Genre: Rom-Com
Premise: A young woman who keeps important items from her previous relationships decides to start a museum featuring those items, turning her into a mini-celebrity.
About: This script finished in the middle of the pack of last year’s Black List.
Writer: Natalie Krinsky
Details: 110 pages – May 17, 2011 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

I heard mixed things about this one. One person I trust said it was absolutely awful. Another person I trust said it was borderline amazing. It should be noted that the person who didn’t like it was a guy and the person who did was a girl. Maybe this is a gender specific script?

The first thing I’d point out about The Museum of Broken Relationships is that the concept is…ehhh…a little hard to buy into. Building a museum out of old relationship items? I even had issues with someone *preserving* old relationship items in the first place. Nobody actually does that, right? But when I went back to check the writer’s name for this review, I noticed that under the title and her name was this: (based on her own insanity). This implied, of course, that not only does this happen, but that our writer was leading the charge!

Okay, so maybe it does happen. And maybe our writer has something unique to say about it. And you know what? I have to admit, the concept’s at least *different*. This isn’t your typical “been there done that” rom-com premise. So I tried to go into “Museum” with an open mind.

Lucy Gulliver, 28, resides in her “adorable Brooklyn apartment,” cursing like a sailor and falling in love easily. She’s currently a junior curator at the Metropolitan Museum of Art. She’s also banging her boss, Max Frank, a self-absorbed asshole whose assholish qualities are lost on everyone except for Lucy.

As Lucy gears up for what she believes is going to be the next level of their relationship, Max surprises everyone except for poor Lucy when, at a banquet, he announces that his inspiration – and also new girlfriend – Ameilia, will be getting the new curator position that Lucy so desperately wanted. Ouch.

A World War II battle between Lucy and Max follows and she follows that by quitting, putting her in big financial doo-doo. Luckily her roommates are there to pick her up, going into Break-up Damage Control Mode, something they’re very good at with Lucy breaking up ALL THE TIME.

Afterwards, we find out Lucy creepily keeps tons of items from her previous relationships in her room. And her roommates come clean, telling her in no uncertain terms that she’s a psycho, and that if she’s ever going to have a real relationship, she has to let go of all these relationships by letting go of these items.

But Lucy’s not the type of girl who listens to logic and actually goes in the opposite direction. In a drunken crying Facebook post, she tells everyone to offload their own personal relationship souvenirs on her. She doesn’t think much of it, but the next day, people start leaving these items on her doorstep. Lucy unwittingly becomes the recipient of everyone else finally letting go of their past.

The itemage gets so big that she eventually needs a place for all of it, and that’s when she comes up with the idea to turn it into a museum exhibit.

During this time, she meets the curiously named Nick Friend, a man-whore who usually doesn’t go out with girls long enough to experience breakups. The two are opposites in many ways, which is why they get along great. Nick is actually the one who finds her her museum space.

Eventually, the museum becomes a big hit, and Max comes back into the picture, wanting to affiliate the museum with the Met. He also wants to get back together with Lucy. Despite her success, Lucy’s self-esteem is still low, so she says yes, in the process ensuring her doom. The question is, will she figure that out in time to stop it and realize who she’s really supposed to be with?

The Museum Of Broken Relationships is definitely a “love it or hate it” script. And it’s clear early on why women are going to relate to this script more than men. I’d argue that Krinski doesn’t like men much – something she’s not afraid to show. At one point, describing Nick’s friend playing video games, she writes, “Brady plays Madden or Halo or Call of Duty or one of those lame games that boys play.” Which is kind of funny but at the same time a pretty transparent indication that our writer’s not a fan of us dudes.

But what’s really going to polarize people is the style the script is written in – the dialogue in particular – which is VERY big and showy. It’s the kind of style that’s going to get a script noticed, and certainly makes a script memorable where so many others are forgettable, but it also feels a bit desperate, like a writer waving their hands and screaming, “Look at me!”

I have a problem with that kind of writing for that reason. It makes me forget about the story and concentrate on the writing itself. And anything that pulls the writer out of the story is a dangerous move. Because they’re no longer caught up in the magic of your world. They’re thinking about you the physical writer. Let me give you a couple of examples

When describing a statue in the museum she works at, Lucy says, “Aphrodite is the original gangsta of love. And thusly deserves a place of original gangsta-ness. And that’s final.”

