Have you ever walked out of a movie theater and said, “I think I could write a better story than that movie”? In fact, many great movie ideas can be hard to think of and good screenplays can be even harder to write. Writing for cinema, especially the big screen, means that you create something that is tailor-made for visual media. While it can be very difficult to do well, a good screenplay has the power to change viewers' lives.
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Part 1 of 3: Preparing to Write
Step 1. Identify the form of the scenario
Unlike short stories or novels, screenplays are based on dialogue, rather than prose or description. The main rule of writing a screenplay is: you write visually. Film is a series of pictures, so the pictures in the screenplay you create must be strong and attractive.
- Another rule is this: Each paragraph of conduct command must be three lines or less. This means that a description of the clothes the characters wear or the way they act in a scene should be no more than 3 lines long. Use as few words as possible to describe the action or setting, and let the dialogue do the talking.
- The background and motivation of the character must be seen from the actions and dialogue of the character, not in the description in the scenario. The best screenwriters will keep the description of the behavior no more than two lines per paragraph throughout the scenario. However, the description can still be shown through the power of dialogue.
- Use the present tense in writing the scenario. This will keep all the scenes running in the scenario you created, and that's what scenarios are for: to keep the action and characters moving forward.
- Like the others, there are some exceptions to the rule to write only three lines per scene. For example, the screenplay for the 2011 film “All is Lost” by J. C. Candor and starring Robert Redford, only has 4-5 lines of dialogue in the whole scenario. The majority of the actions the characters perform are shown through lengthy descriptions. This type of scenario is rare and very difficult to create well.
Step 2. Familiarize yourself with the scenario format
Scenarios are formatted differently than other types of writing. Scenario formatting is very specific and can include a lot of use of the “tab” and “enter” keys if you are writing using data processing software on a computer. You can use software that can set it up for you, such as Final Draft, Scrivener, and Movie Magic. You can also use the basic version of the program to format scenarios for free on the internet. Pay attention to parts of the scenario format, such as:
- “Slug line”: The slug line is written in CAPITAL letters at the beginning of a scene and describes a bit about the location and time of the scene. For example: INT. DINNER – EVEN. Sometimes the slug line is shortened to “NIGHT” or “ROOM”.
- INT/EXT: INT stands for "interior" in a setting, for example INT HOME, and EXT stands for "exterior" or a setting that is outside, such as EXT HOME.
- Transitions: Transitions help you move from scene to scene in the scenario. Examples of transitions are FADE IN and FADE OUT, which are openings and closings slowly to go to the next scene, and CUT TO, which means going straight to a new scene. You can also use DISSOLVE TO when a scene ends and the next scene slowly appears to replace it.
- CLOSE UP or TIGHT ON: This indicates the camera is recording someone or something up close. For example: “CLOSE UP on Mia's face.”
- FREEZE FRAME: This is written when the image stops moving and becomes a photo on the screen.
- b.g.: "b.g" stands for "background" or "background" to note when something is happening behind the main character. You can use “b.g” or “background” to record it in the scenario. For example: “Two characters are fighting in b.g”.
- O. S. or O. C.: This term stands for “off-screen” or “off-camera”. This means that the character's voice will be heard even if the figure is not recorded or heard from other parts of the background. For example: “Heri shouted at Salman O. S.”.
- V. O.: This term stands for “voice over”, which is when an actor reads dialogue without being recorded in a scene and narrates the scene. This abbreviation is written under the character's name before the “voice over.
- Montage: A series of pictures that show a theme, contradiction, or passage of time. Montage is usually used to show the movement of time in an instant on the screen.
- Tracking shot: This term means a camera following a character or object. As long as the camera is not locked somewhere or on a tripod and is following a subject, it is called a tracking shot.
Step 3. Take a look at some sample scenarios
There are several scenarios that are almost perfect, such as the screenplay for the classic 1942 film “Casablanca”. Other scenario examples can show several ways to change the shape of the scenario. For example:
- “His Girl Friday”, a screenplay written by Charles Lederer.
- “Pulp Fiction”, a screenplay written by Quentin Tarantino.
- “When Harry Met Sally”, a screenplay written by Nora Ephron.
- “Thelma & Louise”, a screenplay written by Callie Khouri.
Step 4. Look at the section headings in the example scenario above
Section titles indicate the setting of the scene, sometimes with a specific or general timeline.
