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Screenwriting
r/Screenwriting
- Completely new to Screenwriting? Check out Screenwriting 101
- INTRO
- GETTING STARTED
- 1. What screenwriting software or apps do I need?
- 2. What books/podcasts can I read/listen to?
- 3. Where can I find screenplays, pilots, pitch docs and bibles?
- 4. Where do I find formatting help?
- 5. How do I get feedback on my logline?
- 6. How do I become a screenwriter?
- 7 Should I take classes/go to college or university for screenwriting?
- WRITING YOUR SCREENPLAY, SPEC OR PILOT
- GETTING FEEDBACK
- GETTING YOUR SCRIPT NOTICED
- WRITING FOR TELEVISION
Completely new to Screenwriting? Check out Screenwriting 101
INTRO
Please let us know in modmail if links are broken or missing.
The FAQ is broken up into several sections - info on writing for film and television is addressed throughout, but there is a section for specific TV questions as well:
- Getting started
- Writing your screenplay, spec or pilot
- Getting Feedback
- Getting your script noticed.
- Writing for television
- Screenwriting 101
GETTING STARTED
1. What screenwriting software or apps do I need?
See the screenwriting software section on our resources page for options.
1a. Can I just use Word or Google Docs instead?
No. See the screenwriting software section on our resources page for options.
2. What books/podcasts can I read/listen to?
See our resources wiki for common recommendations.
3. Where can I find screenplays, pilots, pitch docs and bibles?
See our resources wiki for links to existing resources and databases, as well as tricks on finding them on your own.
4. Where do I find formatting help?
Try the formatting resources in our wiki.
5. How do I get feedback on my logline?
You can submit loglines to our weekly Logline Monday post. Find the most recent one here.
6. How do I become a screenwriter?
There’s no set path to becoming a screenwriter. But there are some things you can do to better your chances:
WRITE. You won’t be a screenwriter if you don’t complete screenplays.
Perfect your craft: Start on our resources wiki for links to books, classes and more to help you get started.
Network. Seek out other writers. Join or start a writing group. Go to events. Take a class. Helping other people out is a key part of your career path. You won’t get far if you don’t donate your time to helping others, so learning how to give feedback is critical. Fortunately, we know a few people you can ask.
Get a job or internship in a writers’ room. Note, this is very difficult, jobs aren’t advertised and tend to go to people who are known or personally recommended.
Place highly or win contests or fellowships with industry cred. Here’s a post of the big ones for 2020. But don’t expect doors to magically open for you with a win. They won’t.
Be careful about where and how much money you invest in contests, consultants, lectures, or other pay-for-play services. There are predatory services and managers out there and you should do your due diligence to make sure the contacts can deliver on what they promise. Seek out other users/participants for their experiences and search this subreddit to see what other people have said. Managers should *never** charge you for a read.*
7 Should I take classes/go to college or university for screenwriting?
See our resources wiki for links to some of the common classes/degrees on offer.
This is a personal decision and depends on what is right for you, your stage of life and budget. Classes have the advantage of putting you into contact with other writers and allowing you to workshop and get feedback on your writing as you learn. The downside is often the cost. Many professional screenwriters have degrees focused in other areas and transition into screenwriting from other careers. A degree is not necessary for success, however there are several well-regarded programs, both degree and non degree-based.
Community wisdom:
Degrees
- How useful is an MFA in breaking into the industry?
- USC or UCLA
- Is NYU/Tisch's Dramatic Writing program worth going into debt over?
- Getting in
- Is it worth it?
Non-degrees
- Best LA TV Writing classes
- UCLA Professional program vs Extension
- UCLA Professional program, now what?
WRITING YOUR SCREENPLAY, SPEC OR PILOT
8. I have a great idea but I don't know how to turn it into a screenplay. Help?
The writing process differs for everyone but the traditional path often includes some kind of story development.
Here's how Toy Story 3 writer Michael Arndt approaches it. This is his helpful video that breaks down all the major structural beats. A must watch!
IN general, however, decide whether the story you want to tell is a feature film, a short film, a one-hour drama pilot or a half-hour comedy pilot. Each of these has specific needs that you must meet. In general, a TV show idea is one that has a repeatable premise that can generate stories week after week (the 'engine') -- such as cops investigating crimes, lawyers defending their clients, doctors healing patients (these are called procedurals). If your idea is a more encapsulated idea, maybe a single story, it's probably a feature film. If it's more of a moment, maybe it's a short film.
Character
Stories start with characters so decide who your leads are, what their stage of life is, and most importantly what they want (i.e. their goals). The story flows from character goals, so it's important to figure out these goals before you start writing.
Structure
Structure is just a way of talking about how and when you get from each important story moment to the next. Each format has its own structural beats.
