award winners.

# data[].attributes.body
Yes. This is Industry Standard

# data[].attributes.attachment_link.readable_text
Follow my blog with Bloglovin
Screenplay Font - Does It Matter?

This article will explain what the industry-standard screenplay font is.

As well as explaining what it is, we'll look at the reasons whythis is font holds the title of the industry-standard font for screenwriters and filmmakers alike.

Additionally, we'll explore the possibility of whether there are any exceptions to this font in screenwriting.

The correct font is the first impression someone has of your script before they read it. Getting the font wrong could mean your script isn't even accepted, let alone read.

To give yourself and your script the best chance, it is important to get this right...

The Industry Standard

Fortunately, there is a relatively simple answer to this question.

The industry-standard font is Courier 12.

As the guideline is rigid, the answer is straightforward.

There are several variations of Courier: some of which are accepted as an adequate screenplay font. We'll explore some of these variations later on.

The Courier font is styled on the print that comes from a typewriter. So, screenwriters type their scripts in a font that has its origins all the way back in that, now old-fashioned, tool for writing.

The fact that it is modelled on this more or less unused writing device shows how long this font has set the standard.

With that in mind, you can safely assume that the industry standard screenwriting font is not something that will change suddenly and regularly. So, get used to writing with it.

Courier & Variations

The Courier Font has a number of variations. While several variations of Courier 12 are accepted as industry standard, it is worth remembering that they are the variations, so they do not set the standard. Use them with caution.

Perhaps you can guess from the name that Courier Final Draft is attached to the screenwriting software Final Draft. When you download the screenwriting software, the font is supplied with it.

As this software sets the industry standard for the correct formatting of scripts, it is a well established and trusted font.
**Check out our ultimate guide to paid and free screenwriting software**
Courier Final Draft allows for fifty-five lines on each page. This is aimed to align itself with the screenwriting rule that a screenplay page should roughly equate to one minute of screen time.

With close attention to details like this, it is a useful and popular variation of the Courier 12 font.

Screenplay Format: Font Matters

As we have briefly mentioned, a rule of thumb for a screenplay equates one page to one minute of screen time. Without the correct font, screenwriters may struggle to accurately adhere to this guideline.

A script reader has to sift through a huge amount of scripts. Being so immersed in the discipline, script readers spot errors very quickly. Make sure you avoid that pitfall of standing out for the wrong reasons.

Standing Out For The Wrong Reasons

Formatting a script correctly is a challenge for any screenwriter. Luckily, there are many paid and free screenwriting software options which cover a lot of the heavy lifting for us.

Using these to your advantage will help you avoid the pitfall of producing an unprofessionally formatted script.

If you're pitching a TV Show and your screenplay font is not industry standard, you're immediately hampering the chances of that TV Show being picked up.

Executives and agents deal only in industry standard work. Anything below that standard will immediately be outed as unprofessional.

Make sure your script stands out because of its originality and its skill, rather than because it looks like a poor attempt at replicating the industry standard format.

Questions or Challenges

"I Find Courier 12 Too Small To Write With"

There's no use using Courier if you're going to format it in a size other than 12. Maybe while you're writing it's easier to make the font larger. However, this will alter the structure and shape of your script once you reformat it back into the industry standard size.

Our advice is to zoom in on the screen instead of making the font larger. That way, you'll continue formatting the script in the industry standard font. In turn, this will prevent any reformatting problems from occurring once you've written your script.

"I Don't Use Screenwriting Software, I'll Just Use Word"

Well, Microsoft Word does not have Courier 12. Using it, then, is admitting that you are diverting from the industry standard. However, Word does have a variation called Courier New. While this resembles the industry standard, it is likely that professionals in the industry will be aware it is a variation of the industry standard. With this in mind, use it at your own risk.

Additionally, many formatting problems, besides the font, arise when using Word for your screenplay. For example, the first page of a screenplay beings on the second page of the document. The first page of the document is the title page which is not numbered. Word is not adapted to these small but crucial details for screenwriting.

"I Don't Want To Get Used to Courier 12 Because the Industry-Standard Will Change"

Courier 12 has set the industry-standard screenplay font for decades. While we cannot promise it will remain indefinitely as Courier 12, there is not a lot of evidence to suggest the opposite. If you are new to screenwriting and you're trying to decide which font to use, Courier 12 does not show any signs of losing its title as the industry-standard screenplay font.

