Screenwriting 101 UoG Department of Film &Tv Production

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 Screenwriting 101 UoG Department of Film &Tv Production

Chapter one
Introduction to screen writing
What is screen play?
A screen play or a script is a written work that is made especially for film or Television
program. Screen play can be Original works or adaptations from existing pieces of
writing. A play for television is known as Teleplay.

In the most basic terms, screen play is a 90-120 page document written in courier 12 pt
font on 8 1/2 “*11” bright white three-hole punched paper. This is because, one
formatted script page in courier font equals roughly one minute of screen time. As
alternative font “time’s roman new” also used to write a screen play. So a 90 page film is
believed to be a 90(1:30h) minute screen time movie and 120(2:00) is equal to 120
minutes

A screen play can be an original piece, or based on a true story or previously written
piece, like a novel, stage play or news paper article, real life moments, coincidence and
different others.

Here before beginning the writing process everyone who needs to be a screen writer
have to remember that film is primarily a visual medium. As a screen writer you must
show what is happening in the story, rather than telling.

NB. A two page inner monologue may work well for a novel, but it is a kiss of
death in a script.

Screenwriting is a fascinating process, but it requires talent, technical skill and

drive (motivation). So in this class don’t ever expect to get some talents of screen
writing; but with all your effort of taking this course carefully I can give you the skills to
handle your ideas in to script writing.

Remember that film is a visual medium, so when you write a screenplay think in pictures;
pictures that tell a story through:-

 Images that linger in the mind,

 Through dialogue that’s believable and concise, and
 Through creative description.

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N.B in the journey of this course I need you to consider this example very deeply.

“A man gets on a bus and when the conductor asks him where he’s going, he says, ‘I
don’t know.’ The bus conductor answers: ‘Then you’ll never get there.’ You need to
know your destination’.

Three ways of getting a film script

1. Write it your self

2. Higher for a writer
3. Buy it
But as you are learning how to write a screen play; the focus of this course will be on
giving some hints about the format and the overall concept of screen writing.

4. Pre writing your script (The Importance of Preparation)

VERY IMPORTANT QUESTION TO ASK

TEN POWERFUL QUESTIONS

Before you start writing your screenplay save yourself months – or even years – of frustration by
answering these questions:

1. What is your story about? (In a couple of sentences (log line)

2. What genre is it? (Comedy? Horror? Thriller? Drama?

3. What’s the mood of the film? For example, edgy/comic/

mysterious/poignant/frightening, etc.
4. What time period does the films cover? (A day, a month, a year, many years or
centuries? Would it matter if you changed the time period?)
5. Who is the main character? (The Protagonist.) Who is opposing him or her? (The
Antagonist.)
6. In what order are you going to tell your story? Sequentially, with one event linked to
another in a sequence of time? Or are you going to jump back and forth in time through
flashbacks?

7. How many locations do you need to illustrate these time periods? Do you need them
all? Why?

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8. What conflicts are there in your story? (What do your characters want? What obstacles
are you going to give them?)
9. How are your major characters going to overcome these obstacles to reach their goal?
10. Do you have a subplot? (Additional or sub plot which relates in some way to the
main plot. Some scripts have more than one, but don’t make life too hard for you.

Create a strong and interesting character with strong goal and a strong adversity
(difficulty). It is vitally important for screenwriters to create a strong goal for their
protagonist and to have one or more people (antagonists) who try to stop him from
achieving that goal. It is also important that the audience identify with the hero for
then they bond with him and engage with his struggle.

CREATING INTERESTING CHARACTERS

When you’re creating characters, think in contrasts: in age, gender, attitude and social status.
This will help you create interesting people. To help yourself to create those kind of characters
just answer the following questions:
1. Where were your characters born and when?
2. Do they like the way they look?
3. What are their parents like? If they are still alive, do theyrelate to them or not? If they don’t,
why not?
4. Were they well educated or not? Were they happy and popularin school or not? Why?
5. What work do they do? Do they enjoy it or not?
6. Do they have siblings? Do they get on with them? If not, whynot?
7. How do they dress? (Classic, casual, elegant, hippie, etc.)
8. How do they speak? Have they got an unusual speech pattern?Do they interrupt people/listen
carefully/only listen
9. How do they move? Are they awkward/confident/hesitant/graceful or none of these?
10. What do they like about themselves? What do they dislike?
11. What is their major character flaw? How are you going to useit in your plotting?
12. Have they ever suffered a trauma in the past? How does thisaffect them now?
13. Have they got a favorite place? (This could be a den in theirhouse or a country.)
14. What do they hate/love doing in their leisure time?
15. How would you describe their personality?
16. What do they really want? What are they prepared to do toget it?
17. Are they active, i.e. do they have the energy to achieve theirgoal? (This doesn’t need to be
physical energy – elderlycharacters may have a burning mental power that controls thepeople
around them.)

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To make us care about your characters, you must make them believable. There must be a
consistency of action, dialogue and reaction with which we identify. Audiences always
want to know why someone behaves or acts or speaks in a certain way. As long as the
writer shows the audience credible reasons, we will accept even villainous characters like
“Gaga”. The bottom line for writing any character is credibility. It’s vital to know what
motivates each character to create fascinating, flawed people.

Steps to write a good screen play

Title, Theme, Outlines, log lines, Synopses and Treatments

1. Title: -it contains 1-3 words and it is the name you give to your script to be called. It is a
general descriptive heading of your work.

