Okay, it’s time for me to be… how to I put this nicely?
Parental.
I still love you but I have to teach you a couple of lessons.
I’ve noticed a good chunk of excuse-making in the comments section about why writers aren’t keeping up.
One of the biggest reasons is: Not enough time.
My response to that?
B.S.
And I can hear your resistance already. The anger is bubbling. You can’t wait to get down in that comments section and explain to me why YOUR situation is DIFFERENT from everyone else’s and how you actually truly seriously don’t have enough time to get your pages written.
B.S.
B.S. with a capital B and a capital S.
The only way you don’t have enough time to finish your pages is if there is an anti-screenwriting terrorist in your home pointing a gun at your head all 24 hours of the day and telling you that if you write anything, he’ll shoot you.
Unless that is going on, you have time.
If you are operating by the 2-Week screenwriting principle of not judging your writing, you can write 8 pages in 2 to 3 hours.
If you’re still convinced that you don’t have enough time, post every hour of your day and what you were doing during that hour in the comments section. I’m certain that the intelligent Scriptshadow community can help you rearrange some things to find two hours to write.
And if your excuse is that, sure, you do have the time, but you’re stuck and you don’t know what to write next – KEEP WRITING ANYWAY. I don’t care if you write a redundant scene or a scene that feels pointless. As long as you keep writing! Because when you write, you’re more likely to come up with ideas, and when you come up with ideas, you’ll have reason to keep writing.
“But… but… but… but…”
No buts. You know it’s true. You have time to write. Now stop making excuses and just do it.
On to something I’ve noticed a few of you having trouble with – dialogue.
Here’s the dirty little secret about dialogue.
Are you ready?
DON’T WORRY ABOUT DIALOGUE.
That’s it.
That’s the only thing you have to know about dialogue at this moment.
Why? Because there’s never been a script where more than 10% of the dialogue from the first draft made it into the final movie.
Dialogue is the most re-shaped component of a script and that’s because a) it’s easy to rewrite, and b) the more you learn about your characters over the course of a project, the better you understand what they’d say and how they’d say it. Not to mention plots are constantly evolving in rewrites, which means a lot of scenes are getting chopped, which means all those hours you spent obsessively slaving over that dialogue turned out to be for nothing cause the scenes no longer exist.
How insignificant is dialogue in the grand scheme of things? Remember how we talked about the Safdie Brothers writing 160 drafts of Uncut Gems?
Even WITH THOSE 160 drafts, they still did scripted takes AND “say whatever you want” takes with their actors. In other words, they knew that dialogue, while important, isn’t as important as your actors believing in and emotionally connecting with what they say. So after ten years of rewriting a script to death, the finished product still consisted of a ton of dialogue literally made up on the spot.
Yes, everyone, I understand that the Safdie Brothers are writer-directors and don’t need their dialogue to shine on the page. But still: dialogue should be one of the last things in the script you perfect. Once you’ve got your structure down (which usually takes about 6-7 drafts) and you therefore know you won’t be cutting many more scenes, that’s when your focus is going to shift to dialogue.
In the meantime, there’s two types of dialogue you should be writing in your first draft. Functional or fun. Functional dialogue when you’ve got exposition to convey to the writer. And fun for everything else.
So if you have a scene like in Jurassic Park where the characters are explaining the rules of the dinosaurs or how the theme park works, just get that dialogue down. It doesn’t have to be entertaining. You’ll make it entertaining in future drafts. Right now, it doesn’t matter if it’s dryer than sand. You just need to get it down.
And if you have a scene where two characters with some sexual chemistry are on their way to the next big set piece, have fun with their dialogue. Be outrageous, witty, silly, clumsy. You’re not trying to hit a home run your first at-bat. You’re trying to get a general feel for who these people are and the things they might say. These scenes can be twice as long as they’ll end up being in the final draft because you’re in exploratory mode.
With that said, I know that writing a good dialogue scene makes you feel good. And when you feel good, you want to write more.