- In the “Thelma & Louise” scenario, the first scene has a slug line: “INT. RESTAURANT - MORNING (PRESENT DAY)".
- In the “When Harry Met Sally” scenario, the first scene has a slug line that doesn't indicate a specific place or setting: “DOCUMENTARY FOOTAGE”. This indicates that the film will begin with documentary footage rather than a scene in a specific setting.
Step 5. Write a description of the setting and characters
This element should be written in as few words as possible, but in great detail.
- In the “Thelma & Louise” scenario, there is an opening paragraph about Louise's character:
- The screenwriter presents a description of Louise through her profession (“a waitress in a cafe”), clothes and appearance (“in her early thirties, but not too old to be a waitress,” “very beautiful and well-groomed”) and her actions (“putting dirty cups rudely,” “ROUGH, which he did on purpose”). The presence of sounds (written in capital letters in the scenario) such as “country muzak”, also explains the setting in very few words.
- In “Pulp Fiction”, there is an opening paragraph that explains the setting:
- Tarantino provides basic details on how many people are in the setting (“quite a lot of people”, young men and young women), and he provides specific but brief descriptions of these two characters. All these details create a basic understanding of the description and characters that will be developed through the dialogue.
LOUISE is a waitress in a cafe. He was in his early thirties, but not too old to be a servant. She was very beautiful and well-groomed, even after her shift ended. He placed the dirty cups roughly into the tray under the counter. His actions created a ruckus, which he did on purpose. COUNTRY MUZAK was playing in the b.g., and he hummed to the music.
Denny's in its usual, cafe like Spiers in Los Angeles. It's 9:00 now. Even though the place wasn't very full, there were quite a few people drinking coffee, munching on bacon and eating eggs.
Two of them are a YOUNG MAN and a YOUNG WOMAN. The Young Man had a bit of a working-class British accent and, like the British, he smoked like he was out of style.
It was quite difficult to determine where the Young Lady came from and how old she was; everything he does now is the opposite of what he used to do. They both sat at a table. Their dialogue is said at a fast tempo like "HIS GIRL FRIDAY".
Step 6. Look at the dialogue in the sample scenario
Most scenarios are filled with dialogue, but this is not without reason. Dialogue is the main tool a screenwriter has to tell a story in a film. Notice how certain characters use language in their dialogue.
- For example, Tarantino has a character named Jules in the movie “Pulp Fiction” who uses slang such as “Whaddya mean?” rather than “What do you mean?” (“What do you mean?”) and includes a rant in Jules' dialogue. This helps to make up Jules' overall character as well as his personality.
- In "Thelma & Louise", Louise's character uses "Jesus Christ" and "for God's sake" throughout her dialogue. This is in contrast to Thelma's more formal and polite dialogue. By doing this, the screenwriter, Khouri, sets the two characters against each other and shows the audience how each character thinks and acts throughout the dialogue.
Step 7. Note the usefulness of the description or command behavior in the dialog
A visual cue is a short note of description written before the dialogue is spoken. This note will be written using parentheses before the character dialog.
- For example, in "When Harry Met Sally", Ephron notes "(make a buzzing sound)" before Harry's dialogue. This is a small note but it clearly shows that Harry has a certain sense of humor and way of speaking as a character.
- This can also be done with only one word description between dialogues. In “Pulp Fiction”, Tarantino notes that a waiter behaves “(cheeky)” when saying something to one of the characters. This description gives the waiter a certain attitude and provides context for the dialogue.
- Only provide action orders when needed. Don't rely on the commandments of behavior to tell the story. Dialogue and the actions of the characters must be able to tell the scene effectively, without commanding behavior.
Step 8. Notice how the scenario moves from scene to scene
Most scenarios will move from scene to scene with a “CUT TO:” note indicating that there will be a cut from scene to scene. Cropping a scene should only be done when you move to a new scene or image. In " Pulp Fiction ", there are two characters chatting in the car and then the same two characters open the trunk of the car.
You may also see a note: “FADE IN” or “FADE OUT”. Fade in is usually done at the beginning of the film, as in the film "When Harry Met Sally", and at the end which is called the fade out. Fade in provides a gentle opening to a scene to give the audience time to get ready to watch the scene
Step 9. Pay attention to other notes on different types of shots, such as close ups or tracking shots
Notice how the screenwriter uses specific brief notes to create a particular picture or moment of a character. Most screenwriters only use shot notes when they feel it's important to write them down and would make the story better.