2. Theme :-(the heart of your movie) it is a feeling, emotion of the script. Often people
start with a theme that suggests a universal truth such as: ‘power corrupts’; ‘love hurts’;
‘betrayal destroys’; ‘injustice should be fought’ ‘men and women can never be friends (sex)’,
etc. The theme is what the film is ‘about’. If you can find a theme that is both interesting
and universal, you are on the road to creating a great screenplay. Once you have your
theme, start writing your outline.

3. Outlines: - An outline is like a very short story. You write it to crystallize what your
story is about. It’s your map. It helps you clearly summarize your story. You write an outline
so you can find
the head and the heart of your story. Writers often start by writing the Theme of their script.

If you can’t write the outline, then you don’t know what your story is about. If this is
the case, work on another idea.

4. Log lines: - (15-25 words) In contrast, a logline should tell the reader three
things: who the lead character is; what his problem is; how he is going to solve it, a logline is
a very short summary of your story (one to three sentences). It’s crucially important to write
an excellent logline because this is a powerful marketing tool to interest an agent or
producer. The producer will then use this logline to get fundingfor your script. That’s how
important it is. I.e. the who (the good and the bad guy), what, how of the story(the
complication). The logline should show that the lead character has a problem and must
achieve a certain goal in order to solve that problem.

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The logline is your sales pitch, the first thing you write in a query letter or the pitch you use
on the phone.
Ex. ‘A shy young boy discovers a stranded alien and finds the
courage to defy the authorities to help it return to its home
planet.

5. WHAT IS A SYNOPSIS?

A synopsis is often confused with an outline because it is also a summary of your story. But
a synopsis is a selling tool, and as such it should be concise and intriguing enough to get an
agent or
producer eager to read your script. Mostly one, two or three pages as busy people have
little time and a synopsis is a short brief of your script. (The story) Make sure when writing
your synopsis that the ‘hero’ (protagonist) and ‘villain’ (antagonist) are clearly defined.
Briefly, show how the plot develops, how it complicates and how it’s resolved. To write a
good synopsis you need to know how your story ends.

What is very important when writing a synopsis is to reflect the genre you’re writing. For
example, if you’re writing a thriller your synopsis should be edgy , exciting and interesting, if
you’re writing a horror, it should make a reader ’s flesh creep or fear, and if you’re writing a
comedy it should make them smile a few times, or better still laugh.

DO WE HAVE TO TALL EVERYTHING IN SYNOPSIS?

Some film companies (and agents) like to know exactly how the script ends and don’t want
any secrets. And many people think that a synopsis should intrigue the reader without
necessarily telling them everything. Well the decision is yours! But whether you reveal the
ending or not, your synopsis should be an exciting read; it should convey your passion for
your story and make the reader feel that they must read the script.

N.B. Note that in English screen plays every time u introduces a new characters use capital
letters. This is a screen convention which highlights the number of characters in the script.
But in Amharic script just makes the new character name in bold font.

INTRODUCING A SUBPLOT
Remember this when you’re writing your step outline. Subplot is an additional plot which
supports the main plot. A good subplot should add depth to your main plot and main

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character; it should
relate to main story line and show an added dimension to the main character. The subplot
allows us to see the personal lives of our characters: their hopes, fears and flaws. The
subplot is where your character changes. Once you know the big emotional conflict which
your protagonist will be forced to resolve, or the theme of your screenplay, you can create
subplots which illustrate different
aspects and potential outcomes.

6. WHAT IS A TREATMENT? (3-5 pages)

A treatment is similar to an outline, but can run from two to twenty pages (and with every
reason why things are the way they are and why our Protagonist is facing those up and
downs). Like an outline, it is a blueprint for a screenplay, The treatment should reveal the full
structure of the story by showing
 The personalities of the major and minor characters,
 Their relationships, and
 How they change and develop.

You have to use the three act structure and should answer the 5W and 1 H question.

Writing a treatment: -
1. It is written in either (12-point Courier or 12-point Times New Roman) in the present tense.
2. Use dialogue, but unless you have some great dialogue that sums up a character in a few lines
Don’t”.
3. Explain where and when the story takes place (location and period).
4. Be clear about whose point of view the story is written from.
5. Show the key dramatic Turning Points.
6. Always use active verbs, i.e. ‘John walks’ . . . not ‘John was walking’.
7. Don’t use elaborate metaphors or pages of exposition? You’re not writing a book. (To the
point make it precise)

REMEBRE: - Remember a strong script is based on strong structure. It’s like building an
amazingly original house. Get the foundations right and you can build in any direction you want.

7. Step out line (SQUENTIAL FLOW OF THE SCENES):-A step outline is

basically a scene-by scene breakdown of your story. It’s a tool to help you structure your
script. Usually a future film contains 40-60 scenes.

WRITING A STEP OUTLINE

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The golden rule when writing step outlines: if a scene doesn’t inform us about the characters
or drive the story along in some way then it shouldn’t be there.

When writing a step outline list each scene in your future screenplay, describing what takes
place in it. This allows you to see how the structure of the film is working. It also gives you
an
opportunity to start cutting unnecessary details before you begin. A good step outline is like
the skeleton of your script; if it’s strong, it will support 110 (90) pages of writing.

REMEMBRE: - However, remember that this step outline isn’t final. As you write the script,
your scenes will or might change because of some possible reasons. Those reasons might be
arrangements of the scenes, crucial new ideas, Etc

N.B some producers never want to see a treatment, only an exciting synopsis, but be prepared for
others to ask for one, so have it ready.

When writinga treatment make sure it’s dramatic, concise and visual. Like theoutline, it should
read like an exciting short story.