"Can I Access Industry-Standard Screenplays?"

This is a great way to get familiar with the correct screenplay font. There are many access points for downloading PDF documents of famous screenplays. The BBC Writers Room is just one example. However, we will go into more detail about accessing screenplays in our advice section below.

Screenplay Font Enough?

If you've used Courier 12 for your screenplay, you might be satisfied in thinking that you are following the industry-standard. Yet, there are other formatting rules which are equally as rigid when it comes to writing a screenplay.

Having the industry-standard screenplay font alone will not satisfy the other formatting demands.

Preparing Your Document

Before you begin writing, there are necessary steps to setting up your document. Fortunately, we've put together a 30-Step guide for formatting a screenplay to cover some of these big questions.

Clearly, a lot goes towards formatting a screenplay to the industry standard. To give you a taste of the necessary planning and organisation, we've included the nine steps that go into preparing a document:

Before you begin writing, each of these steps has to be set out and planned methodically. Clearly, the screenwriting font plays a crucial role, but not a role in isolation from others.
**Our 30-Step Guide to Formatting a Screenplay**
Formatting a screenplay to industry standard requires you look beyond the font to other demands. As we have already suggested, many of these demands are covered by screenwriting software to make your life easier.

Advice

There are many sources to access guidance for formatting a screenplay. If you are overwhelmed by the task of formatting a script, our main piece of advise is to look at professional examples.

This will make you familiar with the standard for details ranging from the screenplay font to the position of page numbers.

Useful Examples

The BBC Writersroom lets people download scripts in their entirety. If you want to see a correctly formatted screenplay, this is a quick and easy way to see how everything should look.

From the font to the margin space, this source will provide useful examples for replicating the industry-standard.

Daily Script is another service which offers people a chance to download scripts. Users get access to both TV Scripts and Movie Scripts. Being able to see both will help screenwriters to hone their formatting skills.

These examples will acclimatize you to the professional and correct screenplay format, including the right screenplay font.

Correct Screenplay Font, Correct Ideas?

Possessing the correct screenplay formatting knowledge does not substitute for bad or undeveloped content.

We know there is a lot to consider for the formatting side of a screenplay. That is why we devised our 30 Step Guide to formatting a script.

However, having the right screenplay font, margin measurements, and screenwriting software, is nothing without the right ideas.

It is vital to divide your head space between formatting a script and the quality of writing within it. Questions of narrative momentum or character development need considerable attention aside from issues of formatting.

Fortunately, we have put together a detailed guide which tackles the question of narrative momentum. Getting the industry standard font will not matter without careful attention being paid to questions of writing craft, just like this one.

Think of industry-standard formatting as an opportunity to boost your confidence.

Getting some quick and easy success in the formatting process, like getting the industry standard Courier 12 screenplay font, will allow you to build confidence before you start writing.
**Our PDF guide to generating narrative momentum**
Screenplay Font: Conclusion

We've talked a lot about the necessary steps involved in screenwriting generally. The industry-standard screenplay font has acted as a springboard to talk about the writing process.

In fact, this is revealing because it shows how important small details are in a screenplay. A successful screenplay is not accurate and professional in parts.

Instead, a successful screenplay is successful when it is wholly accurate and wholly well formatted. Starting with something small, like the screenplay font, sets the tone for the success of the screenwriting process.

Concluding Points

The takeaway points to consider are as follows:

The Industry-Standard screenplay font is Courier 12 (and some of its variations are included in that standard)

Many of the issues arising from formatting a screenplay are solved, or at least lessened, with screenwriting software

Formatting a screenplay correctly is NOT a substitute for undeveloped or weak content

Courier 12 has held the title of the industry-standard screenplay font for a long time. It does not look set to change anytime soon.

Build your confidence by getting the font right. It is an easy way to begin the screenwriting process the right way.

# data[].attributes.attachment_link.title
What is THE industry-standard screenplay font?

# data[].attributes.attachment_link.description
Follow my blog with Bloglovin This article will explain what the industry-standard screenplay font is. As well as explaining what it is, we'll look at the reasons whythis is font holds the title of the industry-standard font for screenwriters and filmmakers alike. Additionally, we'll explore the possibility of whether there are any exceptions to this font in screenwriting.