Screenwriting, also called scriptwriting, 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.

A Screenwriter is the person who conceptualizes and creates the script from which a film is made. With their imagination, talent, and hard work, they write the stories with captivating plotlines and dynamic characters that become realized through the making of a movie.

Screenwriting is a tough career. It’s not as predictable or consistent as traditional full-time employment, and is full of rejection and competition. It is very much the proverbial marathon and not a sprint.

But don’t let that discourage you! In terms of creativity, screenwriting can be a wonderful career. For someone with limitless imagination and a passion for writing, it can be wildly fulfilling.

Studying screenwriting in film school can be a great way to learn the craft and surround yourself with other passionate writers. However, scripts don’t sell because the writer has a certain degree. They sell because they’re great scripts. As a result, a degree isn’t necessary to be a successful screenwriter.

“You don’t need a degree but you need education,” explains Beckwith, who has found great success without film school. “I saw as many new plays as I could and I joined writing groups, which were very, very helpful… when I transitioned into film, I watched as many movies as I could, went to as many screenings with Q and A’s as I could, tried to track down scripts of films I’d seen (on the internet and otherwise) to read and compare to what had been on-screen and got involved with fellowships and other early-career filmmaker events like IFP (which is called Gotham now) – places I could meet other filmmakers.”

Even Dowling, who went to film school, feels writing and working in the industry is more valuable than a degree.

“I honestly think if I had just gone straight into the industry I would have moved up quicker in my career,” he explains. “I would have been meeting industry contacts four years earlier and those contacts would be moving up the ladder wherever they are.” 

Although writing can sometimes feel lonely, building community is a great way to find the inspiration, motivation, and opportunities to keep writing.

Your first attempts at writing a script are likely to be sub-par, but this is part of the process. Joining a writing group and/or yourselves with other writers or people who understand the process can keep you motivated and give you access to empathetic notes.

There’s also a more practical reason to pursuing creative relationships, even with people at the beginning of their career. “Just remember the people that are PAs and Assistants and the low-rung starting out positions aren’t going to be there forever,” explains Dowling. “Ten years from now, those people will be Agents, Managers, Heads of Productions, execs, etc. So, it takes time, but if you have talent and keep the right connections, when the time is right, you will get your shot!”

It typically takes many year before a Screenwriter can pay their bills from writing alone. Because of this, you might have to work a part-time or full-time job, making time to write whenever you can.

If you’re going to spend 40+ hours a week at a job, why not choose one that actively supports your passion for screenwriting? Knowing how the industry works and developing a network of connections is priceless for aspiring screenwriters.

“I would always recommend finding work at an agency, production company, on set… be around the business because the truth is whoever is going to give you the first break is probably someone you’ve developed a relationship with,” explains Dowling. “I have many friends that started as Assistants, Readers, etc… it’s great because you are getting paid and seeing what kind of screenplays are coming across the desks from professional Writers.”

There are many screenwriting labs and mentorship programs that can truly ignite a Screenwriter’s career, but some are better than others.

Unfortunately, you might have heard some horror stories of aspiring Screenwriter’s paying a hefty fee for some online program or workshop, only to learn the mentors have less experience than them. It’s important to research what programs are available in your area, check out some reviews, and determine if what they’re offering will actually add value to your career.

Beckwith credits her early career momentum to two highly competitive programs: The Academy Nichols Fellowship and Sundance Labs. Both of these programs have a stellar track record of success and offer a lot of exciting mentorship and script development opportunities for participants.

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.

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.

Some of the more popular film genres are:

• Action. Examples include The Great Escape (1963), Die Hard (1988), and Mission: Impossible (1996).
• Adventure. Examples include The African Queen (1951), Lawrence of Arabia (1962), and Raiders of the Lost Ark (1981).
• Comedy. Examples include  Some Like It Hot (1959), Coming to America (1988), and Bridesmaids (2011).
• Drama. Examples include The Godfather (1972), Schindler’s List (1993), and Good Will Hunting (1997).
• Fantasy. Examples include The NeverEnding Story (1984), Harry Potter and the Sorcerer’s Stone (2001), and The Lord of the Rings: The Fellowship of the Ring (2001).
• Horror. Examples include Halloween (1978), Scream (1996), and A Quiet Place (2018).
• Sci-fi. Examples include Planet of the Apes (1968), Blade Runner (1982), and Arrival (2016).

