As writers,we try to get all these tips into our heads until we avoid these errors naturally. Whenever we complete a draft, or think we've finished our manifesto, the wise screenwriters will go back and double-check.
1. TELLING INSTEAD OF SHOWING
"Show don't tell" is the #1 rule of writing. Go back through your dialogue. Are your characters saying exactly what they're thinking? Is every intent and every line of every character completely clear? If so, that's a bad thing. Let some of the character actions be ambiguous. Let some of their lines be open to interpretation. Let them demonstrate more of their thoughts by their actions, posture or expression, instead of their words. Let them demonstrate their character with their dress, make-up, jewelry, hairstyle and yes, again…actions.
2. BAD DIALOGUE
Bad dialogue is a big no-no and there are several offenses that fall under this heading.
A. The dialogue doesn't sound like people really talk
B. The Dialogue sounds fine, except all the characters speak in the exact same voice
C. The Dialogue doesn't fit the character (IE, the scientist talks like a teenage prostitute)
D. The Dialogue is boring and devoid of color, insight, and great one-liners
E. The Dialogue is all on the nose (characters express exactly what they're thinking)
3. AVOIDING CONFRONTATION
There was a scriptwriter who wrote a script about a teenager who was gay and the father was so resentful of this that he shoots his own son to death at the end of the movie.
Can you imagine the intense confrontations such animosity between father and son must have generated? Imagine some great actors portraying those roles and what they could do with a really scintillating script. Can you see it? Apparently the writer couldn't.
In his script, the father and son only have fairly copacetic conversations before the script really gets going. "Are you going to the school dance tonight, son?" Etc. As the intensity builds, the two no longer interact. Later, when the father shoots his son to death, it's not face to face, it's from a bridge overlooking a cruise boat that's passing below.
The point is every greater writer goes to a tremendous effort to create situations for their characters that create tension. The characters are at their best when they're struggling against the roadblocks in their lives, but all of that is for naught, if you somehow manage to leave out the payoff moments.
In an action movie, the payoff moment, is when the hero, who has surmounted almost impossible odds, finally gets to fight against the primary villain, who has been built-up to be almost invincible. Generally, the whole move sets this battle up and if the movie is successful, the audience is waiting for this confrontation with bated breath.
The amazing thing is…some writers…don't include the payoff moment.
Take the recent example of TRON:LEGACY. A fun movie, but the end completely falls apart, because there's no payoff. There's no climactic battle between the main characters and the script simply falls short. It's like the production team forgot that they needed a climax.
Think of the MATRIX, but cut the final fight/confrontation between Neo and Mr. Smith. Bummer!
The same thing is true in dramas. Make sure that all that tension you've been building up culminates in an explosive scene. Even if it's understated, that confrontation should take place.
4. POOR STRUCTURE
Most stories follow a simple structure. Hollywood movies especially tend to adhere to this form. If your story or script deviates wildly from this format, it may be wonderful, it's true, but more than likely, you don't know what you're doing and your script needs work.
At the most basic, the story structure is this…
0-25% Introduce Character & A Change of Situation occurs at the 25% mark.
One of the cardinal sins of screenwriting is taking too long to get to the meat of your story, so make sure you don't dwell too long on the setup.
25%-75% The path of the main character is increasingly obstructed as Stakes Intensify.
Though the middle is less important than having a scintillating beginning and end, many scripts, especially comedies get lost in the middle and tend to drag. You need to try to find a way to carry your momentum toward the climax.
75%-100% There's a Major Setback around 75% / The Final Push / Climax / Aftermath
You must find a way to hook your audience from the get-go and then hit them over the head with a great ending. More often than not, that will send them home happy.
5. NARCISSISM
Some writers think that everything they write is wonderful and that adding, cutting or changing any part of it would be verging on sacrilegious. Failure to do rewrites, recognize mistakes, make cuts and listen to advice are frequent mistakes writers should avoid. Remember, once your first draft is finished, that's just the beginning. Many of the best writers cut and rewrite the majority of their script in subsequent drafts.
6. OBSTACLES MUST APPEAR INSURMOUNTABLE
In general, people want to see characters struggle and then triumph against seemingly insurmountable odds. That's often what makes characters shine the most.
Most people don't want to watch the hero walk to the corner store, because he's run out of milk for his morning cereal. Nope!
You want to throw as many seriously dire obstacles in the face of your hero as possible. You want your audience to be wondering how the heck the hero is going to get out of this.
7. BASIC ENGLISH ERRORS
If your script or manuscript is full of typos, misspellings and punctuation errors, it's considered the mark of a novice and there's little chance that anyone will take you seriously no matter how wonderful your story is.
8. YOUR HERO NEEDS TO SACRIFICE
Not everyone will agree, but one of the best movie endings of all time was the Kurt Russell remake of the classic horror film, "The Thing." At the climax of that movie, the hero has clearly given everything he has and we're still not sure it's enough.
Spoiler Warning: In the wonderful action movie, "The Book of Eli," the hero, played marvelously by Denzel Washington, sacrifices his life to accomplish his mission.
And remember, your character's sacrifice can be physical or emotional and it may be as simple as overcoming their ultimate fear, which is often the greatest sacrifice of all.
9. DON'T BE PREDICTABLE
If your script follows the map, change it. The best books and scripts frequently keep their audience guessing. This is not to say that great stories can't be predictable, most are; "After great struggle, the hero defeats the villain and gets the girl." But often, it's not what happens that's important, but how it happens.
Try to add some elements, which are seemingly out of nowhere, but seem to make sense in the context of the script. For example; Samuel L. Jackson's well-played hitman in "Pulp Fiction," who oddly enjoyed preaching sermons during his killings, or Paul Giamatti's astounding hatred of Merlot in the wonderful drama, "Sideways."
10. FAILURE TO FOLLOW PROTOCOL
You may have the best script ever, but if you're not following convention, you may find that no one will read it. Two brads (brass fasteners) are the acceptable norm. Is it stupid? Yes. Is it important to fasten your scripts with exactly two brass brads instead of one or three? Absolutely.
If the instructions on the website of the movie production house where you submitted your script say, "wait two months before inquiring," then wait two months before inquiring. Sure, if you find following the rules doesn't work, there are times you may want to try circumventing them, but the rules are often there to demonstrate that you are capable of acting in a professional manner. If you don't know them, find out.
If you fail to follow protocol it's unlikely that your manuscript or script will be read, let alone produced and seen.
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