Some common structures are outlined here and here.
- Dan Harmon, creator of Community, developed the story circle, which is widely applicable to TV and film. It's another common way of thinking about structure.
TV has its own specific structure depending on whether you're writing a half-hour or an hour, and how many acts you use.
Some resources: TV structure - this discusses 1/2-hour and hour scripts. 10 feature screenplay structure types.
Breaking story
Map your story to the main structural beats of the screenplay. It's figuring out what happens for your inciting incident, what happens at the first act break, at the low point/all is lost moment, at the climax and so on. It can be in bullet point form, but once you know these beats you can start writing the outline. In TV, you'll need to break the A, B and C stories.
From the subreddit: How do you turn a vague idea into a complete and coherent plot?
- Resources from Screencraft, Go Into The Story and more.
- See Vince Gilligan's approach for an overview. More info for TV writers here.
- Showrunner Matthew Federman has advice on breaking story here and here.
Writing the outline
There is no one right way to write an outline (unless you have to turn it in to a studio or network). At this stage, the outline is just for you to help keep you on track with your story and that you're covering all the points you need to cover.
It's much easier to change story when it still exists in outline form, rather than when you've already written 40, 60 or 100 pages of script. So it pays to try to get it right - but don't be afraid to deviate from the outline when you write.
- Outline/treatment examples from John August and Screencraft
- More on writing an outline from NoFilmSchool, Screencraft.
- Sitcom outlines specifically here.
Go to first draft
Once you have an outline, you may feel ready to write your first draft.
- Advice on the first 10 pages from showrunner Matthew Federman
Pilot checklists
If you're writing a TV pilot, these resources might help you refine your outline/idea.
- Jen Grisanti's pilot checklist - this should help you flesh out your idea before you start writing.
- Showrunner Matthew Federman's mental checklist for new projects
- The blcklist's guide to television format & style standards - super useful document to read and save.
9. I've written the first draft but need help rewriting.
This is where feedback from others comes in handy. Don't be afraid to share your work with peers, but make sure you're getting information back that's useful.
Here's how u/Sevohanian (co-writer of the movie SEARCHING) handled the feedback process intentionally. See post. And here's the post where u/tpounds0 takes that format and adapts it for general use.
When rewriting in general start with the macro issues and deal with the micro last. One way to approach it might be:
- Structure: do all the beats hit at or near the right point? Are all the beats impactful?
- Story: Do the beats stem from the main character's goals and inciting incident? Does each moment follow logically (at least emotionally logically) from one to the next?
- Character: Does your protagonist's actions feel true to them? Are their goals throughout clear? Is their arc clear? Does it track throughout?
- Relationships: Do the characters' relationships evolve and track in a satisfying way throughout the script?
- Comedy (if appropriate): Do the jokes land? Does it need more jokes? Can you tell the jokes in fewer words? Are the jokes relatable? Are they unnecessarily offensive?
- Dialogue: Is dialogue natural (for the characters)? Is it subtextual (i.e. leaving the truth unsaid) or do characters tend to say exactly what they're thinking ('on the nose' dialogue)? Is it short and move quickly? Or does it get bogged down in long chunks of dialogue and monologues?
- Scenes: Do you start late / end early? What this means is getting into a scene quickly and getting to the action within a line or two. No need to have lengthy hellos and goodbyes. Do all your scenes move the story forward? If not, cut them.
- Condensing: Can you keep the story moving more quickly by condensing action into another, already existing scene? If you can make scenes work on more than one level, getting us important information on more than one aspect of the story, then it can help you save time and keep the story flowing. Same for characters: you may be able to better serve your story by condensing multiple minor characters into the same person.
- Spelling, grammar, formatting: make sure action blocks are written in as few words as possible, avoiding repetition and breaking up lengthy paragraphs into short blocks. Consider how to format action to draw attention and emphasise important points. Where would underlining, bold, or italics help? Where would breaking sentences up help? Where does white space on the page help? Keep in mind always the pace and flow of the read.
Books
10. Where can I find someone to collaborate with me on my idea?
You can post your request in r/screenwriting but these collabs don't tend to last long because it's hard to find the right match in a forum like this.
- You're welcome to find or add a writing group in our subreddit writing groups.
11. I have a question about one of the screenwriting 'rules'...
Rules are made to be broken. For more detail, see the Go Into the Story blog that did a deep-dive into screenwriting rules, why they're talked about and how you can break them.
More discussion
- I don't believe in screenwriting rules, I believe in form
- What are your favorite screenwriting rules?
- What's a screenwriting rule you absolutely hate?