EXERCISE ONE
1. Write an outline for your script.
2. Now write a step outline from your outline (story)

Chapter two
Film is a three act structure with eight sequences
Three Acts 

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ACT ONE: ESSENTIAL ELEMENTS

UoG Department of Film &Tv Production

Three acts Structure is your framework and the almighty epoxy of the screenplay. These three
parts, often literally taking place in different worlds - physically and/or figuratively - can work
independently of each other, yet when connected, they build a solid whole.

Act One: The Set-Up

The first act is very simply: the beginning of your story.

Usually the story begins at the moment when the first character faces the difficulty that he or
she has to solve, and it better be a clear difficulty, and he better realize that he must do
something. Dramatic form means action, and action brings tension. So the awareness of the
tension, and the clarification of what the nature of your tension is, helps to build the whole
script.

TONE: Very quickly you want to establish the tone of the script: is it a serious film, a comedy, a
fantasy, a spoof? Let people know right away that it is okay to laugh, to cry, to dream, etc.

THEME: You will also want to establish the theme of the film - what message are you trying to
convey: “Don’t judge a book by it’s cover”, “The underdog triumphs”, “Good versus evil”.

WORLD OF THE STORY: As the story begins, you will introduce the world of the story - where
does it take place? What is DIFFERENT and INTERESTING to this world? What are the RULES of
this place?

CHARACTER INTRODUCTIONS: At the same time, you will introduce the principle characters to
the audience. BE SPECIFIC and ORIGINAL. Let us know their age, how they dress, walk, talk. Give
them a scene in which they stand out from the others. Let the audience know THESE PEOPLE
ARE SPECIAL.

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PROTAGONIST WEAKNESS: The main character’s weakness(s) must be clear so that the later
obstacles can attack that weakness in the second act.

POINT OF ATTACK: The point of attack (or INCITING INCIDENT) is the moment when the
dramatic conflict announces itself. It’s the first perception of the predicament to come, and
usually, a moment that is very visual.

MAIN TENSION: And this predicament sets up the main tension around which the story will be
built: Will they fall in love? Will they rob the bank? Will they escape alive? Will they do all three?

THE STAKES: The stakes have to be clear in order to show the audience how and why this
tension is important to them, or - more importantly - what will happen if the character does
not solve his/her problem. It should be huge - A MATTER OF LIFE AND DEATH.

OBJECTIVE: A character’s objective or goalis what drives him. This should be very specific,
very clear. How badly does he/she want something and what are the lengths he/she is willing
to go to get it.

LOCK-IN: The first act concludes once the main character is locked into the mess, dilemma ,
propelling (drives, forces) him/her forward on a new quest trying to accomplisha specific goal.

► Now the reader/audience knows THE CHARACTER, THE PREDICAMENT, and THE
OBJECTIVE, so everything else is about THE FUTURE.

Usually the story really begins at the momentwhen the first character faces the difficulty
that he or she has to solve, and it better be a CLEAR DIFFICULTY, and he better REALIZE that
he must do something. Dramatic form means action, and action brings tension. So the
awareness of the tension, and the clarification of what the nature of your tension is, helps to
build the whole script. 

ACT TWO: OBSTACLES

The second act is simply the middle of the story.

This is the meat and potatoes portion... AND the most difficult part of writing a screenplay. Most
mediocre (average,ordinary, secondrat,) and flawed screenplays are plagued by slow or
meandering second acts. Keep in mind the main tension - and that your character should always
be on the path to resolving that tension.

The second act begins right after the lock-in: the moment when the character is stuck in the
predicament and main tension - it is too late to turn back, so he/she must go forward. Now the
character aims towards the goal, the objective, and he/she has the first meeting of the obstacles
and antagonists or circumstances, always with rising actions.

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THE FIRST SEQUENCE usually presents the alternative solutions. What are the choices? What
should be done? And the character selects one alternative, and if it should be the worst one,
then he selects another one, and in the meantime, the rest of the alternatives are eliminated.
Then the character uses one of the ways to solve the predicament, and it seems to work, and
that’s usually the first. CULMINATION OR MIDPOINT

But it’s not that simple; because there are CONSEQUENCES of THINGS that HAPPENED before
that he DIDN’T TAKE INTO CONSIDERATION. He offended somebody. He didn’t do things that
he was supposed to do. He forgot about things. You bring those things back in the second part
of the act, and at that time they can be entered almost without motivation, because anything
that works against your character at that time is acceptable. Any accident, any coincidence
is fine because it makes his predicament worse, and therefore we enjoy it. Also it helps to
explore the validity of the desire of the dream.

ACT TWO: ESSENTIAL ELEMENTS

OBSTACLES: The second act is all about obstacles. It elaborates in great detail and intensity on
the difficulties and obstacles the character faces as he or she struggles to achieve his or her
goal. Just when we think the situation can’t get worse, it does. And when there is no way that
our hero can get out of the jam, he does, only to end up in a worse jam. Basically, each
sequence centers on a new obstacle or obstacles of increasing difficulty.

MIDPOINT CLIMAX
- Is a major shift in the dynamics of the story. Something huge will be revealed; something goes
disastrously wrong; someone close to the hero, intensifying her or his commitment. Can also be
a huge defeat, which requires a recalculation and a new plan of attack,which completely changes
the game and Locks the hero/ into a situation or action. And Is a point of no return.

FIRST ATTEMPTS: Now that the character is locked-in, he makes his first attempts to solve the
problem. This is usually the simplest, easiest manner to resolve the problem, and these attempts
usually fail.

RAMIFICATIONS: It is important to show the ramification (consequences, result) of the

attempts, which must result in an increase in complications.