- For example, in “Pulp Fiction”, Tarantino opens a scene with the note:
- This indicates that the camera will move with the assassins as they walk, creating an atmosphere like moving on the screen.
EXT. APARTMENT BUILDING PAGE – MORNING
Vincent and Jules, in their matching long coats dangling to the floor, walked across the courtyard of what looked like a hacienda-style Hollywood apartment building.
Keep TRACK beside them.
Part 2 of 3: Writing Screenplay
Step 1. Think of story ideas
One of the best ways to do this is to think about the movie characters you'd like to see on screen. Do you like certain genres, such as romantic comedies, action films, or horror? Consider creating a screenplay based on a movie you like. Chances are, you'll find out more about the genre you're passionate about and your passion will show in the scenarios you create.
- You can also think about childhood memories that always haunted you as an adult or experiences as an adult that you always think about.
- You might be drawn to a certain time period, such as downtown New York in the '50s, or California in the '70s, and start coming up with story ideas where several characters interact with each other over a time period or setting.
- Write about your feelings and some people you know and like. This will help the audience understand your story.
Step 2. Identify a male or female lead
Create a character that you feel you can describe in 300 pages-someone who can hold the attention of you and the audience. Think about people you know, people you read about in the paper, or people who caught your eye on the street or at the supermarket. The main character can be related to a theme, such as war, loneliness, or love. Also, your main character could be your reaction to a stereotype of a genre or theme, such as a lonely witch who craves love, or a soft-hearted thug.
- Create a character profile for your main character. Character profiles are questionnaire-style posts that let the writer know more about their character.
- The details you write on the character profile will not appear in the scenario. But knowing everything about your characters will help you think they are real people. You can ask yourself: “What will my main character do in this scene? What will my main character say at these words?” and have the confidence that you have the answers that will advance your scenario.
Step 3. Create a log line
A log line is your one-sentence conclusion to your story and is commonly used as a marketing tool, such as when a studio executive asks you to provide your best pitch. This pitch should be your log line. Log lines also help you focus your writing on the most important aspects of your story and keep it on track. The log line generally contains three elements:
- Protagonist: This is your main character-the person who will win the audience's sympathy, or at least make the audience feel what he or she feels. You can have more than one main character, but each protagonist is different and has his own qualities. For example, in “Thelma & Louise”, the protagonists are Thelma and Louise, but the two characters have different goals, motivations, and perspectives in the script.
- Antagonist: This is your main character's opponent-someone who always opposes the protagonist. In “Thelma & Louise”, the antagonist is a man who tries to rape Thelma in a bar. However, the antagonist in the script becomes "the law" when Thelma and Louise become fugitives for shooting a man who tried to rape Thelma.
- Goal: This is what keeps the protagonist motivated and driven to keep going. What does your main character want? Thelma and Louise wanted different things at the beginning of the script, but after the antagonist appeared, both now wanted to be free from the threat of prison. These two characters share a common goal that drives them to move forward in the script.
- The complete log line for the “Thelma & Louise” scenario could be written like this: “An Arkansas maid and housewife shot a rapist and fled in a '66 Thunderbird”. Keep in mind that the log line does not use character names, but only focuses on their persona or character type.
Step 4. Write a treatment
In the screenwriting business, treatment will let the studio executive know if your idea will be worth the money. As an initial draft of a scenario, treatment can also be a useful tool for framing your story and thinking about its initial sketch. Treatment is a two- to five-page summary that divides the story into three parts:
- Movie title: The title of the movie may change from time to time, but it's a good idea to think of a title that can summarize your screenplay. The best titles are usually simple and straightforward, for example: “When Harry Met Sally” or “Pulp Fiction”. The title should not only make the reader or viewer aware of your overall screenplay, but also keep them interested enough to continue reading or watching. Avoid long or ineffective titles, such as titles that must use a colon. While it's usually used for big films (especially sequels), using a colon can indicate that your idea is out of focus.
- Log line: Take the log line you created in the previous step and place it at the beginning of the treatment.
