Scriptwriting – Make a Movie – Which Idea to Pick?

By Lena Banks

Before you pick an idea from the (probably) many ideas demanding your attention and pushing you to your “calling” to write a script, decide what you want (hope) the outcome to be. If your “calling” sees you writing an award winning blockbuster and you’re shaking hands and cashing checks then you’re going to have to hunker down and consider whether your premise/story has enough dramatic potential and can be brilliantly written with commercial appeal to sustain a 90-minute movie. You can do that – just learn how.

You ask why? To have an audience glued to their seats for an hour you must have a story/script that can carry it through – entertain them, wow them, capture them, and make them spend ten bucks or more to see it.

You need to have what is called “commercial appeal”, “commercial potential” in your script.

Hollywood wants so badly to buy your script. Hollywood wants to pay you big bucks for it. Hollywood agents want your script to be awesome to win them awards. Hollywood celebrities want to get Oscars for bringing your characters to life. Directors, editors, sound, wardrobe, producers, you name it – just like you – they want to make money and become famous because of your script.

Yes, I know – your “calling” to write is demanding the story be “this” or “that” but remember, you’re in charge, you guide the ship, you’re the god for the project, you’re the writer, and you do get to write it any way you want. They key to the “want” part is better served to a favorable outcome “if” you choose a topic/idea/story/plot that will get you to where you want to go.

You might write many scripts before you strike gold on your #1, fantastic, brilliantly written, ready-to-be-made-into-a-movie script. So what, keep writing, keep honing your craft, keep getting better and better. For the pot of gold you can’t do mediocre. For the pot of gold you can’t do been-there-done-that-before stuff. You can’t expect that a story you feel is/was so, so, so close to your heart it’s something others would want to know about as well.

You CAN and probably should practice writing on those ideas, but keep moving your sights higher and higher – reach for the pot of gold writing ability inside you. When you’re writing from true experiences, you have to be able to pull out that “one” story that’s in it, not the whole enchilada, not every single true detail, laboring over every aspect to keep it as true as possible – NO! If you must write from true experience, and I’m talking to new writers who are still learning their craft, finding their voice, finding their brand and style of scriptwriting, you can consider writing a script “inspired” by a true story.

You have to make a script, a screenplay commercial. If you refuse to do so, since for many of you aspiring writers, your “calling” is pushing and running the show, then dig in and write the novel. You have so many more pages to gloriously embellish every detail with delightfully less restrictions on format. Get it published, let it become #1 on the New York Times Bestseller List, and who knows, it could get picked up to be made into a movie. Voila – there you have it.

People need to be vastly entertained to stay glued to their seats. Your idea may be interesting to you, but not all ideas translate to a great story on the page and worthy of being made into a movie on the screen. Pick your screenplay ideas carefully. Write a spec script with the intention to sell it, not just satisfy your calling to write out your idea. Best of luck on making your movie.

Lena Banks Founder-Think Tank Ink MasterMind INKubator for Scriptwriters-where writers become GREAT writers. A Pro Hollywood Proofreader & industry Reader (18 years). Pro Hollywood Script Reader for literary agents, producers, studios & writers. Writer’s Kick-Ass Muse & The Bitch With the Red Pen (an iron will with an angel’s touch) expert with industry format, she coaches and advises. Literary Agent & Manager Liaison – Lena helps new writers get IN.

For Expert help on crafting a great script visit me at

Article Source: [—Make-a-Movie—Which-Idea-to-Pick?&id=6599807] Scriptwriting – Make a Movie – Which Idea to Pick?

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Script Treatments

By John Halasz

A handy tool for script writers, script treatments are a step-by-step shorter version of the script you are working on. They may be used to pitch your scripts upon their completion or act as a broad framework for you to work within. Such literary compositions are always written using present tense and are invariably without dialogue or with very few dialogues. Script treatments are short narratives of the writers’ work, explaining each of the sequences of scenes. They can be better visualized as the exterior that other people will view and the script itself as the detailed part of a system functioning in synergy.

Treatments allow the writer to sense how the flow of the story is going to feel. If at any point the writer is dissatisfied with the way the first draft of the script is going, the necessary changes can be made later to revise the treatment. Script treatments are not etched in stone but are supple skeletons of the intended script for movie, TV serials, or theatrical plays. Most executives in the entertainment industry want script treatments submitted in a certain format. If nothing is specifically told to you, you may use the following, commonly-accepted layout:

� Font — Courier New, 12-point font size.

� Margins — An inch all around.

� Title page — Title to be written in bold, centrally aligned followed by the log line below. All contact details plus the name of the writer should be on the bottom left corner and those of the document to be printed in the bottom right corner.

� Heading — To be aligned to the right margin and written in capital letters.

� Page number — 0.5 inch from the top edge of the page, aligned to the right margin, all numbers to be followed by a period.

� Contents — This should be left aligned without indentation, ragged right margin and single spaced.

� Length — Although you should make it as short as possible, one page for every ten pages is acceptable.

Writers are advised to compile script treatments that are enjoyable to read, which depict their unique style. There is no necessity to be fanciful; just include everything your story is about. Last but not the least, avoid typographical and grammatical errors. If you can please the producer with your treatment, you will scale greater heights in your chosen profession. It may be advisable to hire a professional to help you write your script treatment.

If you are looking for a []screenwriter for hire for your script, visit our website for screenwriting services: http://www.ScreenwritersForHire.Com/ Or call John Halasz at (716) 579-5984

Article Source: [] Script Treatments