What Types of Stories or Conflicts Are Told Through Screenwriting?
Three Act Structure
What Makes for a Strong Central Protagonist?
Give them a goal
Include flaws
Create obstacles
Show change or growth
What Tools Should You Have Before Starting a Screenplay?
Do You Need to Know Screenplay Formatting Before You Begin Writing a Script?
In Closing
Sources
References
Curious about screenwriting as a career, but not entirely sure what that would entail?
You’re in the right place! When learning any craft, it’s important to build a solid foundation of the basics, and screenwriting is no different.
Whether you’re taking your first dive into what all this scripting business is about, or you’re looking for a refresher on this unique medium, read ahead to find out how and why screenwriting is a craft all unto its own.
There’s no better place to start than with an explanation of what screenwriting is: storytelling in script format that is created for entertainment-related production.
Like any good story, screenwriting thrives on conflict. A story with a character who has an easy and unchallenged life will not attract potential movie or TV fans.
That character must want something. Perhaps it’s getting married, making money, or running a marathon. Whatever the goal, there must be obstacles that get in the way of the character achieving it. Screenwriting is creating a story where the character must engage with these challenges, and when all is said and done, they either succeed or fail in attaining that goal.
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What Are Some Different Types of Screenwriting?
As mentioned, screenwriting is storytelling in script form. Most people associate screenwriting with movies, but they are hardly the only medium that requires the talent and technical know-how of a Screenwriter.1.
Screenwriting is often used as a catchall term for all the many types of scripts a Screenwriter can work on, such as:
Feature films
Short films
Episodic television
Television limited series
Television movies
Video games
The length of script can vary for each of these types of screenwriting. For instance, a script written to become a feature-length film can come in anywhere between 90 and 120 pages, give or take. Scripts for short films could be anywhere from a page or two to 40 or more.
No matter the medium, a great script must have great conflict.
There’s considerable diversity in script length within the world of television as well. A script could be written for network television where there are regular commercial breaks or streaming with not be a single commercial shown during it, meaning that it might be anywhere from 25 to 70 pages.
Teleplay is a term used to emphasize that the script is meant for television. Those thought of as comedies are typically on the shorter side, as these shows usually run for about a half-hour. Dramatic teleplays are usually conceptualized as hour-long shows, and therefore the script length is longer. 2
It’s important to keep in mind other designations associated with different kinds of scripts. For instance, there’s the common term of spec script, which is used for both film and television. That being said, it can be a confusing designation, as it has different meanings according to medium.3
In film, a spec script is an unsolicited script that a Screenwriter crafts on their own without any backing, financial or otherwise, from a Producer, production company or studio.
A spec script can be an idea entirely from the Writer’s imagination or adapted from existing material like a book or newspaper article – but make sure the rights have been attained! Feature spec scripts can be used merely as a writing sample or potentially optioned or bought for future production.
In television, a spec script is a script that a Screenwriter crafts as a writing sample, as it’s a pseudo or faux episode of an existing television show. It might sound strange that someone would write a spec script for this medium knowing that it won’t get produced, but it can be very important for a Screenwriter’s career.
In deciding who they want to be part of their Writer’s room, the Creator or Showrunner of a particular show will want to see that a potential Writer can craft a script in the tone and voice of their show. Hence, the need for a spec script.
With each type of script we’ve mentioned so far, that version of the script is not what the eventual Directors, Producers, and other Filmmakers attached to it will use when they go into production. Rather, they will use what is called a shooting script.
Want to know more about the differences between a spec script and shooting script? This video explains.
A shooting script may contain several elements that make it distinct. However, perhaps the biggest difference between it and another kind of script is that a shooting script includes scene numbers to inform the production schedule and order in which each scene is shot.
A shooting script is also a “locked” script, meaning that it is in its final form. That being said, last-minute revisions can – and usually do – still happen. When they occur, those pages will be added to the current script in a different color to denote their inclusion.
What Are Screenwriting Genres?
All right, let’s get back to why screenwriting is so much fun… Because it allows a Screenwriter to create stories all their own! And those stories are typically told within a genre.
A genre is a particular category of story.4 And over cinema’s 125-year-old history, each category has become known for certain associations and conventions. Think the femme fatale in film noir. Or the presence of cowboys and Indigenous people in westerns.
Keep in mind that genre is not an either/or proposition. Screenwriting can make use of two or more genres within a single story. For instance, Romancing the Stone (1984) is both a comedy and adventure film. Alien (1979) is both a science fiction and a horror movie.
What’s your favorite genre? Find out more about what film genre is and how it can be subverted to surprise audiences and keep storytelling fresh and innovative.
Cinema has also become so sophisticated that many genres now have sub-genres such as the zombie horror film or the mockumentary comedy.
What Types of Stories or Conflicts Are Told Through Screenwriting?
We just mentioned genre, but in and of itself, genre does not define what type of conflict or story will be told in it.