- Synopsis: Expands the log line to include the names of the characters, short details about their personalities, and a basic idea of how they get from point A to point B in the story. For example, a synopsis for Thelma & Louise” could be written like this: “The gentle housewife, Thelma, went with her friend Louise, the stubborn waitress, for a weekend fishing trip. However, their journey turns into a scuffle with the authorities when Louise shoots and kills a man who was trying to rape Thelma in a bar. Louise decided to go to Mexico and Thelma followed her. On the way, Thelma falls in love with a sexy young thief named J. D. and a detective sympathetic to their plight tries to convince the two of them to turn themselves in before their destiny is irreversible.”
- Treatment can also include snippets of dialogue and descriptions. However, the main focus remains to summarize the overall content of the story.
Step 5. Outline the scenario
This is when you focus on the structure of the scenario. The scenario outline is a guide for you to tell your story effectively. The length of a script usually consists of 50-70 scenes. Every scene must have a setting and something that happened because of your character, or something that happened as a result of your character. These 50-70 scenes should be the gist of your story. Most full-length screenplays are 100-120 pages long, and are divided into three acts:
- Act 1 is about 30 pages long and will introduce interesting settings, characters, and events. Interesting events, or events that move your protagonist forward, are usually 10 to 15 pages long in the screenplay.
- Act 2 is about 60 pages long and is the gist of your story. This is where the protagonist identifies his goal and faces several obstacles that go against his goals and objectives. These problems or issues will get worse, or the goals of the protagonist will become increasingly difficult to achieve. There should be tensions that continue to mount in the second half.
- Act 3 is usually shorter than Act 1, which is about 20-30 pages. Here you will create the climax of the story-the protagonist's last attempt to achieve his goal. This climax will also determine the ending of the scenario. Once the obstacle is cleared, the main character can get on his horse and run into the sunset, or he can be knocked down by his own horse.
- Keep in mind that you don't have to determine how many scenes there are in your screenplay until you have completed the first draft or rough draft of the screenplay. However, keep these numbers in mind as you write. Most likely, you will have to cut the scenario and edit it to create a scenario that is structured around the three acts.
Step 6. Create a quick draft
A quick draft is when you write a screenplay quickly and don't think too much about what you're writing, and don't edit it in advance. Some screenwriters attempt to write this draft in one week, or several days. If you start with a strong log line, statement, and story outline, you can create a strong lightning draft too.
Focus on getting ideas out when creating your flash draft. Stopping writing to cry over word choices or editing text can hinder the screenwriting process. Just write it down
Step 7. Write visually
Remember that you are writing for visual media. Focus on what you can see or hear on the screen and don't feel like everything has to be explained to the viewer.
- For example, in “Pulp Fiction”, Tarantino describes drug use using several close up techniques that show what is seen and heard on screen.
- Tarantino doesn't use many adjectives or clear descriptions, but the spacing on the script and the descriptions he uses describes the scene clearly. When you use descriptions, make them as specific and catchy as possible, such as “spurt” rather than “moves” and “vessels” rather than “arms.”
- Don't be afraid to leave blank space on the page. Tarantino uses this empty space to show that each scene will leave the audience shocked and stunned. Viewers will experience the thrill of drug use without having to record it for a long time or take up too much screen time.
CLOSEUP – SYSTEM
Get into Vincent's veins.
CLOSEUP – BLOOD
Bursted and climbed into the shot, mixed with heroin.
CLOSEUP – VINCENT THUMBS
Depress the injection plunger.
Step 8. Limit the dialog to three lines or less
About 95% of dialogue should be short and straightforward. The use of monologues in script writing is also important and can be done well (like Jules' monologue in " Pulp Fiction " or Harry's monologue at the end of " When Harry Met Sally "). However, most of the dialogue should be presented like playing ping-pong. Avoid speech that sounds like prose. Jokes that go along with each other will make the scene run smoothly in the scenario you create.
- For example, in the dinner scene in the movie “When Harry Met Sally”, Ephron uses dialogue to make the scene flow naturally and show the character's personality:
HARRY
So, how did you break up with Sheldon?
SALLY
How do you know we broke up?
HARRY
Because if you didn't, you wouldn't be dating me right now, you'd be with Sheldon the Mighty.
SALLY
One, I'm not dating you. Second, it's none of your business if the two of us do break up.
HARRY
Yes, you are right. I don't want to know why.
SALLY
In case you were wondering, we broke up because he was so jealous and because I had Days of the Week panties.
HARRY
(make a buzzing sound)
interrupt. Days of the Week panties ?
