1

How to Write a
Screenplay – The
Perfect 30-Step Guide

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Warning: this E-Book contains minor spoilers of certain popular shows and films.

So – you want to learn how to write a screenplay.

You think about it constantly.

Whenever you watch a movie, you annoy your friends by going
on and on about how you could have written a better script.

You daydream about Tina Fey and Amy Poehler making fun of
you as you sit in the front row at the BAFTAs or Oscars.

Perhaps you’ve even purchased Final Draft or another writing

software package and spent hours staring at your laptop screen,
not sure where to start, so you decide to catch up on GAME
OF THRONES instead.

Don’t worry!
We’ve all been there, and Industrial Scripts is here to help. If
you follow the 30-steps below, you’ll discover that bragging
about your finished screenplay is a much better way to annoy
your friends.
Warning: many Spoilers ahead.
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STAGE #1: PLANNING YOUR SCREENPLAY

The most important thing you can do for your screenplay is to

plan it out ahead of time. Creating a blueprint of your script
before you type that first scene heading will help you stay on
track and create a story that works.

Brainstorm ideas
If you’ve thought about writing a screenplay before, you
probably have tons of ideas floating around in your head
constantly. That’s great!
In fact, if you don’t already have one, I recommend carrying a
notebook around with you so you can keep track of all your
ideas.
Where would we be if Vince Gilligan had forgotten to scribble
down “Chemistry teacher cooks meth to pay for cancer
treatments” in his idea journal?

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If you don’t have any ideas yet, you’re lying. There are ideas
everywhere, and you probably already have a few in the back of
your head.
Sit down with your laptop, pen and paper, or vintage typewriter
and start brainstorming ideas. Write whatever comes into your
head, just get those ideas down on paper and explore them.
Learn which ideas grab you, which ones you feel you could do
justice, and which ones the world needs to see. If you need
inspiration, read newspaper articles and novels or use your own
experiences to get you started.

Remember that you are writing for a visual medium and let your
imagination run wild.

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Pitch your ideas
Now that you’ve come up with a list of ideas, share them! The
end goal of writing a screenplay is to have people see your film
on the screen someday.
Pitch your ideas to your family, your friends, strangers on the
tube, anyone. Ask them which ones they would want to see.
More importantly, pay attention to their body language. Do
certain ideas make their eyes glaze over, or make them crinkle
their forehead in confusion? Are they really excited about an
idea?
This will help you select an idea to devote your time and energy.

Research the genre

Whether you are writing a period drama, an animated children’s
film, or a gory horror, you need to be an expert in
that genre because the audience will be. Here is an article about
the 10 hardest film genres to write.
Watch as many films of that type as you can. When people
watch a movie from a certain genre, they have certain
expectations. This doesn’t mean that you can’t mess with the
audience’s expectations or combine genres, you just have to be
aware of what mindset of your audience.
You also need to make sure that there is something different
and special about your idea.
The Hollywood cliché goes “the same but different” and it’s up to
you, the writer, to provide this.

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Get to know your characters
Your characters, especially your main character(s), will be your
new best friends. You should get to know them better than you
know yourself.
Know what makes them tick, what makes them excited, what
their most embarrassing childhood memory is, how they feel
about cats. These seemingly inconsequential answers will help
you create a full, complex cast of characters.
A useful exercise in exploring your main character is one
frequently used by actors. Write something, like a diary entry,
from the point of view of your character.
Get a feel for how they talk, how they express themselves.

Freewrite your idea

Once you have a clear sense of the people who will inhabit your
screenplay, you need to create their world. Write down your
thoughts for what will happen to your characters in this new
world. You will start to see a story forming from your ideas as
you determine what the obstacles will be and how it will end.