ACTION: Every move the character makes traps him even more. Each actions leads to more
entrapment. Be merciless on the character.

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SUB-PLOT: A solid sub-plot that carefully intertwines with the main tension in both plot and
theme will be a great channel in which to relate the character’s emotions (in regards to the main
tension).

FIRST CULMINATION: This is the midpoint of the film. If our hero is to win in the end, this
then is the first time the character finds a solution that seems to work. It is a victory. If the
script is a tragedy, however, this often a low point for the character.

MIDPOINT MIRROR: The first culmination and ending of the film usually mirror each other:
both victories or both failures.

MIDPOINT CONTRAST: The first culmination (Midpoint) and the main culmination (End of Act
II) are usually in contrast with each other.

NEW ATTEMPTS: By the first culmination, our hero has failed in his/her first attempts but in
failure, realizes the weight of the issue and becomes aware of the correct method in which to
resolve the main tension. He/she then can begin new attempts, still faced with new obstacles
that get him/her closer to resolving the issue.

CHARACTER CHANGE: Throughout the second act, the main character starts changing,
learning, and developing, or at least intense pressure is put on the character to change, and
that change will manifest in the third act.

MAIN CULMINATION: this is the end of the second act and the point where the character sees
what he thinks he has been doing is not what he has been doing. The tension is at the highest
point, and this is the decisive turning point. You must convince the audience that their worst
fears are going to come true. This moment will change the main character in some way.

FIRST RESOLUTION: This resolution of the second act tension often spins the character(s) into
the third act. (Luke Skywalker and Han Solo rescue Princess Leia from the clutches of evil Vader...
but they still have to destroy the Death Star.)

This is the meat and potatoes portion... AND the most difficult part of writing a screenplay. Most
mediocre and flawed screenplays are plagued by slow or meandering second acts. Keep in mind
the main tension - and that your character should always be on the path to resolving that
tension.

Act Three: Resolution

ACT THREE: THE END
This is where you bring in as many conflicts for your character to face as possible. It must seem
impossible for him to succeed because of these problems and his character flaws. Once the

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second act is resolved, there is usually a twist and new confrontation, which pushes us into the
third act conflict. Often this is the result of the plot and subplot main culmination: the
conflicts of the plot and sub-plot colliding (smash together)

IN THE THIRD ACT, the character will demonstrate his/her character arc in the manner in which
he/she chooses to resolve the third act conflict. (For instance: In the beginning, a low-down
character may choose to lie or cheat to resolve an issue, but since his/her arc has taught him/her
morals, he/she tries to honestly resolve the situation).

The character’s new vision and his/her attempt to end the third act conflict leads us to the
obligatory scene - a big scene which the audience has been waiting for since the story began.

After that, you have the descending part of the story where we see what happened after the
evil won, lost, or whatever. You see how they live afterwards. And the function of the twist in the
middle of the third act is the last test. You shouldn’t believe the solution, very often, if it came
directly from the resolution. So you come with something that once more offers the character a
possibility to try for the last time, in a different manner.

The main story and subplots are all resolved in differing ways, but all with some sense of finality,
the feeling that the conflict is over.

ACT THREE: ESSENTIAL ELEMENTS

CONDENSED: Fast Organized, No new characters. No new locations. The story is unraveling
(disentanglement,straightening out)

TWIST: The final twist is a surprising, explainable, and motivated change in direction of the
action.

FINAL CULMINATION: Up to this point, our hero has been tested, has tried everything he
could, and there is only one way left, because all the alternatives were presented and eliminated,
and therefore, comes the final culmination, often where the main plot and sub-pot collides,
which propels our hero head on into a new confrontation with the inevitable.

CHARACTER ARC: The main character is now in a new situation with new tension, and he/she
must have opportunities to go back to the old character and see if there is a change. There
should be.

OBLIGATORY SCENE: The obligatory scene the scene the at the end of the film in which the
viewer has been waiting and looking forward to. If tension is an eager anticipation of the future,
then the obligatory scene is one that the viewer almost consciously expects. In a way, it has been
promised to the audience.

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RESOLUTION: This is the end. The third act conflict is complete, character arc complete, all issues
resolved, and the audience sees the new status quo - or what the future holds for the characters.

The audience has seen the journey through which our protagonist has traveled. Yet the audience
still wants reassurance that all is well, that the characters have changed, and a glimpse of his/her
future.

THE EIGHT SEQUENCES

Act one – exposition
ACT ONE
1. SEQUENCE ONE - Status Quo & Point of Attack (inciting incident)

The first sequence often starts with a hook, a riddle, predicament, or

questions used to stimulate audience curiosity by showing the main character in a
situation in which a problem already exists.

2. SEQUENCE TWO - Predicament & Lock In

The main tension (central dramatic question) is set out. This introduces the theme and a
potential course of action. At the end of this sequence (the end of the first act), we know what
the protagonist wants. This unexpected event forces the character (him or her) to act, or at least
to react.

Sets up the predicament that will be central to the story, with first intimations of possible
obstacles. The main tension will be established at the end of the act. The sequence ends when the
main character is LOCKED IN the predicament, propelling him/her into a new directionto obtain
his/her goal.

Act two- climax

ACT TWO
3. SEQUENCE THREE - First Obstacle & Raising the Stakes

Main character makes first attempt to solve the main problem – choosing the easiest solution
to the problem, hoping it will resolve the problem immediately. Main character generally fails,
and things can become life threatening at this stage. OrMain character may successfully
resolve a lesser problem, the problem at the sequence level, but the resolution of that

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problem undoubtedly leads to much bigger and deeper problems, rather than the resolution
of the main problem and the central dramatic question. .