Or, “Cinder-Fella, we’ve got to be at the ball in 15 minutes. The talking ship has sailed.”

Nearly EVERY line of dialogue is like this. Now the funny thing is I talked about elevating your dialogue a few posts ago. But this is what happens when you elevate it too much. You bring attention to it. I’m old school in that sense. I think the writing should be invisible, no matter how “big” it is. Krinsky takes the same approach with the action description.

Max clears his throat uncomfortably then leans in the opposite direction and whispers something in Amelia’s ear. She giggles. Max smiles tightly. Homeboy looks worried.

I don’t know. It just feels like the writer is trying too hard.

As for the story, it’s executed well. Sometimes I’m so focused on what’s not working in a script that I forget to appreciate what is working. Just getting all the pieces where they’re supposed to be is big deal. And everything here is where it’s supposed to be. And I know that because I never checked what page I was on or pulled out of the script because a scene had nothing to do with the story. In an amateur script, I might do that 40 to 50 times. So there’s something to say about Krinsky’s understanding of the craft.

But if I’m being honest, I don’t think this script was written for guys. I think it was written for women and that’s why I identified with so little of it. A female-written script I felt was much better suited to both sexes, and a lot more relatable, was the highly ranked Black List entry, “He’s Fucking Perfect,” which I loved and about everybody else hated (don’t know where those voters of the Black List were to back me up on that review!”). So who knows who’s right? I just felt the showy female-biased vibe was too dominant here. I didn’t dig it.

[ ] Wait for the rewrite
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: Motivate your characters’ actions. You can’t just have characters do things because you want them to. Your characters don’t know they’re in a story. They believe they’re in real life. So if they do something, it has to make sense to them. There’s a moment in the middle of the script where Krinsky needs to accelerate the relationship between Nick and Lucy, who’ve only seen each other out and about. So Krinsky simply has Nick show up at her place. Why? I have no idea. I don’t even know how he knows where she lives. But the relationship needed to get going and this was the easiest way to do it. But it doesn’t make sense so it stands out as an awkward scene. Instead, look for ways to motivate these moments. For example, maybe Nick has heard about Lucy’s broken relationship item collecting and therefore brings over something from his previous relationship. Now his visit is motivated by an act instead of him just showing up. So always look to motivate your character’s actions in your script. If you don’t, we’ll notice.

 Thank you everybody who sent in Llewyn Davis reviews. I had a wonderful time reading them and there were a lot of good ones.  BUT I really liked this one by Alexander Gillies, whose passion for the Coens and knowledge of film history won me over.  Really good review!  I’ll be back with a new review tomorrow.  In the meantime, enjoy! :)

I just want to apologize for today, and really, the next two weeks. As I gear up for the LA trip and then actually go there, my posts are probably going to be late. But I’m going to bust my ass to get them up as soon as possible, so I’m still hustling! Anyway, better late than never, right?

Genre: Thriller-ish Crime Drama
Premise: A computer poker player is hired by an offshore poker giant to run his company. But as his fortune and status grow, the player begins to sense that something is amiss.
About: Justin Timberlake baby! JUS-TIN TIMB-ER-LAKE. In this script, Justin reprises his Social Network roll as a sort of hotshot wonder boy who uses computers to build his wealth. The script sold earlier this year. Dicaprio’s production company, Appian Way, is producing with Double Feature.
Writers: Brian Koppelman & David Levien
Details: 124 pages – undated

I played poker once.

I lost.

I never played again.

The End.

Okay, maybe not “the” end. But it was the end for me. Despite how much I disliked this strange game that operated by screwing people like me out of my hard earned money, I’d always been fascinated with poker from afar. When two people go “all in” (whatever that means), and there’s all that money on the table and only one person gets to win it? I mean, isn’t that the very definition of stakes?

But the online poker business brings a whole new spin to it. You don’t have to leave your house anymore. You can just hang out in your bed all day, play against other lazy home-dwellers, and rake in the digital dough.

