If you are reading this blog post, you are most likely a writer, or you would like to be a writer. And that youโre reading this blog post in particular, tells me you probably want to learn how to write a screenplay. Having contemplated that same thought about thirty years ago, letโs see if I can clear up some questions you may have in advance.
Now most, if not all of you, have read at least one novelโฆ But Iโd be willing to bet most of you have never read a โSpec Screenplayโ. Some of you may have read a โShooting Scriptโ (what you usually find online.)
โWhatโs the difference?โ you may be asking.
A โSpec Screenplayโ is written in speculation of selling it to a producer who will make it into a movie.
A โShooting Scriptโ is developed from the โSpecโ and becomes the blueprint from which we create a movie.
A Spec Screenplay is written to be readโฆ to catch the interest of a readerโฆ to get somebody to buy it.
A Spec Screenplay must be: visual, fast moving, and strictly โFormatted.โ YesโI said strictly formatted.
Unlike a novel, a screenplay takes place in a pre-set time frame: 70 to 110 pages.
The average novel is 250 to 350 pages. Novels range from 75,000 to 95,000 words long, rarely over 150,000 words. The average Spec script is 7,500 and 20,000 words long and formatted in such a way to make each full page equal 1 (one) minute of running time. (I wonโt go into the actual formatting rules, the โpage layoutโ and โmarginsโ. We cover that in the class: โIntro to Screenwritingโ).
In 1975 the movie, โThree Days of the Condorโ was released. It was a political thriller film directed by Sydney Pollack and starring Robert Redford, Faye Dunaway, and Cliff Robertson. The screenplay by Lorenzo Semple Jr. and David Rayfiel was adapted from the 1974 novel Six Days of the Condor by James Grady. The book was a short novel, about 234 pages long, around 50,000 words. While the screenplay was around 118 pages or approximately 21,240 words.
Why am I telling you this? To show you that when adapting a novel, you must remember: You canโt get 4 pounds of Sโฆtuff in a 2 pound bag.
Another thing about Screenwriting you should know:
A โScreenplayโ is the adaptation of a โStoryโ to the screen.
Think about that. Whatโs that mean? A โStoryโ adapted to the screen?
If I were writing a novel, I would take a story idea and start writing. Not so with a screenplay. Remember: โA 'Story' adapted to the screen.โ
โWhat if one of a set of Siamese Twins was accused of murder?โ isnโt a story. Itโs a story idea.
In order to write a screenplay, you first have to write a story. We screenwriters call that developing a โtreatment.โ
Another thing you have to remember, when you begin scripting your treatment (writing your screenplay): โAlways write visually.โ
In a screenplay, you can only describe the things that will actually be SEEN on the screen or HEARD by the audience. Anything else is superfluous. And while we are at it, because you can only describe what will actually be SEEN on screen or HEARD by the audience, we always write screenplays in the present tense.
Keep your sentences short and always use strong and expressive verbs that paint a picture. When writing โactionโ do not use โto beโ verbs: is, are, am, was, were. โTo beโ verbs in action sequences do little more than turn a perfectly good verb into an adverb. "To be"dialogue verbs are fine when used in dialogue. That is the way we talk. Itโs natural. But in action lines, do yourself and the reader a favor: Use strong and expressive verbs that paint a picture.
Another thing to add to your list of things to remember: Try to limit your action paragraphs to no more than four lines or less.
The best screenwriters keep their action description at two lines per paragraph throughout most of the script. Shorter paragraphs create โWhite Spaceโ on the page. Why is that important? You are writing a Spec Script, a screenplay you hope will catch the eye of a producer who will buy your creation and turn it into a movie. But you see, before the Producer sees your screenplay, it has to impress a reader enough that the reader will pass it on to the producer with a recommendation.
These readers are inundated with scripts: piles of scripts on their desk, piles of scripts at home. They really donโt want to read your script. They would rather go on a date and drink beer, but they are stuck reading your script. And if they open that script and it looks like a novel, every page crammed full, little or no white space, if itโs full of typos, or itโs not formatted properlyโฆ Without hesitation, they will deposit your masterpiece, the next Oscar Winner, in the old โround-fileโ with only the slightest cursory look.
Remember the Golden rule: Great screenplays arenโt written, theyโre rewritten.
Always do a rewrite and remember: White space is your BFF.
Wally & Betty
Wally Lane is a former Boardmember of the Northwest Screenwriters Guild (NWSG). He is an award-winning writer and filmmaker, a published poet, and has written articles and book reviews for several publications, including Journey. Wallyโs film, โWinos & Pigeonsโ, was honored at WorldFest Houston. As long-time Chairman of the NWSGโs Compendium committee, Wally has mentored hundreds of new screenwriters by helping them write to โIndustry Standard.โ
Wally has been writing screenplays since 1990. He and his writing partner, Wash Phillips, have scores of screenplays completed or in development across a wide range of genres. Many of these scripts either have been or are currently optioned.
Wally is an alumnus of the U. of W. Extension Certificate Program in Screenwriting and The Film School, a Seattle-based institution of national repute. He is also a former panelist at the Pacific Northwest Writers Associationโs and the Surrey International Writers Conferenceโs annual Writing Conferences.
Betty Kim is a screenwriter, childrenโs book author, singer, songwriter, actor, and former ballet dancer. She has been active in the Northwest Screenwriters Guild, serving as president, vice-president, treasurer, secretary, and head of the compendium.ย She is featured inย Save the Cat Strikes Backย for her pitching method.ย She has taught her pitch method at TheFilmSchool, the NWSG, andย SIFF. She focuses on writing feature length comedies and childrenโs books.
© 2022 Margie Lawson, all rights reserved.