Screenwriting: the Process, Production, and a Faith-Based Perspective
An Introduction to Screenwriting
Screenwriting is the first step in the process of making a movie. It may include writing an original screenplay, or adapting a novel for the big screen. The style of a screenplay is unique in that it is comprised mainly of dialogue and stage directions. The end product is used as the basis of the movie; it provides the frame of action and story within the movie, but it is the job of directors, producers and actors to bring it to life.
Screenwriting is the first step of creating a new movie. It is an important but often overlooked part of the process. From screenwriters, to directors, to actors, and to film enthusiasts, having an understanding of the process of writing a screenplay will enrich the film experience.
In its truest form, screenwriting is about creating a framework for directors, editors, production crews, and cast members. This framework provides a creative outline or those people who are producing movies, TV shows, sitcoms, documentaries, and so forth.
Screenplays may be original works, but often they are adaptations of existing stories. Many o today’s popular movies are adaptations; movies such as Chicago, The Pianist, Spiderman, The Lord of the Rings, and Pride and Prejudice fall into this category.
A screenwriter’s job is, ultimately, to create a well-told story whether is an original piece or a modified one.
Screenwriting is the first step of creating a new movie. It is an important but often overlooked part of the process. From screenwriters, to directors, to actors, and to film enthusiasts, having an understanding of the process of writing a screenplay will enrich the film experience.
In its truest form, screenwriting is about creating a framework for directors, editors, production crews, and cast members. This framework provides a creative outline or those people who are producing movies, TV shows, sitcoms, documentaries, and so forth.
Screenplays may be original works, but often they are adaptations of existing stories. Many o today’s popular movies are adaptations; movies such as Chicago, The Pianist, Spiderman, The Lord of the Rings, and Pride and Prejudice fall into this category.
A screenwriter’s job is, ultimately, to create a well-told story whether is an original piece or a modified one.
Film Writing: A Unique Literary Form
The process of writing a screenplay is often compared to that of a novelist’s. It is true that screenplays may take the same time as a novel would to write, but there are many difference between the two genres.
“Screen and prose writers create the same density of world, character, and story, but because screenplay pages have so much white on them, we’re often misled into thinking that a screenplay I quicker and easier than a novel,” Robert McKee asserted in his book, Story: Substance, Structure, Style and the Principles of Screenwriting. “But while [pros writers] fill pages a fast a they can type, film writers cut and cut again, ruthless in their desire to express the absolute maximum in the fewest possible words.”
Where a novelist could and might write page after page of dialog or description, a film writer, in contrast, is very limited with how much they can actually include on a page. The format of a script I usually structured so that one page of dialog typically translates into about a minute of screen time. As a result, the writer must make quick use of that time; he or she must use the writing to create a screenplay that contains the necessary dialog while simultaneously conveying mood, tone, feelings and character.
Another aspect of screenwriting that is distinguishes it from other forms of writing is the necessity to describe stage directions as well as explain visual aspects of the story. A screenplay will be read and interpreted differently by everyone who reads it.
Because the screenplay is the scaffolding and has the potential to be construed so differently by actors, directors, and editors, a film writer must anticipate the variance of interpretation from person to person and make sure their work is coherent and quickly understandable. It is imperative then for screenwriters to have a basic knowledge and understanding of the rules of screenwriting. Because, as McKee says, “Talent without [the knowledge of] craft is like fuel without an engine. It burns wildly but accomplishes nothing.”
“Screen and prose writers create the same density of world, character, and story, but because screenplay pages have so much white on them, we’re often misled into thinking that a screenplay I quicker and easier than a novel,” Robert McKee asserted in his book, Story: Substance, Structure, Style and the Principles of Screenwriting. “But while [pros writers] fill pages a fast a they can type, film writers cut and cut again, ruthless in their desire to express the absolute maximum in the fewest possible words.”