SALLY
Yes. The panties had the names of the days of the week written on them, I thought they were cute-and one day, she told me, you never wear Sundays. He became suspicious. Where's Sunday? Where did Sunday miss? And I told him, but he didn't believe it.
HARRY
What?
SALLY
The factory doesn't actually write Sunday.
Step 9. Create a different dialogue for each character
Your character is a living and breathing individual. So make their dialogue relate to their personality, background, and perspective on life. Young people growing up in Jakarta, for example, will not have the same speech patterns and slang words as old women who lived in Surabaya in the 1960s. Their dialogue should feel like the dialogue a real person would say.
- It's important to create different character dialogues if more than one character is talking at the same time in a scene (which most scenarios will have). In “Thelma & Louise”, Khouri gives each character different speech patterns and slang to illustrate their different views and thoughts when they are both in the same scene.
- Don't write down things that are obvious. Dialogue should always be able to tell more things at a time. Dialogue that only tells the reader about a character's background or only serves to answer the character's questions is not enough to be a scenario. Dinner dialogue in “When Harry Met Sally” isn't just a simple way for the two characters to chat. In fact, the story Sally tells Harry illustrates her perspective on romantic relationships and her own ideas about intimacy and honesty.
- If you are going to use a monologue in your screenplay, only use it once or twice in the whole scenario and make the scene meaningful. Your monologue must be brilliant and necessary for story development and/or character development.
- It's tempting to make a character sound "classy" using archaic language, especially if you're writing a film that is period or historical in nature. Keep in mind that your character still has to sound like a real person to modern audiences. So don't get too hung up on using complicated language that doesn't suit the characters in your scenario.
Step 10. Enter a scene late and end early
Don't be tempted to overwrite your character, setting, or scene descriptions. Writing a screenplay is less focused on details and more about ending a scene early so the audience will want to continue watching it. A good trick is to cut off the first and last sentences in a scene. If the scene can still run without these two sentences, delete them.
For example, in “Pulp Fiction”, Tarantino ends many scenes before important moments, such as when two assassins are killing a target or when a powerful person is punching someone to the ground. He then cut the important moment directly into a new scene. This makes the action in the story flow smoothly and the audience is more interested
Step 11. Give it big risks and goals
One of the things that keeps people interested in watching a movie is that you can show important events and images in a large format. These are also referred to as “set pieces”. Set pieces are usually a series of high-impact scenes that grab attention. For the case of most action films, this is made with exaggeration. Even in a film about two people talking to each other in different settings (“When Harry Met Sally”) or about two women on the run (“Thelma & Louise”), there must always be great risk and purpose for the characters.
- Harry and Sally are both looking for love and a mate, and after 10 years of friendship, they finally realize that what they are looking for is right in front of their eyes. So, their risk is very high because their friendship could end if their love relationship does not go well and the goal is also high because they both want to achieve the same goal: love.
- Thelma and Louise also had high risks and goals. Various events in the film put both characters in situations that could land them in jail, and that is a high risk. So, their main goal is to avoid the law and get out of their current situation and achieve freedom.
Step 12. Make sure the scenario you create has a beginning, middle, and end
It will all end in a three-act structure. Your screenplay, no matter how unique or interesting the subject matter, should fit into three acts. There must be Act 1 with interesting scenes, Act 2 where the protagonist's goals are shown, as well as escalating conflicts or obstacles that prevent him from achieving his goals, and Act 3 with the climax and ending of the story.
Part 3 of 3: Revising the Scenario
Step 1. Check the format of your scenario
Your screenplay is now created in at least one draft, or multiple drafts. However, before you read it to others or send it to an interested study executive, you should check that your manuscript is properly formatted.
- Check to see if the script starts with “Fade in”, scene title, and setting description.
- Make sure the script contains several lines of description for each character, especially if this is the first time the character appears in the script.
- Remember that all character names and sounds must be capitalized.
- Make sure all commands are written in parentheses.
- Check for transitions, such as “Cut to”, “Fade to”, or “Dissolve to” between scenes.
- Make sure there is a note at the bottom of the page that says (CONTINUED) if the page is cut off in the middle of a dialogue or scene.
- Check the page numbers at the top right of each page.
Step 2. Read your scenario aloud
In the film business, once you have sold your screenplay, this reading will take place at a round table with the actors and actresses who have been selected to play the characters in your screenplay.
