It has been asked and debated for a long time whether screenwriting is an "art" or a "craft"? It is true that some in literature circles (as well as Artists) look down on screenwriting as a limited craft with its strict guidelines. The nature of screenwriting is brevity, but within the confinements of the form the ability to create art within the craft still exists. The distinction between art and craft is often blurred, and in the case of screenwriting, both elements are integral to the process. And its important for you as a screenwriter to understand that to be great, you must master both. Lets look at screenwriting through the lens of both:
Artistic Element:
Creativity and Expression: Writing a screenplay involves the creative expression of ideas, emotions, and storytelling. The art of screenwriting lies in crafting a compelling narrative, developing well-rounded characters, and evoking emotions through dialogue and visual elements.
Unique Voice: Every writer brings their unique voice, perspective, and artistic sensibilities to the script. The choices in style, tone, and thematic elements contribute to the artistic dimension of screenwriting.
Craftsmanship:
Structure and Format: Screenwriting has a set of rules and conventions regarding format, structure, and pacing. Understanding these principles is crucial for effective communication with directors, producers, and actors. The craft of screenwriting involves mastering these technical aspects.
Revising and Editing: Like any craft, screenwriting requires revision and refinement. Writers often go through multiple drafts, honing their work to enhance clarity, coherence, and impact. This revision process is a key aspect of the craft of screenwriting.
Collaborative Nature:
Collaboration with Filmmakers: Screenwriting is often part of a collaborative filmmaking process. Writers work closely with directors, producers, and other creative professionals. The ability to collaborate and adapt the script to fit the needs of the production is both an artistic and a practical skill.
If you look at the truly great screenwriters they are abe to create a fusion of their unique artistic expression and craftsmanship to create their "voice" as a writer. Successful screenwriters strike a balance between creativity and adherence to the technical aspects of the craft. While the artistry lies in the creation of a unique and engaging story, the craft involves the application of skills and techniques to ensure the build up of drama and tension to the highest level. They have the feel of the story and how to create those elemets in levels others cannot. For you, dear screenwriter, to seperate yourself from the others and create a unique voice you must develop and master both the art and the craftmenship of the trade.
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.
"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros.
Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.
Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… But if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.