• Wondering which camera, gear, computer, or software to buy? Ask in our Gear Guide.

Your screenplay is wrong. Here's why.

Flicker Pictures

Flicker Pictures

Came across this on the Internets, thought it was worth posting...

http://www.fastcocreate.com/3022129...in-one-handy-infographic?partner=newsletter#1

Last year, a scriptreader read 300 scripts for 5 studios, all the while taking notes on the problems and trends he saw. The number 1 problem? The story started too late in the script.

The scriptreader listed 37 frequently occurring problems, here are the top 20:

The story begins too late in the script
The scenes are void of meaningful conflict
The script has a by-the-numbers execution
The story is too thin
The villains are cartoonish, evil-for-the-sake-of-evil
The character logic is muddy
The female part is underwritten
The narrative falls into a repetitive pattern
The conflict is inconsequential, flash-in-the-pan
The protagonist is a standard issue hero
The script favors style over substance
The ending is completely anti-climactic
The characters are all stereotypes
The script suffers from arbitrary complexity
The script goes off the rails in the third act
The script’s questions are left unanswered
The story is a string of unrelated vignettes
The plot unravels through convenience/contrivance
The script is tonally confused
The protagonist is not as strong as [he or she needs to] be

An anonymous professional scriptreader read 300 screenplays for five different studios recently, all the while tracking the many recurring problems found along the way. If it's frustrating experience to bang out a screenplay without much experience, just imagine what it's like to read some of these hastily banged-out doozies, one after the other. Eventually, the person doing so organized all the data into a handy infographic that could be read as a diagnostic on where screenwriters go wrong.
Click to expand...

The infographic is too huge to post here, but it's on the website link above.

And I don't agree lock, stock and barrel with the findings and reasons, since each script will have its own merits and issues and specific ways to help improve that script. What appeals to one reader may not for another. Only wanted to share the link and info with y'all.
 
Last edited:
Sort by date Sort by votes
I don't necessarily agree with all of these as it represents a fairly "broad brush" in script analysis. These three seem fairly subjective or opinionated:

"The ending is completely anti-climactic"

Not every script needs to end with explosions, ultimate rescue or buildings falling. I liked "Monster's Ball" very much, ...but it was a very subtle climax juxtaposed with the movie's chaos that made it interesting. A movie's ending should always be judged by it's purpose within the context of the movie ...not just it's overall screen impact.

"The characters are all stereotypes"

Two words: "Star Wars" Everyone in that movie was a cookie cutter character ...and I loved them all!

"The scenes are void of meaningful conflict"

...One man's "Meaningful" is another man's "Tripe". Do we compare a holocaust victim's survival plight to a trendy schoolgirl struggling to become class president? It all depends on the way the movie is designed.

Just my opinion.

-Birdman
 
Upvote 0 Downvote
victortiti89 said:
My story begins at page 17. Is this too late?
Click to expand...
Yes.

According to Syd Field, "You’ve got ten pages to establish three things: (1) Who is your main character? (2) What is the dramatic premise– that is, what’s your story about? and (3) What is the dramatic situation of your screenplay– the circumstances surrounding your story?"

Your story begins at page 17, you've got 7 too many pages in your first ten pages. :)
 
Upvote 0 Downvote
this is amazing. i will be referring to this graphic carefully before starting my next script.

and to the people complaining in the comments section, many films that get made don't necessarily go through the process of getting read by someone who does script coverage. for example, films that are independently produced, films by writers who are already established, or films with important people already attached who can push the script straight through to the execs. just because bad films get made, doesn't mean this script reader is wrong. if you're a writer trying to break into the industry, these are the people who hold the key, so pay attention to what they have to say.

the fact is creative writing is a rare skill, most people are bad writers, and most scripts are bad. i guess a lot of those bad writers are bitter.
 
Upvote 0 Downvote
The story begins too late in the script
Click to expand...
victortiti89 said:
My story begins at page 17. Is this too late? The screenplay is 91 page long. Thanks for answering!:)
Click to expand...

If%2520The%2520First%2520Ten%2520or%2520Twenty%2520Minutes%2520Look%2520Like%2520Shit.png


IOW: Get to the f#ckin' point on page one, not page two, not page five, seven, ten or seven-f#cking-teen.
 