GETTING FEEDBACK
12. Should I be worried about someone stealing my idea or script if I post here?
Your idea:
Ideas cannot be copyrighted and even if someone does "steal" it, their execution of the idea will be completely different to your own execution of the idea. This is not something you should worry about.
Your script:
It is unlikely anyone will steal your script. Copyright in the US is automatic from the moment you create a piece of work BUT to protect yourself and prove ownership you may wish to register the script with the US Copyright office (or equivalent in another country) or with the WGA. Even non-WGA members may use this service. Registering with either the copyright office or the WGA costs money. Keep in mind that sharing scripts for feedback is one of the key ways that writers learn and improve so a certain element of trust is needed.
Disclaimer: This summarizes our understanding, however we are not lawyers so please contact an attorney who can advise you specifically on further questions.
13. Where can I go for feedback on my screenplay draft?
You have a few different options of varying cost.
Free
* Submit your screenplay to r/screenwriting or join our feedback discord server.
* Submit to another feedback focused subreddit like r/readmyscript.
* Join the Screenwriters Network discord.
* Join a writers group in your area (look on meetup.com or ask in your local subreddit). We have a writers group doc to help you find groups in your area. Feel free to add your own group.
* Coverflyx -- free, peer-to-peer notes exchange for Coverfly members. Coverfly is free to join.
Paid
These services can range from about $60 to a few hundred for a professional and thorough evaluation. It all depends on the service, the depth of the eval and the expertise of the evaluator. r/Screenwriting does not endorse any of the paid options and reminds users that there are many services out to make money off writer ambitions.
Community discussion:
- Any good, affordable coverage services?
- WeScreenplay vs Scriptlab
- The Difference Between The Tracking Board, Stage32, ScriptPipeline, WeScreenplay and others
- Should I get a third review on the Black List?
- The flawed math of the Black List
14. What is the Black List?
This is a two-part answer.
Part 1: The Black List is an informal list of the most liked unproduced feature film screenplays of the year, created by Franklin Leonard, and voted by industry executives.
- You cannot buy your way on to the list. Most Black List writers are already repped by agents or managers.
- This TEDx Talk by Franklin Leonard talks about how the Black List came about.
Part 2: The blcklst - confusingly also called the Black List - is a paid screenplay hosting and notes service, also founded by Franklin Leonard.
- Writers may pay for hosting and evaluations ($30/month for hosting, $75 for evaluations).
- Scripts that rate 8/10 or higher get additional services, like months of free hosting and additional evaluations.
- Ratings on the blcklst have no bearing on the annual Black List (and it is unlikely, though not impossible, for a script to cross from the blcklst to the Black List).
- The blcklst often partners with fellowships and labs for opt-in entry, e.g. Black List x Women In Film Episodic Lab.
- Some people have found representation or had their scripts bought because of appearing on the blcklst site, but that shouldn't be your expectation.
- Many redditors are divided about whether the service is useful (see below links).
More discussion on the Black List
- Subreddit search results:Black List / Blcklst
- How To Minimize Spending While Maximizing Exposure on The Blcklst <-- This is a very good post.
14a. What is the difference between the Black List/blcklst and other notes and coverage sites like WeScreenplay, Tracking-B and Stage 32?
See this post from u/JustOneMoreTake.
GETTING YOUR SCRIPT NOTICED
15. I already wrote a screenplay, now what?
- You should get some feedback on your script, even if you think it's perfect as-is (spoiler: it is not). You have a few options for feedback, both free and for a fee. We discuss those options elsewhere in this FAQ. It is recommended that you exhaust free feedback options before submitting for paid feedback, especially if money is a concern.
- You can consider submitting to contents or fellowships, but carefully consider whether the cost of entry is worth it for the prizes and access offered. Find out more on contests in our resources wiki.
- You can start writing your next script.
- You could network with other screenwriters and industry people in your area and online (twitter is a great resource - follow the #WGAmix and #WGAStaffingboost tags as well as TV writers on there.).
- You could get to work on your pitch.
- You could consider making it yourself if have the time, tools, willing helpers and budget. Head on over to r/filmmakers for help on making an indie yourself.
If you think it's time to find an agent or manager, or start pitching your script - just be aware it will be very difficult to do those things without existing relationships or some sort of credibility to your name and writing. Also see our next entry on finding representation.
16. How do I get an agent or a manager?
There is really no quick answer and definitely not a one-size-fits-all route to representation. For some people, representation happens quickly after they write one great script that turns heads. For most of us, it's not that easy. In general, look for representation when you have at least two solid samples (feature-length or pilots) and you know who you are and what you write (and why).
Representation most often comes from the following ways:
- Querying (low chances of success but it happens). Advice on queries here.
- Referrals - when someone you know, who is trusted by the agent or manager, passes along your material and vouches for it. That can get you read, but the rest is still up to you.