4. SEQUENCE FOUR - First Culmination/Midpoint

Main character’sfirst attempt has failed, and MC is forced to try one or more desperate
measures to return his life to stability. Out of the ashes rises a New Hope. After Main character
takes new action, things turn around, and a Major Truth is revealed, causing: Mid-Point or
First Culmination: a Major Reversal of fortune, making Main character’s task even more
difficult.

Often, give the audience a very clear glimpse ofan answer to the Central dramatic question
– the hope that Main character will actually succeed at resolving his problem – only to see
circumstances turn the story the other way. First Culmination may be a glimpse at the actual
resolution of the picture, or its mirror opposite.

Ex. If thestory is a tragedy and our hero dies, then the first culmination (or midpoint) should be a low
point for our character. If, however, our hero wins in the end of the film, then sequence four should
end with him winning in some way.

5. SEQUENCE FIVE - Subplot & Rising Action

Main character’s works on whatever New Complication arose in the First Culmination – trying to
confirm or deny the Major Truth leads to a Discovery and: A Major Twist or Action and
greater jeopardy.
And May again give a glimpse of apparent success or failure, though usually not as profound
as at the First Culmination.

New characters may be introduced, new opportunities may present themselves, and
subplotsmay be developed.
As always, resolution of tension in this sequence does not resolve the Main problem or central
question, but merely creates new complications, usually more difficult with higher stakes.

6. SEQUENCE SIX- Main Culmination

The build-up of the MAIN CULMINATION - The highest obstacle, the last alternative, the highest
or lowest moment and the end of our main tension come at this point as it answers the central
dramatic question. But we get the first inkling (suspicion, clue, and hint) of the new tension that
will carry us through the third act.

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Note: Since the MIDPOINT and ENDING are PARALLELED, the PLOT POINT at the end of act
two must be at a POLAR OPPOSITE of those points. So if our HERO WINS at the MIDPOINT
and at the END of the film, then she must have her LOWEST POINT here.

ACT THREE: RESOLUTION

ACT THREE: THE END
7. SEQUENCE SEVEN - New Tension & Twist

Begins the third act, starts with a twist: a new hope, if a tragic ending, or a new obstacle if a
happy ending. This is the moment when the character has a realization. Up to now,
circumstances have been changing the protagonist, but the protagonist hasn’t really changed.
Acceptance of his or her new life and circumstances now sinks in, and he or she acts accordingly.

This sequence is Simpler, faster in nearly all ways, with rapid, short scenes and no real elaborate
set-ups. The TWIST can end this sequence or come at the start of the eighth sequence.

Sequence eight is nearly the very end of the story and it is the final battle. Here is where the
Hero forced to confront his or her greatest nightmare.
It Takes place in a thematic Location - often a visual and literal representation of the Hero’s
Greatest Nightmare and finally We see the protagonist’s character change and also we
might see the antagonist’s character change (if any)
- There is possibly a huge final reversal or reveal (twist) the result of all problems.

8. SEQUENCE EIGHT:RESOLUTION

The tension created by the inciting incident is truly resolved .consider the resolution in light of
the hints the first and second culminations. Any remaining subplots are resolved. After a
climactic moment, the equilibrium is restored and the protagonist can begin their new life in
their new world.

This action by the protagonist leads to the eighth sequence, which is the true ending. It opposes
the false ending. The guy gets the girl; the cop nabs the killer.

Other things to remember

 The protagonist would realistically try the easiest or most obvious solutions first.
 Repetition and variation are interesting.

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 In each scene, the audience should be asking: will the protagonist get what he so badly wants
or not?

N.B The best way to make your audience follow your work or to make your script worth of any
challenge is:-

Moving the audience repeatedly between hope that the protagonist will get what he wants and
the fear that he will not creates dramatic tension.

Exercise two

 What are the elements of script writing? (group work)

 Write a treatment of your screen play. (individual

Chapter three

WRITING THE SCREENPLAY – (first draft)FINALLY!

HOOKING THE AUDIENCE

As writers, we need to make the inciting incident powerful enough to hook the audience. One
way to do this is make the audience identity with your hero/heroine before the inciting incident,
i.e. make them care about what happens to Mr. X and Miss Y.

NB. If you don’t care about your main characters who, the spine of the story you needed
to tall, then why should the audience follow their story?

Write powerful opening scene

Here the story is done, and now all you need o is write it down. So think where are you
going to start your story (your point of entry)? The opening of any screenplay must have a great
‘hook’ to ensure that the reader continues reading. Most script readers won’t read beyond the
first three - ten pages if they’re bored or confused so makesure they aren’t!

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The opening of your screenplay should create the mood and theme so using a memorable
image is a great way to start your script.

To do this your mind and soul should feel free and you have to manage your time to write what
you need to write. So

1. Set aside a regular writing time, preferably every day.

2. Set aside a regular place to write.

NB. Just a time, place, mood, and atmosphere which sweets you the most and helps you in your
writing to be effective and end your script. Mostly it is advised if the time and space is the same
all the time whatever the time it takes to finish the work.

Symbolism and foreshadowing

These are good techniques to make your script full of surprises and mind storming way
of presenting situations.

Symbolism

The use of one object or action (a symbol) used to represent or suggest something else.
Example using a storm to indicate a conflict is going to happen after a while or showing
a smoothly flow river to give a predication of emotional flow.
There are different forms of symbolism like verbal, non verbal, music and sound effect,
written and visual.