How easy is THAT?? Very. Until you start losing your kids’ college tuition. Yup, not so easy anymore. But check this out. Even the ones who WON at online poker STILL got screwed. That’s because the government decided their Pa-pa-pa-poker game was illegal or something. So all that money that those places horded? All gone. And some players never saw a dime. Talk about the chips being down.

Ah, but there’s still one online poker joint still kicking! Ivan Block’s. Block’s set up an online poker haven in the Caribbean, somehow safe from the jurisdiction of U.S. governments. The man is raking in hundreds of millions of dollars and when you pull in that kind of cash, people get mad. People want a piece. Especially the IRS. But they can’t do anything about it. Even though they were able to do something about the other poker places.

More on Block in a second. Back in the real world, grad student Richie Furst is trying to scrape together enough money to pay for his Princeton education. And since he doesn’t have a lot of dough, he decides to gamble what he does have on some online poker. And he kills it. We’re talking tuition and then some! But as you already know, greed is a nasty little devil that has no mercy.

Richie keeps playing, and then, impossibly, within a ten minute span, loses every single cent he has. It would be devastating if there weren’t something odd about it. It was like, all of sudden, his competitors played completely irrationally. It’s suspicious enough that Richie goes to one of his Stanford Tech Buddies and has him run an analysis on his hand history. Tech Buddy confirms that, yup, the ace of spades made sure the ace got paid. And Richie ain’t the ace in this conversation.

So Richie, being Justin Timberlake, decides rather illogically to go to the Caribbean and confront the owner of the site, our tax-evading entrepreneur Ivan Block. I’m not sure anybody would do this in real life but hey, I’ll go with it. Once there, Richie uses his charm to get in front of the big guy, show him that he cheated him, and demand his money back. Well Block goes one better. He HIRES Richie.

You see, Block’s competitors are catching up (but aren’t they all out of business??) and he needs a boy-genius to give him an edge. So Richie does what he does best – computerizes shit so it’s better. And the money starts rolling in. But as the great…some rapper…said, “Mo money, mo problems.” And Richie definitely starts experiencing more problems. Going to deliver some dough to one of Block’s friends results in a Tyson-worthy pummeling. A few FBI agents on an extended Caribbean vacation keep popping up to remind Richie that if he doesn’t quit soon, he’ll never step foot in the US again. Cry me a river indeed.

But worst of all, Richie learns that Block may not be shooting straight with him (who woulda thought?) and that if he doesn’t do something soon, lack of vacations in the ole U.S. of A will be the least of his worries.

Runner Runner is a good script. I wouldn’t say there’s anything special about it but the execution is nearly flawless. If it weren’t for the familiarity, it would’ve gotten a much higher rating. But as it stands, it’s just good solid entertainment that does exactly what it sets out to do.

On the negative side, there are a few things that popped out to me. You get the feeling that this project started before the whole Online Poker collapse. Then when it happened it was sort of like, “Oh shit, what do we do now?” And it’s explained away with a two line snippet of dialogue that basically amounts to, “Oh yeah, those companies fell apart. But we didn’t.” Except Block’s company is doing the exact same thing and is based out of the exact same area. Not a script-killer. But it did raise an eyebrow.

Another thing that didn’t quite work was the Richie-Rebecca relationship. Rebecca is someone involved in the poker company when Richie gets there and the two fall for each other. But I couldn’t for the life of me figure out if Rebecca was with Block or wasn’t. Sometimes we’d hear that Rebecca “used to be” with Block a long time ago. Yet her and Richie seemed to be sneaking around trying to avoid Block. So were her and Block together or weren’t they?

The lack of clarity here is a big deal because it’s the difference between adding a whole other level to all the Richie-Rebecca-Block scenes or having them completely devoid of conflict. Don’t you want that tension there? That subtext?. If we know Richie and Rebecca are together even though Rebecca’s with Block and Block doesn’t know about it, that creates all sorts of potentially tense scenes. Though that was never explored here. Or if it was, it was done half-heartedly, I believe because the writers didn’t even know which way they wanted to go. There was no commitment!

I also would’ve loved for Block to be meaner. I was just never scared of the guy. These movies work best when the bad guy starts off your best friend but then slowly devolves into a monster, with a pivotal scene that just scares the shit out of us about the guy. I wanted that pivotal scene but never got it. I liked Block – but he definitely needs more. Where’s that danger??

