Pitt In Hollywood - Writers

1. I want to write a screenplay. Where should I begin?
2. How many other screenplays am I up against?
3. Do I have to move to LA to sell my script?
4. How many pages are in the average script?
5. Is it easier to sell a script for TV?

I want to write a screenplay. Where should I begin?

Structure. Screenplays are, if nothing else, structure. This cannot be emphasized enough. You must learn structure before you can write a saleable screenplay. What is structure? In a nutshell, structure is the bed frame of your screenplay--it's the "skeleton" beneath the writing that supports the weight of the story. A screenplay will usually be divided into three acts, each with its own climax. Acts, then, are divided into a set number of scenes, which generally begin and end with opposing value charges. Robert McKee's Story and Syd Field's Screenplay are two of the most popular books on the market today for learning about screenplay structure. Even non-linear films like Pulp Fiction and Memento follow this model rigidly. Computer programs like Movie Magic Screenwriter and Screenwriter 2000 can be helpful aides, but should not be used as crutches. Structure is something that must be learned, practiced, and honed with time.

How many other screenplays am I up against?

It is estimated that there are anywhere from 50 to 100,000 scripts floating around Hollywood that have been sold on spec, optioned, and/or filed away into storage rooms, never to be seen again. Many studios will read as many as 5,000 screenplays every year in search of approximately 12 that may or may not be produced. Although these statistics may seem disheartening, aspiring writers must bear in mind that a large majority of these scripts, perhaps as much as 70 percent, are submitted by writers who have never grasped any semblance of narrative structure. Anyone can write a screenplay in three weeks, and many do, but almost nobody could write a good script in that time span. Good screenplays often take months of preliminary research, several drafts, and a virtually unlimited supply of both self-discipline and desire.

Do I have to move to LA to sell my script?

Yes and no. A number of scripts have been sold from outside of Los Angeles and it isn't necessary to live there to be a successful screenwriter. This is dependent, however, upon your definition of success. If you're looking to write or produce an "indie" film, then it's feasible to produce a film in one of many major metropolitan areas, such as New York, Seattle, or Pittsburgh. The tradeoff, of course, is the monetary reward. Commercial scripts sell for a minimum of $60,000 and anyone who desires to sell their script commercially will significantly improve their chances of doing so if they reside in Los Angeles. Veteran screenwriters like William Goldman now write from New York, but had to start by writing in LA.

Truthfully, very few screenwriters will ever admit to enjoying the writer's life in LA, but living in the city is often necessary to making contacts and staying at the heart of where trends and ideas that shape the industry are conceived. If moving to LA is out of the question, then another option to consider is screenwriting contests. Only a select few contests, however, such as those sponsored by Sundance and others like Project Greenlight are reliable for getting winning scripts sold and produced immediately.

How many pages are in the average script?

The general rule of thumb is that one page of script equals one minute of screen time. This rule will obviously not apply for a prolonged action sequence or a page of quick, choppy dialogue. Generally, however, a major motion picture will run anywhere from 90-130 minutes and it is beneficial to stay within this range of pages, particularly when working on your first screenplay.

Is it easier to sell a script for TV?

It depends. The hardest scripts to sell are often "MOW's" (Movies of the Week) and animated features like Hercules and The Lion King. Both are usually developed "in-house" which means the studio or network uses its own writers who are already employed and have written for them in the past, meaning it's closed to freelancers.

Television writing is the most popular means of starting out and breaking into the business because the expectations of the script are clearly defined. That is, the characters and the way that they think, act, and speak have already been established.

That said, let's assume you want to write a script for the sitcom "Will and Grace". You would not want to send a "Will and Grace" script to the writers and producers of that show because they're likely to pick out any errors and inaccuracies that you might make, such as giving a character a line of dialogue that he or she would never say. When that happens, you lose all credibility.

Instead, pick shows that share some of the same themes and boundaries--try "Dharma and Greg" or "Frasier". It doesn't matter if the show is off the air. The point of this exercise is to prove that you're versatile. The logic is that if you can write for "Frasier", as well as "Diagnosis Murder", you might be able to pull off a script for "Will and Grace". If the scripts fall into the right hands, and the producers like what they see, they'll then ask you to write a script for their show. Understand that this doesn't mean they'll buy or produce it, but if you manage to make it this far, consider it a positive gauge of your ability.