Storytelling has been around for millennia – long before movies came around. Over that time, many trains of thought have developed regarding what constitutes universal types of stories.
For instance, the great mythology expert Joseph Campbell coined the term the Hero’s Journey, which has been used many times since to describe the story of someone called to action despite their hesitation or fear as they embark upon this unknown path. Fun fact: It was Campbell’s work that largely influenced George Lucas as he wrote Star Wars: Episode IV – A New Hope (1977).5
Without the Hero’s Journey there would be no Star Wars. Without Star Wars, the world of cinema would be forever different. We’re so glad it isn’t.
Many screenwriting experts have come up with their own lists of the main universal stories that exist in the world, but they all boil down to conflict.6. And given that most films are successful based upon the audience’s ability to connect with the main character in them – often referred to as the central protagonist – that conflict is usually a human being versus someone or something,7 such as:
As these stories and the conflict within them unfold, they are told within a three-act structure. Acts are basically sections of a story that together provide a structure for it. When screenwriting for film, the most common and widely recommended format is a script constructed via three acts.
The first act is when all the introductions are made – that of the main characters, the world in which they live, and the conflict that they will have to confront.
Want an in-depth breakdown of how to use structure to create a compelling story? Watch this video to find out.
The second act typically includes the main character reacting to the obstacles put in their path and a gradual rise in tension that leads us to the third act.
In this final act, the central protagonist will experience a climax of conflict followed by a resolution to it.
While feature film scripts typically adhere to a three-act structure, that is not the case for episodic television. In most cases, teleplays, depending on length, will include four or five acts, as well as a cold open or teaser to begin the script and a tag to end it.
What Makes for a Strong Central Protagonist?
All right, we’ve mentioned several times now this central protagonist who is so important in a script. And they really are. They’re the figure who usually makes an audience decide that, yes, they do want to spend the next hour or two watching what happens to them.
Find out what makes for a protagonist whom audiences will want to follow along with for two hours or more.
For this reason, the importance of the central protagonist and the supporting characters who are part of their journey cannot be overstated. So how to make sure that when you write that script, you will be creating a central protagonist so compelling that someone reading your screenplay will need to know what becomes of them?
Give them a goal
Dorothy wants to return home. Chief Brody wants to kill a great white shark. Wonder Woman wants to stop World War I. In screenwriting, there needs to be a reason why we are asked to follow along with a particular story. That reason always begins with a goal or want for the central protagonist.
Include flaws
No one’s perfect, and that includes your central protagonist. Dorothy is frustrated by her family and dislikes Kansas. Brody is terrified of water. Wonder Woman doesn’t know love or the power of it. Giving your central protagonist flaws is important on several levels. For one, it humanizes them and gives audiences qualities to which they can relate. And two, if crafted thoughtfully, those flaws will play directly into the obstacles that the character will face.
Create obstacles
The Wizard of Oz doesn’t have the power to send Dorothy home. Brody has to go on the ocean to kill the shark. Wonder Woman experiences grief upon the death of Steve Trevor.
Conflict, conflict, conflict. It’s the backbone of any good script. That’s to say, no screenplay can succeed without it. Many Screenwriters fail to recognize this because they understandably love their characters and don’t want them to suffer. But through only conflict can growth occur.
Show change or growth
Why should we watch a film or television show if the character we’re following is the same person at the end of it as they were when it started? What do we learn from a static central protagonist? In short, nothing.
That’s why every main character must experience some kind of change for there to be a satisfying resolution to their story. Dorothy realizes she has the power within herself to go home. Brody, left without the knowledge or skill of his companions, must kill the shark on his own. Wonder Woman, now understanding the power of love, defeats Ares.
One final note on characters: Make them active. Don’t just have things happen to them.
Have them make choices – even if they’re the wrong ones. In fact, wrong choices can be great because they often lead to more conflict. The bottom line is that passive characters – a central protagonist without agency – does not make for an engaging figure that audiences will want to invest in and follow along on their journey.
What Tools Should You Have Before Starting a Screenplay?
When you’re setting out to write a 100-page screenplay, it might feel overwhelming to be told that you actually need to write more than just the script! But the truth is that having writing aids ready to guide your storytelling process can be instrumental to your writing success.
You don’t have to necessarily have each of the writing tools below before you start that script. In fact, as you become more familiar with your writing style and needs, you may find that some aids are indispensable to your work and others extraneous to it.
Before you come to those conclusions, though, make a point of creating each of the following to learn what works and doesn’t work for you:
Yes, it will take more time and energy to create any one of these writing aids, it will in the long run make your actual screenwriting process a more smooth and productive endeavor.
Do You Need to Know Screenplay Formatting Before You Begin Writing a Script?
The short answer is yes.