Understand story structure

All these ideas you’ve come up with are a fantastic start, but now
it’s time to see where they fall in the overall story arc. One way
to think about story structure is dividing your story into three
acts.
1. Your first act will set up the world of your screenplay and
introduce the main characters.
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2. The second act is where most of the events of your story
will occur; your protagonist will face obstacles, overcoming
some and being defeated by others.
3. The third act includes the climax, or final showdown, of
your story, followed by the resolution and tying together of
loose ends.
Story structure is not a rigid framework, but it is an important
aspect of telling effective stories. Even if you choose to play
with structure, you should still understand it.
Research story structure or check out a book on screenwriting
to help you get a better feel for story structure (see the
RECOMMENDED READING section at the end of this e-
book). We will also be discussing story structure further in the
“writing your screenplay” section.

Write a logline and treatment

A logline is a one or two-line summary of your story. It needs to
include your main character, their goal, the major conflict or
antagonist, and possibly a twist.
Somebody:
Wants Something Badly:
And is Having Difficulty Getting it:
When (inciting incident):
then (protagonist):
must (goal):
or else (stakes):
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An example: A struggling circus clown must find work at a funeral home.
The struggling circus clown is the protagonist, the conflict is
unemployment, the goal is to earn a living, and the twist is that
the clown must get a job in a very different line of work.
Bonus points if you can get your logline to include a time limit
to provide a sense of urgency (maybe the clown has two weeks
to raise enough money to make the payments on his clown car.)
These are a challenge to write, but will help you
understand what the core or backbone of your story is. Plus, it
will be incredibly useful for pitching your screenplay to
producers someday.
A treatment is a one to three page summary of what will happen
in your script. This is written in present-tense, third-person
prose.

Get feedback
Once again, share your logline and treatment with others. They
will help you spot any plot holes and provide ideas to improve
your story. Remember, just because one person says something,
it doesn’t mean they’re right. But if more people say the same
thing, it’s probably worth strongly considering their point.

Create a step-outline
A step-outline is significantly more detailed than a treatment. In
a step-outline, you create a list of the scenes in your screenplay
and a brief summary of what will happen in each of them.

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You do not need to include really short or transitional scenes
(such as the protagonist driving to work) if they are not relevant
to the plot of the story.
This step-outline will be your road map to your screenplay and
keep you from getting lost when you write. It will also help you
further flesh out your story. Often step-outlines will include a
full scene heading for each scene.

Index cards
Another way to help you plan out your story is to transfer your
step-outline onto index cards. On each index card, you should
write a scene heading and a summary of the scene.
These cards can be color-coded to indicate what act the scene is
from, which character is leading the scene or anything else that
might be helpful to you.
Once you’ve finished your index cards, you can lay them out on
a large table or floor (or pin them to a corkboard) in the order
you think the scenes should occur.
From there, feel free to move the cards around and see if they
really are in the right place in your story or if there are any
scenes that are unnecessary or missing.

Create a writing schedule

Sometimes staying on track with writing your script can be a
challenge, to say the least. It is easy to get distracted or busy and
put off writing your screenplay. While this is understandable, it
certainly won’t help you finish writing your story.
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Create a writing schedule for yourself, promising to write a
certain number of pages a day/week. This will help motivate you
to stay on task and feel productive.
Alternatively, some writers allocate a specific time-period for
their writing. Hoss Amini, the screenwriter of the critically
acclaimed indie flick, DRIVE, writes for five hours every
morning. Of course, you may not be able to follow his regime so
instead try to find your own ‘writing time’ and stick to it.
If you want to learn more about screenwriting from Hoss, be
sure to check out our interview with him here.

Make sure you understand format and software

Although it is possible to manually format a screenplay on a
regular Word document, this can be challenging. Save yourself
the frustration and time by downloading screenplay software
such as Final Draft. You can also refer to our article
on screenplay format to help you as you begin typing up your
story.

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 11

STAGE #2 WRITING YOUR SCREENPLAY
Now that you have your idea planned out, you’re probably
itching to start seeing your story down on paper.
You will be happy to know that you have already completed one
of the hardest parts of the process. Now all that remains is
the execution.
In this section, we’ll guide you through the process of writing
your screenplay using the three-act structure mentioned above.

Act I
Act I should roughly cover pages 1 to 23 for a 90-page
screenplay (comedy) and pages 1 to 30 for a 120-page screenplay
(drama).