Foreshadowing

Is a literary device in which a writer gives an advance hint about what is going to come
later in the story.
Foreshadowing often appears at the beginning of the story and helps the audience to
develop expectation about the coming event in the story.
As opposite a hint that designed to mislead the audience is referred to as a red herring.
However both this can be done in different forms as symbolism.

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FORMAT OF SCREEN PLAY

Screenplay format is one of the ways a reader will know whether you’re a beginner or a working
writer, so it is very important that you learn the rules of the road, and learn them well.
Screenplay format is structured and complex.

screenwriting software

To help you make screen writing easy, There are several fine screenwriting software
programs out there, which, unfortunately, don’t write your screenplay for you, but do
put it in acceptable industry-standard format. The important thing about screenwriting
software programs is that they will: insert the proper margins, top, bottom, left and
right, as well as for dialogue; automatically format slug lines; give you shortcut keys for
character names; insert parenthetical in the right
place; insert cut to, dissolve, montage, etc.; and generally make the act of typing your
screenplay simpler.

1. Font– screenplays are written in 12-pt. Courier font or Times new roman.
2. Spacing –Single space– dialogue, action (narrative)
-Double space – between scenes, between dialogue by different characters,
between
dialogue and action (narrative) paragraphs, between scenes FADE IN, FADE OUT, CUT TO,
DISSOLVE TO, MONTAGE.
3. Margins–All margins are in inches, intended for 8 ½” x 11” paper, the American
standard. For those using A4 paper, just make sure there’s plenty of white space. But if
you can find American stationery, please do.

Top – 1”
Bottom – 1.5” – 2”
Left – 1.5”
Right – 1”
Character name :- (middle of the white paper) begins approximately 4.2” from the left
margin.
Dialogue text, under the character’s name, begins approximately 3” from the left margin,
and ends approximately 2.5” from the right margin.

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4. UPPER CASE– upper case is used for slug lines (also called the scene
heading),characters’ name when they are first introduced, character’s name above
dialogue,scene transition (such as CUT TO), sound effects, animals. So, forexample:
EXT. ZOO – DAY
TONY, 14, trailing sullenly behind the rest of his CLASS, stops to taunt the GORILLA in
his exhibit. As Tony beats his chest, the gorilla rises up, beating his chest, and let’s out an

5. FADE-IN, FADE-OUT– (an implication of day start and day end) It is customary to start
your screenplay with the wordsFADE-IN, or FADE-IN ON: on the top left; and FADE-OUT,
at the end of thescreenplay, on the bottom right.

6. A SCENE: - in a screenplay is a new and distinct location (change of place),

inclusive enough to showeverything occurring in the nearby surroundings, but not so
inclusive as to make itimpossible to shoot with a camera – this is going to be a movie,
remember? It starts with aSLUGLINE, also called a scene heading, which indicates
whether this is an interior (INT.) or exterior (EXT.) scene, where it’s located, and the time
of day (day/night/dawn/dusk).So, for example, if your scene is on a street in Aksum in the
afternoon, you will write the following way

EXT. AKSUM. ABNET STREET.AFTERNOON

This type of writing is very important for the following reasons :-

(1) Forthe producer, who counts the number of exterior and interior scenes, distinct
locations,and day and night shots, in order to both budget and schedule the film shoot;

(2) Forthelocation scout, for obvious reasons;

(3)For the director, who, in conjunction with the D.P.(director of photography), will
decide on how to shoot that particular scene;

(4) Fortheproduction designer, who will, in conjunction with the director, the set
designer and thelighting technician put together the visual components of this scene.So
the slug line is essentially a “master scene” shot, rather than a description of the
detailwithin the scene.

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7. The “action” or narrative paragraph that follows the slug line. And just in case
you Think that anyone who reads scripts for aliving, has an imagination, think again – it’s
your job to make them “see” the film as theyread your script.

8. Never start a scene with dialogue.

We must see who and what is in the scene andwhat is happening on screen other than
the dialogue. Film is beyond telling it is the art of showing every detail of the story when
and where ever the setting or the situation. So make the reader see what is going on
under the slug line by writing the action taking place before and after the dialogues in
every scene.

9. All narrative sections should be no longer than 3 lines.

While you can occasionally stray to 4 or even 5 lines, two or three is the norm.
Don’tspend 5 lines after the slugline describing the scene. Be creative and go to the
point directly don’t waste readers time and you have to know some times when it is
broad and full of many lines a reader escapes to the end. So be smart take power full
words and put the actions precisely.

10. Scene length– there is no rule here, although you should try to keep scenesshort,
two to four pages at the very most. Most scenes are around three pages. Each pageis
equal to a minute of screen time, so five pages, equal to five whole minutes in
onelocation on screen, can be terrible to watch.
For that matter, even one minute can be excruciating when all we’re doing is
watchingtwo people talk. This is the infamous “talking heads” scenario, where not
enough ishappening on screen, other than dialogue. If you find that all you have is
dialogue,perhaps you should consider writing a play, which tells its story largely through
dialogue.

11. Every word counts. Once you’ve written your first draft, go over every single
scene.Then go over every single sentence and try to make your point about the action
thatoccurs, within the constraint of the 3-line rule. You’re a writer – you have to appear
to bein command of your craft.

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If not describing every color of every article of clothing everycharacter is wearing

becomes unbearable to you, perhaps you were meant to be a novelist,not a
screenwriter.
In an action script, you should be aiming for a one-line (two lines at the most),
almoststaccato use of sentences and paragraphs, to emphasize the tension and rapid
pace of thescene.

12. Lighting notationin your slug line, what acceptable is to write in a day, night, dawn,
dusk (early eveningtwilight and sunset) Way.