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.

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:

• Human versus self. Examples include Fight Club (1999), Moonlight (2016), and Tully (2018).
• Human versus human. Examples include The Karate Kid (1984), Home Alone (1990), and Gladiator (2000).
• Human versus machine. Examples include 2001: A Space Odyssey (1968), The Terminator (1984), and The Matrix (1999).
• Human versus nature. Examples include Cast Away (2000), The Perfect Storm (2000), and 127 Hours (2010).
• Human versus society. Examples include High Noon (1952), One Flew Over the Cuckoo’s Nest (1975), and Footloose (1984).

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.

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?

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.

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.

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.

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.

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:

• Logline
• Beat sheet
• Outline
• Treatment

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.

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.

If you have a screenplay you’re happy with, the first step to selling it is usually rewriting it. Then rewriting it again. Then again.

Selling a screenplay is such an exciting prospect, that Screenwriters often forget to make sure their shopping draft is truly the best version of itself that it can be. Reading a script takes time, and you don’t want to use up favors on a mediocre draft. If you submit a draft to your higher-level network connections too early, it’s unlikely read it again once you’ve got a better draft.

Try your best to get as much feedback as possible, and consider taking a couple weeks off in order to write another draft with fresh eyes.

But once you’re really, really ready…

Unfortunately, there are many amazing scripts sitting on computer hard drives or in a desk drawer that will never see the light of day. With such a saturated market, it’s an uphill battle to get professionals to read a script, let alone push the script into development.

Having personal connections who work as film producers or in studio development can put a screenwriter miles ahead of the competition. But if you don’t have said connections, you’ll have to find some creative ways to convince people that it’s worth their time to read their script.

Here are some methods you can consider:

• Win a reputable screenwriting contest: There are many profit-motivated screenwriting competitions online, and many might not be worth the entrance fee. However, competitions like Nicholls and Austin Film Festival are highly respected by industry professionals.
• Score an 8 or above on The Black List: While The Black List usually refers to a highly-competitive curated list of the best unproduced scripts, the organization’s website offers much more accessible service. The Black List’s coverage service includes arguably one of the most respected rating systems in the industry. If your script scores a coveted 8 or above, it could encourage a producer, manager, or executive to read your script.
• Start building a fanbase: Not for yourself, but for your script. If you can demonstrate that your story will be positively received by audiences, people will pay attention. While some screenwriters have gone so far as to convert their scripts into a novel, others have found success making proof-of-concept short films, or creating a fictional podcast version of their story.
• Get representation: Securing a manager or agent is easier said than done, and it’s possible to sell a script without representation. However, a manager and/or agent can help market your script and share it with producers or studios they’ve built relationships with.

Of course, it’s much easier for warm connections – or people you or your representative knows personally – to agree to read your script. Even if they aren’t looking for your sort of script, they might know people who are.

However, you can also send your script to producers who you don’t know personally – especially if their credits match the genre, tone, and style of script you wrote. IMDb Pro is a top resource for researching producers and checking out their credits. Many even list their emails or websites on their profiles.

With a concise and professional email, you can send a short summary of your script to these producers and ask if they’d be interested in reading it. Keep in mind, though, many film producers receive hundreds of cold emails a day, so don’t expect an email back from everyone.

In some cases, a Screenwriter may instead choose to option their script, which allows a Producer or production company a limited amount of time to set up a script for production in return for a nominal fee.

A Screenwriter may even go in on a shopping agreement, which often pays no money while that Producer or production company attempts to find funding for the film. But to actually sell a script, a Screenwriter must have access to a Producer, production company, or studio that is willing to pay money to the Writer for their script.

The amount that a Screenwriter makes from a sold script can vary widely on account of several factors, including their union status, negotiation ability, and willingness to accept what is being offered to them.

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.