Where a novelist could and might write page after page of dialog or description, a film writer, in contrast, is very limited with how much they can actually include on a page. The format of a script I usually structured so that one page of dialog typically translates into about a minute of screen time. As a result, the writer must make quick use of that time; he or she must use the writing to create a screenplay that contains the necessary dialog while simultaneously conveying mood, tone, feelings and character.
Another aspect of screenwriting that is distinguishes it from other forms of writing is the necessity to describe stage directions as well as explain visual aspects of the story. A screenplay will be read and interpreted differently by everyone who reads it.
Because the screenplay is the scaffolding and has the potential to be construed so differently by actors, directors, and editors, a film writer must anticipate the variance of interpretation from person to person and make sure their work is coherent and quickly understandable. It is imperative then for screenwriters to have a basic knowledge and understanding of the rules of screenwriting. Because, as McKee says, “Talent without [the knowledge of] craft is like fuel without an engine. It burns wildly but accomplishes nothing.”
Beyond the Manuscript: What to do with a completed screenplay
Sucessful and famous screenwriter Dave Goyer.
The business of screenwriting is wide open these days. In The Dialogue, a series of interviews with popular screenwriters, writer of Batman Begins, Dark Knight, and Blade, David Goyer says that with the advent of the internet and the availability of tools, the screenwriting world is open to anyone.
The screenplay that made him famous was Blade. It didn’t get made by the first people to read it, but by shopping it around he was able to get a name for himself. As he got involved with the industry, Goyer states that he would audition to producers many times for different movie jobs. Eventually, word got around, and producers had heard of Blade before they even got the chance to look at it because of the industry buzz.
Clearly, writing a manuscript is only half the work. After a screenwriter has a finished screenplay, they contact different agents with query letters to help sell their story. Nathan Bransford, a literary agent, wrote on his agent blog that query letters should be between 300-500 words, and have three purposes: they are meant to address and connect to an agent, summarize the plot, and show the credentials of the writer.
The most important part is showing the protagonist to the agent in a precise and compelling way. Agents and producers should get a real feeling of the character and the conflict within the storyline. If the author fails to do this in the query letter, it is likely to be instantly rejected and no representation can be expected.
But screenwriters aren’t the only people working to get their story into production. They have a secret weapon on their side: agents. And while these agents don’t do spy work or know martial arts, they can still be invaluable allies to an up-an-coming screenwriter.
An agent’s skills take the shape of knowing where a manuscript should be sent, and which particular producers it might interest. They are aware of the market and where the industry is, and can use this knowledge to get a writer’s manuscript read faster. And when the time comes to sign a contract, the agent will be the author’s advocate—to make sure they get a good deal, and that the terms of the document are fair.
After the agent picks up the script and have found a buyer, it is then up to the film company to make the movie when and how they want to. The agent is in charge of making sure all payments are made to the writer. The writer’s involvement in the film is now based on the contracts that he signed with his agent and the film company.
The screenplay that made him famous was Blade. It didn’t get made by the first people to read it, but by shopping it around he was able to get a name for himself. As he got involved with the industry, Goyer states that he would audition to producers many times for different movie jobs. Eventually, word got around, and producers had heard of Blade before they even got the chance to look at it because of the industry buzz.
Clearly, writing a manuscript is only half the work. After a screenwriter has a finished screenplay, they contact different agents with query letters to help sell their story. Nathan Bransford, a literary agent, wrote on his agent blog that query letters should be between 300-500 words, and have three purposes: they are meant to address and connect to an agent, summarize the plot, and show the credentials of the writer.
The most important part is showing the protagonist to the agent in a precise and compelling way. Agents and producers should get a real feeling of the character and the conflict within the storyline. If the author fails to do this in the query letter, it is likely to be instantly rejected and no representation can be expected.
But screenwriters aren’t the only people working to get their story into production. They have a secret weapon on their side: agents. And while these agents don’t do spy work or know martial arts, they can still be invaluable allies to an up-an-coming screenwriter.