- Contest wins - some contest wins or fellowship placements put you in contact with reps.
Here are resources that discuss the general best practices.
- "Billions" showrunner Brian Koppelson:
No, but really, How Do I Get An AGENT???!! There has never been an easier time to attract attention to yourself. To make yourself and your work stand out. All you need to do is convince people that it would benefit them to invest their time in you and your material. Because that’s how the business works.
- u/Matttson's response:
So how do you find a manager:
The answer is maddeningly vague and equally discouraging. You get a manager by putting in the great work, making it truly special and unique to your voice as an artist. From there, that work gets noticed, and off of whatever buzz you get, the potential for doors to open begins.
More reading on landing representation:
More discussion
- How to determine if a manager is right for you -- post by WGA writer u/print-station who talks through what to look for in a manager once you're starting to get meetings with them.
- So you just signed with a rep... -- post by WGA writer u/HotspurJr who details what to do once you have a rep.
17. Which contests or fellowships should I enter?
See the contests section on our resources page.
If you are concerned about whether or not a contest is legit or predatory, here are some red flags to look out for.
18. How do I write a pitch?
Feature film pitches
TV pitches
According to TV exec Eric Brassard, the 7 parts of a pitch are:
Passion - Why do you love it? Your personal connection to the story.
Tone - What does it look like and what does it feel like? Goal is the execs don’t have to ask about tone. Often the THIS meets THAT part of the pitch.
Relevance - Why this story now? It can be personal or global.
Teaser - How does the show start? Paint a picture. Where are we, what does it smell like, what’s happening?
Characters - Who are your characters? Prototypes are helpful, e.g. think Sofia Vergara.
Pilot story - Talk through your first episode, not at length, e.g. this happens and this sets the story into motion, and pilot ends on this reveal.
How the series works - Be brief, e.g. here’s how the first season goes, season 2 picks up with this. Season 3 deals with this. Outline how many seasons you envision and how it ends. These are the questions it seeks to answer. e.g. “by the end of five seasons, we leave our characters HERE…”
See sample pitch docs (check our resources page).
For TV pitches, see this post on common pitch formatting.
19. Do I have to move to LA?
The answer depends on what is right for you. There are successful screenwriters who have never lived in LA but it certainly helps to have proximity to other industry professionals and all the events and opportunities in this town. Here’s some real talk from folks who made the move.
- Graduating soon, plan to move to LA, any tips?
- Best time to move to LA?
- I want to be a screenwriter but I hate living in LA
- Left LA today and moving back to my hometown. Some lessons I learned during my journey
WRITING FOR TELEVISION
20. I want to know everything there is to know about writing and selling a TV show. Where do I start?
You could try reading this excellent breakdown from screenwriter Mickey Fisher, creator of the 2014 CBS series EXTANT. In it, he details everything from his process of writing, to the websites that helped him, to what he did after he finished the script and had no contacts in the industry, to how his general meetings went and more... It's a really great overview if you're looking to get into TV writing and/or sell a show.
21. I'm writing a pilot, do I need to write future episodes as well?
No. And it's likely a waste of time if you do. Put the energy into a solid season outline that you can use for pitching or into creating a bible, but don't bother with additional scripts unless it is for your own enjoyment. If you ever go through the pitching process and eventually sell a show, so much will change on the page so as to make the episodes you've written likely useless. If your show is picked up to series, the showrunner will staff the room with writers to help write the rest of the episodes.
- When writing a TV show, do you write more than the pilot?
- Is it a waste of time to write more than the pilot?
22. I've written a pilot, now what?
Revise, revise, revise. And get feedback.. You'll want the draft to be as strong as possible.
In early stages of your career, a pilot isn't likely to lead to selling a show. It can happen (see Mickey Fisher's document in the FAQs above for his experience). It can, however, be used as a calling card sample to help get you representation or staffed on a TV show. See answers elsewhere in this FAQ about getting representation.
Contests and the fellowships are also another way to get your writing noticed.
23. Okay but I really want to pitch my pilot, how do I do that?
Slow your roll. Read Mickey Fisher's document again.
The upshot is that you probably will not get the chance to pitch your work as an untested writer, but if you write something that turns a lot of heads you may. How can you turn those heads without representation? Writing good scripts, placing in contests, networking, getting read.
If you do actually make it into a room to pitch, here is some advice from veteran TV writers.
- On pitching from Blook & Treasure EP/co-creator Matthew Federman.
- Three takes on crafting a pitch
Screenwriters
Online
Monday: Logline Monday
Tuesday: Beginner Questions Tuesday
Wednesday: General Discussion Wednesday
Thursday: 5 Page Thursday
Friday-Sunday: Weekend Script Swap