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First image/scene
Give some thought to the picture you want to start off your
story. This will be the first look the audience gets at the world
you have created and will set the tone for the rest of your story.
In a horror film, this first scene is often a grisly murder. In
comedy, this could be a visual gag or a way to immediately start
off the laughs. In a historical drama, the first scene will put you
in the middle of that time period.
To help you work out what your story should open with, go and
watch the openings of your favourite movies and think, “what do
they tell us?”

A small spaceship fleeing a huge star destroyer – It’s going to be

a sci-fi movie with lots of action!
Close-ups of Julia Roberts whilst a romantic song plays over the
top – A romantic-comedy surrounding her character of course!
Wait! Where’s the comedy reference you ask? The pun on the
magazine cover, ‘Great Scott!‘ gives a clue to the funny nature of
the film.
So, when you go to start your screenplay, think about what sort
of film you want it to be, and whether the audience will be able
to get that from the opening image.

Set up your world and main character

The beginning of your story should set up what type of world
your protagonist lives in and provide the audience with some
information on who inhabits this world.

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According to Joseph Campbell’s The Hero’s Journey, this is called
the “ordinary world.” This is the protagonist’s “norm,” their
natural habitat before the events of the story change everything.
In THE LORD OF THE RINGS: THE FELLOWSHIP OF
THE RING, the ‘ordinary world’ is the Shire. It is green, lush,
and seems to be quite a quaint and comfortable life for the
hobbits that live there.
Our hero, Frodo Baggins, is forced to leave when he receives
the Ring and the Black Riders come looking for him, an event
that in screenwriting lingo is called the…

Inciting Incident
The inciting incident is an event that occurs that propels your
protagonist into the events of the story and disrupts their
ordinary world. In HARRY POTTER AND THE
PHILOSOPHER’S STONE, this is the moment when Harry
receives his letter to Hogwarts.

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After this moment, Harry can no longer return to living at the
Dursley’s. He now knows he is special, thanks to the now
YouTube-immortalised words of Hagrid, ‘You’re a wizard,
Harry.'

Resistance to calling
Often, the protagonist or hero will be unwilling to give up the
comfort of their world for the unknown. They may turn away
from their calling.
In a romantic comedy such as BRIDGET JONES’S DIARY,
this could be the protagonist (Bridget Jones) and her future love
interest (Mark Darcy) getting off to a bad start when they first
meet each other.
For another example, in THE HITCHHIKER’S GUIDE TO
THE GALAXY, Arthur Dent, the protagonist, makes it very
clear that he has no interest in going anywhere because he’s
afraid that construction workers will demolish his house to build
a bypass. The irony being that the Earth is about to be destroyed
by a Vogon Constructor Fleet in order to build a Hyperspace
Bypass.

No turning back
At the end of the first act, something occurs that prevents the
protagonist from truly rejecting his or her calling. No longer can
they wait around and enjoy the comforts of their ordinary world.
The hero must move forward and enter a ‘new world’ and face
the challenges that will entail. This moment is also called the
“lock-in.”

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In BACK TO THE FUTURE, this moment occurs when Doc
is killed and, in an attempt to flee the gunman, Marty McFly
accelerates up to 88mph in the converted, time-travelling
DeLorean and is sent back to 1955.

Act II
Act II is the longest act and should cover pages 23-66 for a 90-
page screenplay and 30-90 for a 120-page screenplay.

First half – Obstacles

In the first half of your second act, your protagonist will face
many obstacles in achieving his or her goal. Some of these
barriers will be overcome, and others will serve as setbacks. The
obstacles should increase in severity as the act progresses and
tension builds.
A clear example of this is the 2010 cult comedy SCOTT
PILGRIM VS. THE WORLD. Scott’s obstacles are Ramona
Flowers’ seven evil exes whom he must defeat, but each battle
becomes increasingly more difficult.

First half – Allies

To help the hero face these challenges, he or she will be given
helpers or friends.