An agent’s skills take the shape of knowing where a manuscript should be sent, and which particular producers it might interest. They are aware of the market and where the industry is, and can use this knowledge to get a writer’s manuscript read faster. And when the time comes to sign a contract, the agent will be the author’s advocate—to make sure they get a good deal, and that the terms of the document are fair.
After the agent picks up the script and have found a buyer, it is then up to the film company to make the movie when and how they want to. The agent is in charge of making sure all payments are made to the writer. The writer’s involvement in the film is now based on the contracts that he signed with his agent and the film company.
Screenwriting: An LDS Perspective with Janine Gilbert
The real process of screenwriting in conjunction with LDS standards are brought more to light through a personal interview with someone actually involved in the work. Janine Gilbert, an English professor at Brigham Young Univeristy Idaho, has written a script that has actually been produced on the screen and sold out into millions of homes. She also teaches screenwriting as a class at BYU-I.
Gilbert attended school first at BYU where she earned a B.A. in film with a minor in philosophy. Later she went on to receive a M.A. degree in English from Idaho State University. Gaining a bachelor’s degree in film came quite as a surprise to Janine. While poring over a BYU catalog to decide on a major, she came across a screenwriting course and found that film was offered as a major. She immediately took up the opportunity and enjoyed every bit of it, which included theory, production, and writing. Her favorite aspect, however, was the writing. The skills that she gained in her education led her to create her first film, an adaptation of LDS novel Charly by Jack Weyland.
So far, this has been her only film and so she has not yet had the opportunity to work with Hollywood. Therefore, problems as an LDS writer conflicting with world views were not prominent as they otherwise may have been.
This does not mean that there were not challenges however. Some of the biggest concerns that Mrs. Gilbert faced in her work was simply making the time for writing and making sure that it was received by the right kind of people, which she believes that any good writer should be able to do.
Further beliefs about the world along with her LDS views are important this particular screenwriter. Gilbert said that having beliefs has highly influenced the work that she produces. When asked how this is, she said, “I don’t know that you can separate who you are from your work. I try to write as truthfully as I an, but I honestly don’t think of my beliefs as something separate from myself – so I’m sure they’ve had an impact, but I don’t think it’s conscious.” It then becomes apparent that through a writer’s perspective, what is eventually produced in film will be inevitably impacted by those who create it and the interpretations of the world that they bring with them.
To read the rest of her interview, click on the "Interview with Janine Gilbert" Tab in the Cover Story section.
Gilbert attended school first at BYU where she earned a B.A. in film with a minor in philosophy. Later she went on to receive a M.A. degree in English from Idaho State University. Gaining a bachelor’s degree in film came quite as a surprise to Janine. While poring over a BYU catalog to decide on a major, she came across a screenwriting course and found that film was offered as a major. She immediately took up the opportunity and enjoyed every bit of it, which included theory, production, and writing. Her favorite aspect, however, was the writing. The skills that she gained in her education led her to create her first film, an adaptation of LDS novel Charly by Jack Weyland.
So far, this has been her only film and so she has not yet had the opportunity to work with Hollywood. Therefore, problems as an LDS writer conflicting with world views were not prominent as they otherwise may have been.
This does not mean that there were not challenges however. Some of the biggest concerns that Mrs. Gilbert faced in her work was simply making the time for writing and making sure that it was received by the right kind of people, which she believes that any good writer should be able to do.
Further beliefs about the world along with her LDS views are important this particular screenwriter. Gilbert said that having beliefs has highly influenced the work that she produces. When asked how this is, she said, “I don’t know that you can separate who you are from your work. I try to write as truthfully as I an, but I honestly don’t think of my beliefs as something separate from myself – so I’m sure they’ve had an impact, but I don’t think it’s conscious.” It then becomes apparent that through a writer’s perspective, what is eventually produced in film will be inevitably impacted by those who create it and the interpretations of the world that they bring with them.
To read the rest of her interview, click on the "Interview with Janine Gilbert" Tab in the Cover Story section.