13. The first time we meet a character, and only the first time, their name should be
incapital letters, followed by their age, and ethnicity (if relevant). If this is your
maincharacter, or a major character in the story, give us a few words which describe him
inmore detail, to give us a sense of what he looks like, and how what he looks like
reflectswho he is as a character.

14. CUT TO: While CUT TO: was once inserted between each scene, it is now taken for
granted. It can, however, be used as a way to indicate that we’re moving from one
locationto another, within the same scene (location).

The only other time to use a CUT TO: might be between sequences, when we’removing
from scenes in one set of locations to another. Again, if you’re not sure ifit’s necessary,
then it’s probably not.

16. DISSOLVE TO: Dissolves are a method of cutting between scenes, and are normally
used before a dream, flashback or fantasy sequence. This would look like:
DISSOLVE TO:
FLASHBACK BEGINS
(text)
FLASHBACK ENDS
But why use the dissolve here at all? Simply indicating that a flashback is beginning
andending is sufficient.Instead of the above, it is also acceptable to use:
FLASHBACK TO: the flash back scene

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BACK TO SCENE
In your screenplay, flashbacks might be integral to the story line. In general,avoid them
where you can, and try to keep all action in present time.

17. MONTAGE– transitions from one mood to the other. Much like flashbacks or dream
sequences, a montage sequence isnormally indicated by MONTAGE BEGINS. It then
lists the numerical list of scenes,with a brief description of what happens in the scene;
and is followed by MONTAGE begins

List them in their flow giving a number 1, 2, 3…

MONTAGE ENDS.
A montage compresses time into a manageable sequence of scenes, showing
thepassage of time (here reinforced by the dissolve, and the insertion of text. But as
with flashbacks and dream sequences, a good rule of thumb is to minimize yourreliance
on montage.

18. Dots, dashes, Morse code, and other issues of punctuation:

Many writers are fond of dashes ( – ) and ellipses (...), in the narrative, in dialogue,
andwell, everywhere. But, other than out at sea, on a sinking ship, or in a foxhole under
fire, there is no place for Morse code in a screenplay.

If you are new to screenwriting, definitely avoid doing this, or any of the “fancystuff.” Try
to tell your story in as straightforward manner as possible.

19. Titles– (on screen text). There are times when you want to indicate, on screen,
thatthe action takes place in a particular time and place. Only do this when it’s integral
to thestory, and when you jump back and forth between time periods, and/or locations.
In thesecases, indicate that text should appear on screen by writing either:
TITLE: OUTER MONGOLIA, 1934

20. PARENTHETICAL DIRECTION: - this is very brief (usually one or two words) of a
direction or clarification that is placed within a character’s spoken dialogue, on a
separate line and enclosed in parenthesis. Parentheses are specific to the speaking

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character and should be extremely brief. It can indicate a specific emotion, a direction of
a conversation to a different character in the scene. Parenthetical are always in middle of
a dialogue. Dialogue never ends with parenthetical.

21. EXTENSION: - placed after the characters name , in parenthesis. An abbreviated

techniqual note placed after the characters name to indicate how the voice will be heard
on the screen. These are

 Voice-Over (V.O.) and Off-Screen (O.S.) dialogue – Many writers confuse

thesetwo, but there is really a very simple difference between them.
o Voice-over:-when we hear dialogue viaa narrator, even if it’s someone in
the cast already, it is called a voice-over. We can evensee the character,
but we hear him speaking as if he’s telling us his story. Telephone
speaking.
 Off-Screen Dialogue (O.S.) – Similarly, when we hear someone speaking from
off-screen, write (O.S.) next to their name. They may be in the next room,
throwing their twocents into the conversation; it could be a ghost, or the voice
of God.

22. P.O.V.– This stands for “point of view,” where we see the action from a
particularcharacter’s point of view. Since it is a camera direction, it should be used with
caution, ifat all. It has no place at all in a slug line. And there is no such thing as a POV
from aninanimate objects viewpoint – no TREE’S POV,

23.CONT’D and MORE–the use of (CONT’D) next to the character’s name, whenhe
speaks again without interruption from another character. Continue using (CONT’D)until
another character speaks.AndIf your character’s speech is cut off at the bottom of the
page, and continues onto the nextpage, then indicate that there is more to the speech
by writing (MORE), centered directlyunder the last line of dialogue. Then, on the next
page, put the character’s name in again,over the rest of the dialogue, followed by
(CONT’D).

23. Script length – scripts should be no shorter than 90 pages, and no longer than
120pages. Each page of script is a minute of film, and while some films do go over two
hoursin length, they should not start out that way. If they do, they will signal to the
producerthat this is going to be a very expensive film to produce, something you don’t
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want themto know before they’ve actually read the script. And know that, the first thing
everyreader does is flip to the last page, to see how many pages they’re going to have
to read.

The shorter the script, the happier the reader.

25. Title page – Every script should have a title page, indicating the name of the
script,the author, whether it’s been adapted from someone else’s work, and the contact
informationContact information means name, address, phone number and email
address, if applicable...

Here are some additional points you need to consider in your rewriting (final script).
REMEMBER. (This might take rewriting of the first draft two, three, four, and
five even more times to rich in to the birth of great script).