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For Luke Skywalker of STAR WARS, these helpers include the

robots C3P0 and R2D2, as well as smugglers Han Solo and
Chewbacca, Princess Leia, and the mysterious Jedi-Knight, Obi-
Wan Kenobi.
All will help him in one way or another, so it is important that
your protagonist’s allies all serve a purpose and aren’t merely
hanging around for the sake of having extra characters.

First half – Subplots

Any side plots are introduced at the beginning of Act II.
In WHEN HARRY MET SALLY, the subplot is the romance
between Harry’s friend, Jess, and Sally’s friend, Marie.
In films that do not centre on romance, there is often a
romantic subplot such as the romance between Fran and Scott
in STRICTLY BALLROOM or between Ben and Abigail
in NATIONAL TREASURE.

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Midpoint twist
Halfway through your second act (which is also halfway through
your entire story), there is the midpoint twist, also known as the
first culmination. It is often the case that at this point, the
protagonist achieves the complete opposite of their goal.
In FINDING NEMO, the midpoint is when Marlin, in his
search for Nemo, ignores advice from Dory, his new
companion, and leads them through a group of jellyfish. This
results in Dory getting badly stung, which forces Marlin to
realize that he needs to listen to her if he wants to be reunited
with his son. Marlin has already lost Nemo, who is really his
only companion, and is desperate to find him.
At this point in the film he nearly loses his new companion,
Dory, thus achieving the opposite of his goal.

Second half – Raising the stakes

In the second half of Act II, the stakes are raised; the
protagonist needs to achieve his/her goal at all costs. In lots of
movies, this is literally a life-or-death situation, but it doesn’t
have to be.
In SILVER LININGS PLAYBOOK, Pat and Tiffany put all
their energy into learning the dance routine because Pat needs
Tiffany to give his ex-wife a letter and Tiffany needs to win the
competition. The stakes are raised even further when Pat’s
father bets all of his money on the outcome of the dance
competition.

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Second half – Lowest of the low
At the end of the second act, it seems as if all is lost for the
protagonist. This is called “the lowest of the low,” and is the
embodiment of the cliché “it’s always darkest before the dawn.”

In THE FULL MONTY, this is when Gaz is arrested for

stripping and loses the right to see his son. There is an exception
to this “lowest of the low” rule if your story is a tragedy and will
eventually end badly for your protagonist. In this case, the end
of the second act would be a high point before the fall of the
hero in the third act.
As an example, take a look at SAVING PRIVATE RYAN, the
second act ends with Captain Miller (Tom Hanks) finding
Private Ryan (Matt Damon); they’ve succeeded in their mission,
but the story does not finish there.

Act III
Act III should roughly cover pages 66-90 for a 90-page
screenplay and pages 90 to 120 for a 120-page screenplay.

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 19

Main Climax
The climax of the story occurs in the third act. This is the epic
battle that the protagonist has been gearing up for. This is quite
often a literal battle, whether it be the last assault in EDGE OF
TOMORROW, the title contest in WARRIOR or even the final
rap-battle in 8 MILE. The protagonist might lose everything, but
he or she may just achieve their ultimate goal. In CARRIE, the
main climax is when the powerful teenager faces off against her
mother and ends up killing them both in the process.

Final obstacles
Even after the climax, there are often still residual problems that
the protagonist must solve.
In PIRATES OF THE CARIBBEAN: THE CURSE OF THE
BLACK PEARL, Captain Jack Sparrow is arrested and
sentenced to death after he stops Barbossa. The final obstacle
that Will Turner and Elizabeth Swan must overcome is saving
their captain’s life.
Of course, it doesn’t have to be quite so dramatic; it may be
something as simple as having left dinner in the oven, and your
characters have to race back to stop it from burning the house
down!
However, this final obstacle is normally quite significant for
showing how your protagonist has changed from the beginning
to the end.
Going back again to STAR WARS, the final obstacle Luke must
face is the trench-run that is key to destroying the Death Star.
Earlier in the film when he was trying to master the Force, Luke

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 20

couldn’t let go of his own self-control. Well, this time round
Luke lets go and uses the Force to save the day.
Remember, the final obstacle may be the last time that we see
your characters in serious action so make it count!