So here are a couple of tips. One, try to have at least one dialogue-friendly character in your script, someone who likes to talk, has a lot of opinions, is clever, is funny, or all of the above (think Tony Stark, Harley Quinn, Oscar Isaac’s character in Ex Machina). Just having that character around will up the quality of your dialogue 30% without you having to do anything.
From there, look to dramatize scenes. Create some element of conflict within the scene. That conflict will force your characters to interact with dialogue that’s more fun to listen to.
For example, here are two scenes. You tell me which one is more likely to result in good dialogue.
The objective of the scene is to set up a pandemic virus that’s emerging so that the audience understands it for plot reasons we’ll explore as the movie goes on.
In our first version of the scene, Joe tells Sara why the virus is so dangerous. Sara, eager to learn, asks a lot of questions. “Where did the virus start?” “How many people have died so far?” Joe answers all the questions and when he’s finished explaining everything, Sara thanks him.
We’ve achieved what we’ve set out to do. The audience now understands the virus at the center of the movie.
Now here’s a second version of the scene. In this version, Joe and Sara have two different mindsets about the virus. Joe gets a lot of his news from conspiracy websites. He’s up to date on the latest unfounded theories. Sara, meanwhile, only trusts official fact-based data that’s been reported through official channels. The two debate each other on what’s real and what isn’t.
Note how, dramatically, this is a much more interesting way to talk about the pandemic than a simple Q & A session. The main difference is that there’s conflict between the characters and whenever you have conflict, the scene is more charged, and when a scene is more charged, it’s generally better.
This isn’t the only way to write good dialogue, of course. But it’s an example of where your mindset should be to set a stage for the most interesting conversations. You want to create a situation that has some dramatic value and isn’t just characters saying what you need them to say to set up the plot.
But don’t get too wrapped up in that. You don’t need to focus on dialogue in the first draft. You need to write the darn script. So whatever you do, keep writing. And stop sabotaging yourself. You have the time. And as long as you don’t judge your writing, you will get your 8 pages. Trust me. You just have to sit down and do it.
Congratulations!
You’re 8 pages into your screenplay.
If I were at your place right now, I’d give you a high-five.
Actually, that’s not a good idea in this environment. How bout I send you a virtual elbow-bump instead? Not as visceral but still gets the job done.
And, hey. Even if you’re not 8 pages into your new screenplay, there’s no need to panic. The opening of your script, where you set everything up, can be deceptively tough.
Think of it like a party. In order for everyone to have fun, someone has to order all the liquor, schedule the catering, make sure all the invitations have been sent out, prep the house, etc. That’s essentially what you’re doing with your first 15 pages.
Setting up all the characters, conveying relevant mythology and backstory, constructing the setup for your plot – that stuff doesn’t naturally flow off the fingertips. So give yourself a break if the opening is kicking your butt. You can make up for it in the coming days.
That actually brings me to today’s topic, which I, surprisingly, don’t see discussed often in the screenwriting community.
That would be the psychological effect of writing.
Let’s be honest. Some days, writing beats you up. I’ll give you an example from a script I wrote a long time ago. It was a big sprawling science-fiction script with a lot of characters and a lot of mythology. I’d been thinking about the script for a long time. I’d been living with the characters. I’d inhabited the world. I even spent hour-long meditation sessions attempting to “experience” what a real hour on this imaginary planet I’d created would be like.
Needless to say, I was SO EXCITED to write the screenplay. And when I finally sat down and wrote the first 20 pages, they were nothing like what I had imagined them to be. I learned quickly that I didn’t know some of the characters as well as I thought I did. There were small logistical gaps in the setup, such as where certain secondary characters were located geographically. And how to jump between different sets of characters and keep the narrative flowing. All of this stuff seemed insignificant during prep but now that I was facing it, it was anything but insignificant. This turned what I assumed would be a fun breezy writing week into a taxing depressing slog.