But hey, the script moved like a bullet train and the writing was about as clean as it gets. After reading all these Twit-Pitch scripts where it takes writers 3 sentences to say what they easily could have said in 1, it was nice to read some professionals who could pack a sentence full of information to keep the line-count down. All writers need to learn how to do this!!!

Not great, but a pretty good script.

[ ] Wait for the rewrite
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: You can never fudge a relationship or a plot point. You have to COMMIT to it 100%. Because if you figure, “Ehhh, I don’t wanna do the work. We’ll just leave it be and they probably won’t notice.” Trust me, we ALWAYS notice. If you’re unclear about something, it comes off as unclear in the script. So this whole Rebecca-Block thing. It was never clarified if they were together. Therefore everything between Block and Rebecca, Block and Richie, Richie, Block and Rebecca – always had a cloud of confusion hanging over it. Clear that up and you could’ve had a whole boatload of great scenes between the three.

What I learned 2: Never say in three lines what you can say in one. Come on, guys. Work hard to make the read easier on your poor reader.

NEW Amateur Friday Submission Process: To submit your script for an Amateur Review, send in a PDF of your script, a PDF of the first ten pages of your script, your title, genre, logline, and finally, why I should read your script. Use my submission address please: Carsonreeves3@gmail.com. Your script and “first ten” will be posted. If you’re nervous about the effect of a bad review, feel free to use an alias name and/or title. It’s a good idea to resubmit every couple of weeks so your submission stays near the top.

Genre: Comedy
Premise: (from writer) A lost cache of Nazi gold could save the crumbling hometown of a failed actor. But the key to the treasure, an antique shaving mug, is also the key to his doom. He must outwit, battle and defeat weird and dangerous Nazi sympathizers who have skulked into town searching for him and the treasure.
Writer: Michael Wire
Details: 108 pages (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

It’s comedy time here on Amateur Friday. I hope your laugh buds are tingling cause we got ourselves a wild one. Our writer, Michael Wire, is definitely insane in the membrane – but in a good way! “Shaving Mug Fracas” is a wild ride that may not have the focus a story this ambitious needs, but I see a lot of promise in Michael. If he can learn to sharpen his storytelling skills, he might very well be a comedy writer to watch for.

“Fracas” starts with former B-grade movie star Chad McSteele III (the actor who portrayed the superhero “Flying Falcon”) putting the finishing touches on one of those giant mechanical dinosaur heads you see in Monster Truck shows. McSteele used to have it all. The women. The fame. The house in the hills. But after a Youtube video surfaced of him screaming like a girl when his wire-frame harness malfunctioned on set, no one bought the illusion of Flying Falcon anymore. McSteele’s career was McSeeya.

So he moved back to his hometown, Verona, Arizona – a desert dump with a higher evacuation rate than Chernobyl, and started his auto-body business. In many ways, Verona IS Chad McSteele – a past-its-prime town that’s just wasting away.

With the banks moving in on Verona, demanding money that the town, and our hero, don’t have, McSteele is looking for any source of income to stave them off. So he starts selling old junk on Ebay. To his surprise, one item, a seemingly innocuous shaving mug, is garnering a serious bidding war. In fact, it’s already up to 1500 dollars!

Before McSteele can figure out why the hell anyone would want a boring mug, a German bombshell, Evita, and her creepy brother, Maxwell, show up wanting to buy the mug directly. When that plan fails, they hire some local skinheads to steal it for them. The skinheads do the job, but in the process see the letters “A.H.” inscribed on the mug. It doesn’t take a genius to figure out who those letters refer to (but the skinheads still need it explained to them). And that means it’s time to up their asking price.

In the meantime, a plump dorky 40-something Brit named “Eggman” shows up ALSO willing to do anything for the shaving mug. It turns out he’s collected a whole set of Hitler’s toiletries and this is the last item he needs to complete it. When he learns that it’s been stolen, he hires McSteele to steal it back.

But that’s when things get really crazy. Evita and Maxwell’s boss, the ancient “Grandfather,” who may or may not have been a Nazi Zeppelin pilot back in World War 2, flies into town himself. He quickly buys some property near the town’s pride and joy, a famous American tank used in World War 2, and hires a number of shifty fellars to move in with him.