Resolution
At the end of the third act (and the end of your story), loose
ends are tied up and the protagonist deals with the outcome of
the climax. In the hero’s journey, this is known as “the return,”
when the hero returns home with his goal completed.
In THE GODFATHER, the resolution is that Michael
Corleone lies to his wife, proving that he has become the man
he never wanted to be, the successor to his father.
Occasionally, like in THE SILENCE OF THE LAMBS, the
filmmakers may deliberately leave a loose end untied; Clarice
Starling has caught Buffalo Bill, but no mention has been made
of Hannibal Lecter since his horrific escape. Then in the closing
scene, he phones Clarice; the scene serves to remind you that
Hannibal the Cannibal is now once again at large…

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 21

STAGE #3 – REVISING YOUR SCREENPLAY

Congratulations, now you know how to write a screenplay, and

you’ve written one!
But before you start cracking open a bottle of champagne and
bragging to everyone at your high school reunion, be
warned: you are far from finished.

You have completed an essential step, but this is just the

beginning. First drafts of screenplays almost never get made.

As Ernest Hemingway once said, “The only kind of writing is

rewriting.” As I will discuss in this section, it is often necessary
to revise and rewrite a screenplay multiple times, especially if
you are a beginner screenwriter.

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 22

Take a break
While you do not want to forget about your screenplay or lose
your momentum, it can be helpful to step back and take a break
from your story.
After being involved in your script for so long, it will be hard to
see the faults in your work. It will be too easy to revel in your
sense of pride and accomplishment and not see the big picture.
Now is the time to finally catch up on GAME OF
THRONES and spend time with the family you have been
ignoring for weeks.

When you do come back to your screenplay and read it again,

this distance will help you see it with new eyes.

Have others read your script

Just as it was during the planning stage, sharing your work and
getting feedback is essential.
Have your friends and family read it, or better yet consult a
screenwriting professional for unbiased, educated comments.
They can help you figure out what works and what doesn’t, and
how to fix it.

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 23

Rewrite
I know it seems daunting and exhausting, but you will probably
have to rewrite large portions, if not all, of your screenplay.
Maybe you have discovered that your first act isn’t very strong,
and it is affecting the rest of your script. Or maybe you decide to
end your story differently.

The rewriting process will take a while, but be patient and stay
determined. The first draft is nearly always too dialogue-heavy,
but you’ll find that as you rewrite, you need less and less to
effectively tell the story.
Scenes that were filled with clunky exposition – i.e. telling your
story through speech rather than showing through action – fade
away into tight, set-pieces that drive your character forwards to
their goal.

Suddenly, you’ll find yourself really back in the flow of writing

and will have finished that second draft. It’ll probably be leaner,
punchier and just generally better which takes you to the next
step…

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 24

Finalize
Continue this cycle of getting feedback and rewriting or revising
until you are truly satisfied that this is your best work.
But remember, filmmaking is an ongoing process that doesn’t
end until it reaches the viewers. If you sell your screenplay
someday, it may be rewritten or tweaked, and directors,
actors, editors, etc. will continue adding their own touches to the
story.
Your job is to create the foundation, and then prepare to let
your story go.

What are my next steps?

Learning how to write a screenplay is a challenge, make no

bones about that, but an incredibly rewarding one.
It’s never guaranteed that your screenplay will sell, but if you
never write it, you’ll never know.
Screenwriting is a hugely fulfilling (and lucrative!) career for
those with the determination to succeed.
And don’t forget: writing is re-writing!
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The course delivers the information and exercises to enrich your
screenplays – whether you’re a complete beginner, or an
intermediate film screenwriter looking to raise your projects up
to a market-ready level.
Click here to learn more about ULTIMATE Screenwriting.

Recommended Further Reading:

1) Save the Cat by Blake Snyder
2) Screenplay by Syd Field
3) Story by Robert McKee
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Copyright Industrial Scripts. All Rights Reserved.

© Industrial Scripts. All Rights Reserved. Read More at: industrialscripts.com/blog

Book a Script Report here >> https://industrialscripts.com/script-coverage-services/