Upvote 0 Downvote
Birdman said:
I don't necessarily agree with all of these as it represents a fairly "broad brush" in script analysis. These three seem fairly subjective or opinionated:

"The ending is completely anti-climactic"

Not every script needs to end with explosions, ultimate rescue or buildings falling. I liked "Monster's Ball" very much, ...but it was a very subtle climax juxtaposed with the movie's chaos that made it interesting. A movie's ending should always be judged by it's purpose within the context of the movie ...not just it's overall screen impact.

"The characters are all stereotypes"

Two words: "Star Wars" Everyone in that movie was a cookie cutter character ...and I loved them all!

"The scenes are void of meaningful conflict"

...One man's "Meaningful" is another man's "Tripe". Do we compare a holocaust victim's survival plight to a trendy schoolgirl struggling to become class president? It all depends on the way the movie is designed.

Just my opinion.

-Birdman
Click to expand...

I feel like you're confusing things here - an anti-climactic ending does not necessarily mean one that doesn't have explosions. There are many scripts that don't have such things and are subtle dramas, yet have satisfying climaxes.

In terms of stereotypical characters in a movie such as Star Wars - it's perhaps important to note that the first Star Wars was not funded by a studio. If you're going to self-fund then you can put whatever you want on your script!
I'd also argue that many of the characters in Star Wars have a lot more nuance to them than just a general stereotype. I've read many scripts where characters are simple stereotypes with no other substance. The characters in Star Wars at least have some substance. It's also possible that some if SW's characters became stereotypes to some extent because of SW's success.

A meaningful conflict does not necessarily mean that we can only write about wars. A trendy schoolgirl battling against her arch-rival in a vie to become class president is a lot more meaningful than a college girl who realises her housemate drank the last of the milk last night, and that being the crux of the conflict.
 
Upvote 0 Downvote
Will Vincent said:
Yes.

According to Syd Field, "You’ve got ten pages to establish three things: (1) Who is your main character? (2) What is the dramatic premise– that is, what’s your story about? and (3) What is the dramatic situation of your screenplay– the circumstances surrounding your story?"

Your story begins at page 17, you've got 7 too many pages in your first ten pages. :)
Click to expand...

So did this script reader go past the first 10 pages anyway? Seems like he read 300 scripts, most of which were bad
 
Upvote 0 Downvote
sfoster said:
So did this script reader go past the first 10 pages anyway? Seems like he read 300 scripts, most of which were bad
Click to expand...

I have never covered 300 scripts in a year but I have covered well
over 1,000 in my career as a reader. Most are bad.

jax, wise words.
 
Last edited:
Upvote 0 Downvote
GuerrillaAngel said:
Oddly, for all those faults, 89 scripts rated a "consider".
Click to expand...
It'd be nice if the compiler had outlined some of the positive elements of those 89 submissions.



Anyways... Just fer schitzengiggles...

How To Make A Cliché Screenplay
Elements of Been-There-Done-That
https://lh3.googleusercontent.com/-OekKBwsf3Wk/Uvgcsav97DI/AAAAAAAAAI8/b3DLG0R28LE/s800/all-the-things-that-are-wrong-with-your-screenplay%2520-%2520LEFT.png

107 Page Horror/Slasher Film
Male Hero + Male Villain
They have macho action names like Detective Bruce Hammer and Dr. Vlad M Paler!
Contemporary setting in Townsville, USA. Likely on the run from nearby Bigsitty, USA.
Bruce defeats Dr. Paler in the end, of course, and acquired the eternally grateful token female!
I'm gonna hazard they're all WASP crackers, too. :D​
 
Upvote 0 Downvote
rayw said:
It'd be nice if the compiler had outlined some of the positive elements of those 89 submissions.
Click to expand...

LONGEST DISTANCE COVERED BY A SIGNGLE SCRIPT = 5535 Miles

Interesting they would compile that stat. My script incorporates an alien coming from several hundred light years away. On Earth the distance traveled is 2400 miles, so I guess I'm a shoe-in for winning the longest distance stat.

However, if only earth miles count, then I guess I'm still 601 miles short of beating "3000 Miles to Graceland"?

directorik said:
Yes, Birdman, that means some were good.

Nice catch!
Click to expand...

...Someone's gotta point out the positive around here, ya know?

-Birdman
 
Last edited:
Upvote 0 Downvote
It's an interesting list, and it's easy to agree with a lot of it. If his findings really do describe 'wrong' screenplays, however, then there are clearly a lot of 'wrong' screenplays that make it to the screen...
 
Upvote 0 Downvote
You must log in or register to reply here.
Back
Top