It turns out that that mug wasn’t really what our guests were after afterall. There’s something much bigger hidden inside the town of Verona. And the evil Grandfather is going to find it. It will then be up to McSteele to put those tights on one last time and stop him, and maybe, in the process, save Verona.

“Fracas” is reallllllyyyyy ambitious. And I think Michael may have chomped off more Nazi war crimes than he could chew. One of the hardest areas to nail in this kind of story is the first act – because you have to set up so many people and so many storylines in such a short period of time. If you’re not careful, the entire act can turn into an exposition dump. And I’m afraid that’s what happens here. Michael is exerting all of his energy on just making sure every piece of information is conveyed, as opposed to telling an entertaining story. In the process, scenes feel like numbers on a checklist. There’s no flow to them. Nothing evolves naturally from anything else.

I mean we start with a superhero, then cut to a dinosaur head, then cut to a German grandfather in another country, then cut back to McSteele’s body shop where we go into some exposition about a rival body shop, then a quick switch to McSteele trying to pay his workers, then to a mug McSteele’s put up on Ebay, then to Evita showing up, then to a really long bar scene setting up McSteele’s old flame, Julie. I mean I didn’t know which way was up after the first fifteen pages.

And it boils down to a writer trying to jam so many things into his setup without considering how the reader is going to process all of that information. You can’t just use your first act as exposition. It still has to entertain. It still has to read smoothly.

Another thing that bothered me was once we got through those 15 pages of exposition, we had a really long bar scene that had no discernible purpose.

We were just talking about this yesterday. You don’t want to write scenes that convey the same information you’ve already given. So in the bar, McSteele runs into Julie, his old flame, and the two partake in a game of pool. The conversation they have is about A) how McSteele is down on his luck. B) How he’s lost all his money. C) How his superhero career ran out. Yet we already know all of these things. They’ve been conveyed to us quite aggressively. So the scene just sits there.

The scene does have conflict but nobody wants anything out of it and therefore there isn’t anything at stake. If I were to write this scene, I would’ve established beforehand that he and Julie don’t talk anymore – that she dislikes him – but she has something he really needs (possibly something that will help save his business). Now when he approaches her to play a game of pool, he secretly wants something from her. Ahh! Your scene now has a point, something at stake, and therefore some entertainment value. I wanted to see a lot more of that in the first act – entertainment value. Not exposition.

On the flip side, Michael has a wild imagination and some really great moments in his script. Eggman may be one of my favorite characters of the year. His obsession with the mug is hilarious. I loved that McSteele was a former movie super hero. I loved the Germans coming in to steal a secret treasure. I loved that the final battle takes place on Independence Day. I liked the huge mechanical dinosaur they used to attack the Germans. The plot with the gold hidden inside the tank was really clever. The set pieces, like the cop dressing up like a gorilla to take a wasp’s nest off the radio tower, and then the model planes swarming around him, was inspired.

So there’s a lot here to be excited about. But Michael just doesn’t bring it together. You have to work too hard to understand what’s going on. And in a comedy, you shouldn’t have to work hard at all. It should be breezy and easy to understand. I don’t know anyone who goes to a comedy to be challenged.

So that’s what I would say to Michael. Work on hiding your exposition more. Work on adjusting your plot so you don’t have so much exposition in the first place. Work on making all of your exposition scenes entertaining – not just info you’re conveying to the reader. And work on sharpening your explanation of the plot. There are a lot of moments in the script where you’re not clear enough on what’s going on, and I think it’s because certain plot points aren’t clear enough.

So I like Michael as a writer. I like his ambition here and that he’s pushing himself. The other day I chastised a script for making too many obvious choices. This script is anything but that. I can’t think of a single obvious choice Michael made. He just needs to do some simplifying and some smoothing out so the script reads more like a story and less like a prep-sheet for what’s to happen later.

Script link: The Incredible Shaving Mug Fracas

[ ] Wait for the rewrite
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: You have to be careful with your openings. Remember that an opening is the door you use to bring the reader into your home. If the reader walks in and there are monkeys on the ceiling and a plate of food being thrown at them and aliens having sex and a hot Columbian woman whispering sweet Cantonese nothings into his ear, that reader’s probably going to turn around and leave. It’s too hard to process all of that craziness right away. And that’s how I felt reading the opening here. I walked into a house and had no sense of where I was or what was going on. Invite your reader into your house and let them look around a little bit before you start throwing the batshit crazy at them.