But it’s never been easier to learn both proper screenplay format and the different parts of it. There are dozens of screenwriting software programs available that can quickly get you up to speed on the most common scripting elements, such as:
Scene headings
Action lines
Character names
Dialogue
Parentheticals
Transitions
A scripting program can also familiarize you with other basics formatting components such as text size and font.
In Closing
One final note on characters: Make them active. Don’t just have things happen to them. Have them make choices–even if they’re the wrong ones. In fact, wrong choices can be great because they often lead to more conflict. The bottom line is that passive characters–a central protagonist without agency–does not make for an engaging figure that audiences will want to invest in and follow along on their journey.
Screenwriting encompasses so many elements, such as classification of medium, category of genre, and type of conflict. While perhaps a bit overwhelming for an emerging Writer, just remember that even the most accomplished professional Screenwriter was once brand new to the craft and in the very same position.
It’s with dedication to that craft that can make any person with the right combination of enthusiasm, work ethic, and imagination the next successful screenwriting pro.
Sources
Nikole Beckwith
Nikole Beckwith is a filmmaker, writer, and artist.
She made her feature film debut with STOCKHOLM, PENNSYLVANIA starring Saoirse Ronan, Cynthia Nixon, and Jason Isaacs, which premiered at the 2015 Sundance Film Festival in the US Dramatic category and sold to A&E. The film garnered Nikole a Women’s Image Award for “Best Screenplay” and nomination for “Best Director,” a Satellite Award for “Best Film for Television”, three TV Critics Choice Award nominations including “Best Movie,” and a slew of awards and nominations for the cast.
Her second feature TOGETHER TOGETHER, which she wrote, directed and executive produced, premiered at the 2021 Sundance Film Festival in the US Dramatic Category, and was released theatrically on April 23 by Bleecker Street Films. The film, starring Patti Harrison and Ed Helms, has been praised for subverting expectations and is certified fresh on Rotten Tomatoes.
As a playwright, Nikole was the first non-UK playwright invited to hold residency at The National Theatre Studio where she wrote Untitled Matriarch Play (Or Seven Sisters), which subsequently premiered at The Royal Court (Artistic Director Vicky Featherstone). Her first play Everything is Ours was developed with Labyrinth Theater Company (Artistic Director Phillip Seymour Hoffman) and premiered at HERE Arts Center in New York. Additional work has been developed and/or performed with The Public Theater, Clubbed Thumb, Playwrights Horizons, Ensemble Studio Theatre and Ars Nova. Other residencies and fellowships include; Atlantic Center for The Arts, The Public Theater, Ensemble Studio Theater, Playwrights Foundation, Half Initiative, Sundance Institute, San Francisco Film Society, Academy of Motion Picture Arts and Sciences Nicholl Fellowship.
Also a pen and ink artist, her comics have been featured on WNYC, NPR, The Huffington Post, and The Hairpin, among others. As an actor, she has appeared in work by Eric Bogosian, Gregory S Moss, Labyrinth Theater Company, The Story Pirates, and EST. She made her NY theater debut originating Lady in a Leotard in Joshua Conkel’s critically acclaimed MilkMilkLemonade.
Nikole currently splits her time between small-town Massachusetts and Los Angeles.
Chris Dowling
Chris Dowling is a multi-talented Writer, Director, and Producer who has optioned multiple properties that span both genre and medium. He wrote and directed his first feature in 2009, the award-winning noir comedy ROCK SLYDE. Chris followed that up by creating and selling four television properties including back-to-back 20-episode orders of REPO GAMES for Spike TV.
In 2014, he wrote the theatrical feature THE REMAINING for Sony. The next year, he wrote and directed WHERE HOPE GROWS which was released by Roadside Attractions/Lionsgate Entertainment. The film won numerous awards including the “Audience Award” at The Heartland Film Festival. The feature drama he wrote for the Grammy award-winning band For King & Country entitled PRICELESS was released in theaters in October 2016 and was nominated for a Dove Award in the category of “Inspirational Film of the Year.”
As a Producer, his documentary ASPERGER’S ARE US was purchased by Netflix and chronicles the first comedy troupe that consists entirely of openly Autistic performers. Chris followed that up with the 6-part HBO docu-series ON TOUR WITH ASPERGER’S ARE US. Next came the inspirational drama he wrote and directed that was executive produced by Tim Tebow called RUN THE RACE which did nearly 3X its production budget in domestic box office in 2019.
Chris’s latest film ROLL WITH IT, a comedy for Endeavor Content and Third Coast Entertainment comes to theaters in Fall. BLUE MIRACLE, a film he wrote starring Dennis Quaid, just released on Netflix where it quickly became the #1 highest rated movie on the platform. Chris’s large-scale musical UNDONE, which he wrote and will be directing as well as producing with Monarch Media is set for production date of Summer of 2021. Following UNDONE, is the indie drama ACIDMAN and the Little Jimmy Dickens biopic slated for a Q1 2022 shoot.
