Screenwriting Articles

It looks a lot easier than it is. You don't want a boring, paint-by-numbers protagonist leading the charge in your screenplay, regardless of genre, so you decide to switch things up, create a character with some edge, someone flawed. Not a bad thought, points for originality. But beware of the inherent dangers here. There is a veritable minefield of mistakes awaiting those who want to create the next great anti-hero (especially when there is a desire to keep the story commercially appealing to producers, agents and actors). The writer must skate a thin line between damaged and unsympathetic. Execute things properly and you get the former, go too far and you're stuck with the latter, and the latter means one thing - PASS.
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You want to come across as a hard worker and eager to prove yourself. But you don’t want to come off as desperate. Or worse, crazy. Don’t list your quote for the option price or tell us you will move to Los Angeles with one phone call. Tell us why we should be enthusiastic about you and the idea. List your top accomplishments but don’t send a resume or tell us about an award you won ten years ago. We just need the basics so tell us why you are the best person to have written this script (i.e. what about your background or experiences lends authenticity to the story). We know that if we like the script we can get on the phone with you or meet with you.
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Many times we get "leave behinds" such as photobooks, posters, or art projects to convey the gist of a project. If your pitch or idea is good, you don't need these fancy extras. If you want to bring a few pictures to give us an idea of the setting or look of the film during your pitch, that is usually welcome. But elaborate gimmicks just make us feel like you are trying to make up in flash for what your pitch lacks in story.
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There can be no argument that the climax of any movie is critical. It's the last thing the audience will be left with as they exit the theater and throw out their popcorn bags and soda cups. Think of the shocking twist at the end of 'The Usual Suspects', or even the dark and depressing but all too realistic final scene in 'Chinatown'. In some cases an effective third act can even save a mediocre flick by fooling the viewer into thinking the whole movie was as good as the last five minutes. However it's important to remember that even though all of the above is true the third act is still not the most important part of a screenplay.
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