What I noticed after those 20 pages was that my desire to write went way down. So the day after that, I only wrote two pages. The day after that, I wrote one. And then I found myself avoiding writing the script altogether. All of this stemmed from those first 20 pages beating me up. Psychologically, I was defeated. And I let that defeat dictate my motivation.
Writing is still an art. All art contains a strong emotional component, both in connection with your characters and in connection with yourself. It’s like a relationship. You can’t go on auto-pilot. You have to emotionally invest to do the work. As everybody knows, when you emotionally invest in anything and it doesn’t go well, you become emotionally exhausted.
But here’s what I’ve learned over time. No matter how tough a script gets, you always get back to a high point as long as you keep writing. So I get it. You might experience what I experienced on that sci-fi script at some point in this first act (or later). If that happens, go watch a Youtube video that makes you happy (do NOT watch another fear-mongering pandemic video – that will NOT help). Grab a snack that always makes you feel good. It’s a pandemic. People will understand if you gain a little weight. Then get back in there and keep writing because it WILL get better.
4 scenes or 8 pages a day. That’s it. In 2 weeks, you’ll have a feature screenplay that you may be talking about in two years from the red carpet of the film’s premiere. They’ll ask you, “How did you come up with this idea?” And you’ll answer, “Actually, Scriptshadow made me write the script. I didn’t have a choice.”
Now get back to it!
It is time!!!
Today is the day we start writing our scripts.
For those of you just popping in, we’ve spent the last six days prepping for this moment. Here are those posts: Day 1. Day 2. Day 3. Day 4. Day 5. Day 6.
Now you’re probably wondering, “How are we going to write a script in just 2 weeks, Carson? I know you’ve had us prep everything and we even wrote a basic outline, but writing scripts is hard. You run into problems. You run out of ideas. You get writer’s block. There are so many ways a script can get derailed.”
All of these things are true.
IF!
Your standards for a first draft are too high.
We’re going to institute something called THE 2-WEEK SCREENPLAY PHILOSOPHY to ensure that you finish this script.
The 2-Week Screenplay Philosophy is simple: You will not judge what you write.
Sounds simple, right? But when you dig into it, it’s an extremely powerful mindset. The reason we often struggle to write is because we’ve set the bar too high. Many writers are cursed with the perfectionism gene. We want every scene to be great. When it isn’t, we get down on ourselves, spiraling into a belief that our idea is terrible and that the script doesn’t work.
That’s not going to cut it for the 2-Week Script. We have to be okay with subpar writing. Our goal is to GET OUR STORY DOWN ON THE PAGE. Then, later on, we can allow our analytical selves to identify the weaknesses in our script and come up with strategies to fix those weaknesses in rewrites.
But now, we can’t worry about that.
Let me be clear about this. If you are unhappy unless you write a great scene, you will not finish this exercise. It is imperative that you let go and allow the scenes to write themselves.
This does not mean don’t think about how you’re going to craft a scene. But you have to hit a certain number of pages a day. So if you get stuck not knowing what to do, write the most basic version of the scene and move on.
Speaking of pages, it’s time to get down to the nitty gritty. We have to make two decisions moving forward. How we package our daily goals and how we schedule our writing for each day.
Let’s begin with the packaging. You need to write either 4 scenes or 8 pages a day. After 14 days, that will bring us to 112 pages. Note that both of those numbers are the same thing. 4 scenes at an average of 2 pages per scene is 8 pages. Psychologically, however, they’re different. Since 4 is a lower number, it will seem easier to achieve for some. But if the number 8 doesn’t scare you, it’s fine to use that as your daily goal.
I understand that each script is unique and that each writer is unique. So not everybody is going to be writing 2 page scenes. In those cases, page count might be better for you. But if you ask me, I think 4 scenes is the easier measurement. Cause 4 scenes is easy. I can write a scene in 10 minutes. So can you. Not if you’re super-judgmental, you can’t. But if you let go, you can write scenes very quickly. I see no reason why you can’t write 4 scenes in two hours.
That brings me to our second component, scheduling our writing time.