I read way too many boring scripts. And the thing is, the whole time I’m thinking, “Aww man, if they had just done this or done that, the script would be so much better.” I want to reach through the screen and correct their mistakes for them. But I can’t. And that’s what’s the most frustrating. They don’t even know what they’re doing wrong – so they continue to make the same mistakes over and over again – and I’m helpless to stop it.

Which is why I’m writing today’s article. If there’s anyone who knows what makes a script boring, it’s me. And I’m here to reveal those mistakes so that you guys don’t make them anymore. Some of them will be easy to apply and some of them will take – gulp – years of practice. But at LEAST you’ll know what they are, which gives you a fighting chance. The biggest reason for a bad screenplay is ignorance – not knowing or understanding the mechanics of what make a story work. Well my friends, consider yourselves enlightened. Here are 10 possible reasons people are bored with your script.

Your movie idea isn’t interesting – This one seems obvious and yet it’s the most ignored piece of advice I give. Writers simply come up with uninteresting ideas. They want to write about a man coming to terms with the death of his mother or a woman’s road trip to discover the meaning of life. There’s no CONCEPT there. There’s no ironic component to make you sit up and notice. You need a SPECIFIC INTERESTING IDEA to explore or else we won’t care. So please, for the love of all that is holy, test-drive your idea with a dozen people before you write your script. If nobody seems that excited (beware fake excitement – which friends and family are good at) then move on to a better idea. It doesn’t matter how good of a writer you are if your idea is boring.

You’re writing scenes that say the exact same thing – New writers take four or five scenes to make a point. Pro writers take one scene to make a point. Because of that, their scripts move faster and because of *that*, their stories are more entertaining. For example, if you want to point out that your main character is afraid to get close to people, then give us an early scene showing them pull away from an emotional moment. Do NOT then follow that scene with four extra scenes specifically showing different versions of that exact same point. That’s not to say you won’t keep hitting on your hero’s flaw throughout the screenplay. But you should only have one scene specifically dedicated to it. That’s the problem with a lot of young writers. They repeat the same things over and over and OVER again when we got it the first time. It’s MUCH more important to keep your story moving than it is to drive your point down our throats. 

Lack of a compelling/interesting/intriguing main character – Oh my God this one is huge. Your main character is who we’re going to be following for the entire movie. So guess what? If he’s got nothing going on, we’re going to be bored! Too many writers make their characters Average Joes doing average things. And yes, some movies require that type of protagonist, but you HAVE to find something interesting about them if we’re going to follow them around enthusiastically. Maybe your hero’s like Indiana Jones, who’s a professor by day and a superhero by night. Maybe he’s a janitor at MIT who’s secretly genius. Or maybe he’s just a really funny dude who doesn’t have any ambition (Knocked Up). Whatever the case, your main character has to be interesting in some way because if he’s not, it doesn’t matter what your plot is. We’ll be bored.

There’s no point to your scene – Pointless scenes are script killers. I usually run into pointless scenes as early as the second scene of the screenplay. In fact, that’s a pretty common place to find them because most writers know what their big fun exciting opening scene is going to be before they write their script. But once that scene is over and they get to characters actually talking, it’s like the writer doesn’t know what to do any more. It’s like they think as long as two characters are having a dialogue – regardless of what they’re talking about – that they’re doing their job. Wrong. If there’s no point to your scene – if characters aren’t trying to get something out of the scene or out of the other character, you’re just talking to yourself. One of the easiest ways to make a scene interesting is to make sure the characters in it want something. That desire (that point) will suck the reader in.

Endless action – Endless action is one of those false security blankets. Young writers believe that as long as there’s a lot of action happening, the reader will be entertained. But actually, if you’re giving us endless action, it’s just as boring as giving us endless dialogue. The reason action scenes work is because of what’s at stake. They work because you’ve used the previous 20 pages to set up how important this heist is or this battle is or this race is. Without that prep to establish the stakes, it’s just mindless action. So if you’re jumping from one action sequence to another with little to no breaks in between, I guarantee you we’re getting bored.

