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2 Copyright Pontcanna Publishing 2016 All rights reserved. The right of Iestyn Street to be identified as the author of this work has been asserted by him in accordance with the Copyrights, Designs and Patents Act Without limiting the rights under copyright reserved above, no part of this publication (including, but not limited to, text, pictures, illustrations and graphics) may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the publisher and copyright owner of this publication. Brief text quotations with use of photographs are exempted for book review purposes only. This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the prior consent of the publisher and copyright owner in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. All applications for the written permission of the copyright owner to reproduce or transmit any part of this publication should be sent to the publisher. Any person who carries out any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. Iestyn Street and CUT! are trademarks of Pontcanna Publishing. All other brand names, trademarks, service marks and logos mentioned in this book that are legally protected are the property of their respective owners and should not be used except as authorized by them. Their inclusion in this book is for purposes of illustration, criticism and analysis only. Iestyn Street page 1

3 ABOUT THE AUTHOR Iestyn Street is a fifty-something script writer with over thirty years of experience in the television and film-making industry. He s as good as married. Welsh. No kids. Lives in Cardiff, UK. Used to be a salesman (according to his current employer). Likes gym, walking in Cardiff parks, sitting in his local pub. Finished. Iestyn Street page 2

4 Contents Contents... 3 Introduction... 4 Mistake #1 - No Story Planning... 4 Mistake #2 - Format Confusion... 5 Mistake #3 - Unoriginal Story... 5 Mistake #4 - Too Long or Too Short... 6 Mistake #5 - Boring Characters... 6 Mistake #6 - Over-Long Dialogue... 7 Mistake #7 - Standard Software... 7 Conclusion... 8 Iestyn Street page 3

5 Introduction Aspiring screenwriters, like you, don t typically have any formal training before they attempt to write their first screenplay. The reason for this, as you probably know, is because there are few places that actually teach screenwriting. If you aren t located in New York City or Los Angeles (of Bollywood) then you are pretty much on your own when learning how to write a proper screenplay. Fortunately, books like this one can give you some insight into which mistakes you should avoid when writing your first screenplay. Featured in this book are the seven most common mistakes that all new screenwriters make. Mistake #1 - No Story Planning There is a lot of planning and development that goes into a professional screenplay. It s not like you just sit down, open up your favorite screenwriting software and then write the screenplay. If you were to do that then you wouldn t have any idea of how your story would be structured and it would result in numerous plot holes being written throughout the script. That is why every good screenplay should have a logline, synopsis and treatment written prior to even starting the screenplay. The logline is one or two sentences that explain what the script is about. The synopsis is three or four paragraphs that give more details about the plot. The treatment is like a mini-script where you highlight the main action found throughout the story. Once you compile all of these together, you will have a much better idea of how to write the main script without creating too many plot holes or inconsistencies in the final draft of your storyline. Iestyn Street page 4

6 Mistake #2 - Format Confusion Probably one of the biggest mistakes new screenwriters make is that they don t know how to format their screenplay properly. It isn t enough to just write the story. You have to know how to write the script in a way that a director or producer can read it and translate the writing into a film. This means you have to know how to properly write the scene transitions, scene headers, character names, dialogue, sub locations and action scenes. If you fail to format these correctly then it won t make sense to the director or producer when they read it and try to figure out how it will get translated into film. So make sure you get educated on screenplay formatting and the proper way to organize the content of your screenplay so that it meets professional standards. Mistake #3 - Unoriginal Story New screenwriters have an unfortunate habit of trying to write a story that is similar to the story they saw in another movie. Basically, the novice writer will take a good idea they saw in another movie and put a similar idea in their script because they think it will bring them the same success that it brought the writer of the other movie. Try not to get into this habit because you will never be able to recreate the same magic twice. If somebody else had a good idea, then don t try to capitalize on that idea by turning it into your own. You can get inspiration from other movies but you need to be as original with your ideas as possible. This is how you will build a name for yourself that separates you from every other writer in the industry. Iestyn Street page 5

7 Mistake #4 - Too Long or Too Short The length of a screenplay is something to which it is very important to pay attention. In most cases, one page of a screenplay is equal to one minute of film time. The majority of films are between 90 and 120 minutes. This is why most screenplays have to be written between 90 and 120 pages. So, if you end up writing 240 pages then good luck finding a studio to finance it because that would translate into a 4 hour movie. Unless your script is the next Godfather or Ben-Hur then you probably aren t going to strike a deal. Now, if you make your script less than 90 pages, it wouldn t be a very long movie and people wouldn t pay full price to see it. For new screenwriters, it is actually a better idea for them to make their screenplay between 90 and 100 pages because then it would have the best chances of getting approved for production. Mistake #5 - Boring Characters It is not enough for a screenwriter to just write characters in a script. These characters have actually got to be interesting or else the audience will lose interest in the story right away. New screenwriters like to add characters as a way to fill the story and move it along, but you have to realize that the characters are what make the story work. If the audience doesn t care about the characters then they aren t going to care about the movie either. This means you need to have characters that say interesting things and do interesting things. For example, most movies these days have characters who are the protagonist, comic relief, love interest, antagonist, and victim. This assortment of characters makes them interact well together. But if you just have five or ten characters who act the same Iestyn Street page 6

8 way then they wouldn t be interesting to watch. So try to diversify your characters as much as possible. Mistake #6 - Over-Long Dialogue It is very easy for new screenwriters to get carried away with the dialogue of their characters. Sometimes we forget that we are writing the words that someone is actually going to speak out loud and not just read to themselves from a page. When you write dialogue you have to make sure someone would really speak that way when talking to someone else. Not only do you have to focus on the content of what someone says, but you have to limit the amount of words that someone says at one time. If you have a character saying twenty lines of dialogue then it might not translate too well onto film when an actor actually has to speak those lines. The golden rule is to have no more than four lines of dialogue each time someone speaks. This allows there to be a flowing back and forth conversation between characters, and it will also make it easier for the actor to memorize their lines. Mistake #7 - Standard Software All new screenwriters should take it upon themselves to invest in screenwriting software, such as Final Draft or Movie Magic Screenwriter. This kind of software will assist you in the margining and formatting of your screenplay. If you were to try and do this with a normal word processing program, like Microsoft Word, then it would drive you crazy trying to set all the margins correctly. Screenwriting software eliminates this hassle by allowing you to Tab to the type of format you want, such as Action or Dialogue, and it will space it out correctly for you on the page. That way you can focus more of your energy on the story Iestyn Street page 7

9 itself and not on the superficial requirements of script formatting. So stay away from standard word processing software and invest in premium screenwriting software. Conclusion There you have it; the seven deadly mistakes all new screenwriters make. Will you make any of those mistakes? Of course not. If you follow all the advice in this little book and if are creative, passionate and persistent you can be a successful screen writer. Now get writing Iestyn Street page 8

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