One of the biggest reasons writing doesn’t get done is because writers don’t set specific times to write. They go off of “feel,” using the crutch of, “I’m an artist. I need to be inspired.” WE AIN’T GOING TO DO THAT HERE.
I am giving you three scheduling options to choose from.
OPTION 1: Write your 4 scenes or 8 pages in the morning. You can take a shower, eat breakfast, and have coffee. Spend 10 minutes checking up on the coronavirus news. But after that, you have to write.
OPTION 2: Write your 4 scenes or 8 pages at night. You’re living a little more dangerously here. But I’m aware that some of us are creatively dead in the morning and that the artistic juices don’t come alive until later. I’m fine with this as long as you pick a set time. DO NOT GO OFF OF “FEEL!”
OPTION 3: Split it in half. 2 scenes or 4 pages in the morning. Then 2 scenes or 4 pages at night. The reason I’m throwing this option in there is because anybody can write 4 pages. I mean, come on. It’s so easy. This is a screenplay. There’s 3 times as much white space as there are actual words. The “split” option is another psychological hack to help writing feel more manageable.
And that’s pretty much it. There’s no magic pill to this stuff. It’s about getting the pages down. My suggestion is to do the 4 scenes in the morning. That way, you get it out of the way and you feel good about yourself for the rest of the day. If you wait til the evening, you allow anxiety to seep in, you worry about running into problems you can’t solve and “What happens if I can’t think of anything and I don’t finish my four scenes?” Working in the morning gives you some room in case the unexpected happens.
As for how I’m going to structure the posts over these next two weeks, I’m not going to talk about general script issues every step of the way because every script is unique. Someone writing Avengers is going to have different problems than someone writing Get Out. So what I’m going to do is keep an eye on the comments section and see what you guys are struggling with. If I find consistent themes or things that resonate with me, I’ll post about them.
But mainly these next two weeks are about getting the pages written. And I know you can do it. Don’t judge yourselves. Writing is fun. Let whatever comes out, come out. You are going to surprise yourself. Now get writing!
You’ve been dreading it.
That word.
That evil enemy of all screenwriters.
The seven-letter word that may as well be the seven circles of Hell.
I’m talking about the…
Outline.
Look, I’m not going to debate you on whether it’s good to outline or not. For this script, you’re going to outline. And the good news is, it’s not going to be some elaborate ordeal. All you’re doing is taking everything that you’ve already written down and organizing it into a slightly more structured document.
A script is roughly 50 scenes. That’s assuming it’s 100 pages long with an average of 2 pages per scene. You might be writing longer scenes, like Quentin Tarantino does. That’s fine. You can easily calculate how many scenes you’ll write if your scenes average 5 pages per scene. 20 scenes.
The reason this is a nice number to know is that, now, when you lay out your outline, you can number the scenes and know how many scenes you’ve already imagined and how many you have left. Also, you’ll know where you’re missing scenes. You might have a bunch of scenes packed up in the first act and very few scenes after that. That should be an indication you need to add a few more scenes later on.
We want to make this outlining as simple as possible so here’s what I’d recommend doing. Divide it into four sections (First Act, Second Act A, Second Act B, Third Act). Each section will consist of 8-14 scenes depending on your writing style and the type of movie you’re writing. If you’re writing like Tarantino, closer to 8. If you’re writing like Michael Bay, closer to 14. Then, just start putting the scenes down chronologically and numbering them.
Since time is tight, all I care about is getting the bare essence down in the outline. But if you want to give yourself notes or write down some dialogue you had for the scene, by all means, go for it. You already have four scenes, since all of you did the checkpoints exercise. So put those in first. Then start filling in everything else.