Scenes without conflict – Think of your scenes as a tug-of-war. One person in the scene wants one thing – the other person in the scene wants another thing. You write the scene to figure out who’s going to win that tug-of-war. Maybe Person A wins. Maybe Person B wins. Maybe nobody wins. But the fact that something is trying to be gained is what’s going to keep the scene entertaining. New writers RARELY add conflict to their scenes which is why their scenes are so boring. Now conflict can be tricky. It’s not just two people being angry with one another. In fact, sometimes a character may not even know he’s in a tug of war. So yeah, a conflict-filled scene could be as simple as a wife and husband arguing about who’s going to pick up the kids today. But it can also be a girl who secretly likes a boy and is trying to get him to realize it. Or it can be a wife who’s trying to get her husband out of the house before her lover shows up. However you look at it, scenes work best when there’s some sort of imbalance in them that needs to be resolved. So add some damn conflict to your boring scene!

Your characters are thin – I know too many writers who don’t care about digging into their characters. Some will use the excuse that they’re writing an action movie. Some will just say they’re not interested. But if you’re not digging into your characters and learning about them and understanding how they grew up and understanding the complications they went through and what regrets they have and what their dreams are and who they still hold a candle for – if you don’t know all those things about your characters, then guess what? Your characters will be thin. And thin characters are BORING characters. One of the reasons Avengers was so well-liked was because, even as an action movie, every single one of those characters had an intense backstory. I mean look at the Hulk. If that’s not a character with depth, I don’t know what is. So if they can do that in the biggest popcorn action movie of all time, then you can do it in your screenplay as well.

Not understanding the phrase “stuff needs to happen” – Stuff needs to HAPPEN in your screenplay. The problem is that young writers don’t know what the word “happen” means. They think it means your character going to bars and talking with their friends or going to work for yet another boring workday. Yeah, technically something is “happening” in those scenes, but nothing INTERESTING is happening. In order to make something of interest happen, have the scene push your story forward. So instead of plopping two characters down in a location to discuss their lives, have them trying to figure out something that has an impact on the story. Maybe one of them is thinking of moving to a new city. Maybe one of them is thinking of asking their dream girl out. Now there’s an actual purpose to the conversation so we’ll be invested in how it ends. “Happening” basically means writing a scene where you’re pushing the story forward. If you’re not doing that, your scene’s probably boring.

An unfocused story – I can tell you right now, one of the quickest ways to reading boredom is when I lose track of what’s going on. The script’s become so unfocused that I don’t care anymore. We’ve ended up in a house in another state with a character whose goal I’ve forgotten trying to contact somebody I don’t know about something that’s never been fully explained. Of course I’m bored. A lack of focus almost always stems from an unclear character goal. If we’ve forgotten (or never been told) what the protagonist is after and why, then the script drifts into a sea of murkiness. So the lesson here is, MAKE SURE THE READER KNOWS WHAT THE CHARACTER IS AFTER. There’s never any doubt that Indiana Jones is going after the Ark. That’s why that script whizzes by. So make sure you establish that and don’t be afraid to remind us every once in awhile. Because as soon as we lose track of what’s going on, we start to lose interest.

You’re not putting enough effort into your choices – Recently I read this script I felt could easily be a movie. It was very marketable and the kind of thing a studio would want to add to their slate. But it was incredibly boring. And it was boring because every choice the writer made was the most obvious choice in the world. The main character was a cliche obvious choice. The scenes were all scenes I’d seen a million times before. The funny sidekick character had nothing new to him. It was like the writer never thought past the first thing that popped into his head. It’s your job as a writer to always ask the question: “Can I come up with something better, more interesting, more original, or cooler than this?” Chances are you can. But most writers don’t take the time because it’s too much work. Well I got news for you. Screenwriting ain’t all fun. It’s work. I would go so far as to say if writing a script is pure fun for you, you’re not working hard enough. Challenge your choices. Come up with better ones. Don’t be the guy who sends out a script where everything is obvious, general, and cliché.

And there you have it. Now get back to your current screenplays and make sure you’re not making any of these mistakes. Good luck!