By the way, I know that for some people, it’s confusing what constitutes a scene. If a couple is having an argument in their living room, then one of the characters storms upstairs, the other follows, and now they argue in the bedroom, does that constitute one scene or two? Generally speaking, if there’s a location change, it’s a new scene. But if the scenario naturally flows from one location to another, you can easily count it as one scene. Sometimes it’s up to the writer to decide. Kind of how it can be arbitrary where to break and start a new paragraph in a novel. I would constitute the above character argument as one scene. But if there was a small pause where both characters caught their breath in the middle, you could easily argue that it would be two scenes. The point is, don’t get too caught up in all that. What matters is we get as many scenes into the outline at possible.
Here’s a general idea of what you should be going for…
As you can see, I’ve got 10 scenes figured out for a script I’m working on called “The Matrix.” Doing the math, that’s roughly 20-30 pages worth of scenes. Which gives me a good indication of how many more scenes/pages I need to get my full 100-110 page screenplay. Notice I’m leaving space between areas where I don’t know what’s going to happen yet. That’s so I have a visual indication of where I need to fill stuff in.
Just to be clear, don’t worry if you don’t have everything figured out yet. A big part of writing is discovering things along the way. So you’ll get new ideas as you’re writing Monday, Tuesday, and Wednesday, which will help you start filling in some of the thinner sections of your outline as you go. And, of course, if you don’t jive with this outlining method, feel free to use your own. Just remember that we’re all trying to do something different this time around to see if there’s a better approach than what we’ve been using in the past. So I encourage you to give this a shot.
Wow, six days later and we’re ready to start writing!
I’ll begin the official WRITE A SCREENPLAY IN 2 WEEKS posts Sunday night at 11pm Pacific time. That’s where I’ll tell you, specifically, how you’re going to approach this to easily finish a screenplay in two weeks.
Seeya then!
Okay, we’re just two days away from beginning our screenplay. I’m excited!
I’ve seen that some of you are concerned this is all going too fast. “Scripts need time and planning and research if they’re going to be any good!” you remind everyone.
Let me cut you off right there. The screenwriters who make the most money in this town are the ones who come in at the last second and rewrite a script in two weeks, or sometimes a few days, right before production.
Learning how to write quickly is going to help you in the long run.
One of things I became guilty of as I delved further into my screenwriting journey was over-prepping and over-developing my scripts. I would do everything you were supposed to do in screenwriting… EXCEPT WRITE.
If you have that problem as well, the only way to tackle it is to get outside of your comfort zone. And writing a script in 2 weeks is going to do that. Don’t listen to your brain. Listen to me. I will guide you to the good place.
Today’s task is a simple one. You’re going to FLESH OUT YOUR IDEA.
Carve out 2-3 hours, sit down, read what you’ve got so far with your title, your logline, your checkpoints, and your character essence sheet, and allow your mind to brainstorm. Any ideas you come up with, whether it be plot points, thematic ideas, what your supporting characters are going to do… write it all down in a single document.
This can be the same document as the one your checkpoints are in or it can be separate. Whatever makes you feel the most creative. We don’t want you stifled. We want ideas flowing freely. So if you think a blank document offers a better chance of that, go with the blank document.
The ultimate goal with today’s exercise is to fill in as much of the story as you can. The reason so many writers start screenplays that they’re unable to finish is that they don’t have enough of the story fleshed out in their head. They reach a point where they don’t know where to go next. Or they come upon a problem that they don’t have a solution for. The more ideas you put down into the document, the more prepared you are for those moments.
If you like more structure, divide your FLESHING OUT document into two halves. The first is notes to yourself and the second is things that will actually appear in the script. A note to yourself might look like: “Make sure every time Morpheus is mentioned in the early scenes, he sounds like a god-like figure.” A plot-related note would be, “Kylo is forced to fight the Knights of Ren in the desert just before he’s able to kill Rey.”
This should be fun! You’re exploring ideas. Coming up with a movie in your head. It’s the most exciting time of writing. Anything is possible! Writing only becomes a drag when we start judging ourselves. We’ll have plenty of time to judge in future rewrites. Today, though, is a celebration of your idea. It’s picking all the fruit off this amazing tree you’ve grown.
Tomorrow we outline.
Monday we write!