1 Character development and characterization Alsoavoid putting all emotional

beats in the parenthetical comments new writers use (too often) under the
characters name, in dialogue. This is not character development either, nor is it
effective characterization.
But your instincts are right on target – in most scenes it would be helpful if you
could

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flesh out the characters' emotional state, and give a heightened sense of
immediacy to
each scene that would add dimension to the character. You do want to let the
reader know
what the character is thinking without just saying so, and make your story ring
more
urgently on an emotional level. But this has to be done without getting too
wordy. So howdo you do this?First of all, go back to your character biography,
that you developed before constructing thesynopsis to your story. Does your
character have at least three clearly identifiablecharacter traits (brave, honest,
innocent, for example), of which one is his fatal flaw?

Then, don't be afraid to use more active verbs in describing your character's
behavior andactions. That will already raise the level of the scene. So instead of "Jon
looks," think ofall the possible ways he could be looking. the use of more active
verbs helpsthe reader get into the character's head; and goes a long way to increase
the reader'sidentification with, and sympathy for, your character. It also gives the
actor something towork with in terms of the emotional state of your character.

2. Dialogue – Although there are people who are naturals at dialogue, dialogue is
oftenthe most difficult thing for new screenwriters to master. Often, all the
characters soundexactly alike, despite their age, sex, and personality differences.
Similarly, we don’t needto hear the entire back-story of the character in overly long
speeches to other characterswho already know their story.
Bad dialogue can be pompous, exaggerated and unbelievable. If you have a
message, it shouldbe buried in the story itself, as sub-text, and not simply stated
pages of dialogue alone, with nothinghappening on screen (action), is incredibly
boring to watch. Your screenplay should be a judiciousmix of the visual and the
verbal.
The verbal component of the script should not include lengthy telephone
conversations,another hallmark of the new writer. This can be very static on screen,
and boring to listen
to. If a phone conversation is absolutely necessary, keep it short, and move on.
Another problem, as mentioned above, is the tendency to give directions as to
theemotional quality of the speech, by putting it into parentheses under the

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character name,and before the dialogue. Again, this should be avoided; the quality
of the dialogue, in thecontext of what is happening in the story, should indicate
what the tone of the speech, andthe scene, is.

Finally once you’ve finished a first draft of the script, reread for dialogue only; we
should beable to get the whole story, just from the dialogue. Similarly –

3. Reread for narrative only or the actions. We should also be able to get the gist
of the story, justfrom reading the narrative. Now is the time for some severe editing.
Is this script readable,with short, snappy but descriptive and involving action? Pare
down every sentence, andevery action (narrative) paragraph.

 Is there something that happens on the first page thatgrabs our attention?
 Is there something that happens by the end of the first page to makethe
reader want to turn the page?

This is the version that will have to attract immediateinterest and excitement. Every
effort should be made to engage the reader’s attentionfrom the start.
As you read through the script, does some of the action seem arbitrary, or does it
relatedirectly to the characters’ stories? Is everything that happens actually
necessary? Justbecause you like a scene, or want something to happen to your
character, if it doesn’tmake sense within the context of the character’s task in this
story, leave it out. As we discussed earlier, each scene should advance the story,
taking our characters on the next phase oftheir adventure, and not simply serving as
a vehicle for the writer to wax philosophical orpreach.

4. Reread the script again, focusing each time on each main character in the
story,making sure each of their stories has a beginning, a middle and an end, and
that each isresolved in a satisfying way.
Do your characters undergo a real emotional transformation during the movie? Or
do you
tell us there’s a problem, and in the end you solve the problem, without letting us
see the
transformational process they go through on the way? Does your main character

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havesome deep emotional task, and learn something, about himself or his
relationships, duringthe course of the story? We need to both learn what the
problem is (Act One), see thecharacter try to solve this problem, or a problem that
may be related to this problem (ActTwo), and then emerge victorious, or die trying
(Act Three).

5. Get a professional opinion on your script, before you send it to agents or

producers. You must have someone else read your script, to tell you which parts of
itthey didn’t understand. Friends and family, however, are rarely good critics; and
otherwriters may be too tempted to “inadvertently” steal your story idea (this does
happen). Inany case, unless they are script consultants or screenwriters themselves,
you must get aprofessional opinion before you send out your script. Be prepared for
a serious critique –remember, you hire a consultant to be brutally honest, so that
you can get right back inthere and turn this into a great screenplay, and hopefully, a
great movie.

SUBMITTING YOUR SCRIPT

1. Register your script with the Writers Guild for protection from any copy or
being stolen.
2. Identify production companies or productions and producers willing to look
at material from new writers.
3. Prepare a query letter RELEASE FORM

Chapter four

FILM GENERE
In this chapter we look at some of the characteristics of the majorfilm genres. The following are
some major film genres.

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ACTION
Action and adventure films are the most financially successfulgenres to work within. The main
characteristics include thefollowing: X There is a concentration on high energy physical stunts and
chases.X Most have non-stop action with simplistic plots, with the goodguys battling against the
bad.
X This genre is pure escapism, e.g. Kill Bill, Volumes 1 & 2.

ADVENTURE
Adventure films are usually exciting stories with new experiencesor exotic locales, very similar to
or often paired with the actionfilm genre. They can include traditional swashbucklers, serialized
films and historical spectacles (similar to the epic film genre),searches or expeditions for lost
continents, ‘jungle’ and ‘desert’epics, treasure hunts, disaster films or searches for the unknown.
The main characteristics include the following:
X The protagonist must frequently save the world (or part of it).
X He is attractive, physically and mentally, i.e. he appeals to theaudience.
X This genre is fast-paced and plot-intensive, containing a hugenumber of physical and mental
challenges for the hero.
X His antagonist is a supreme bad character with frightening powers

ANIMATION
Walt Disney made this genre popular in the 1930s and it has nowbecome popular again with
films like The Lion King, Shrek,Finding Nemo, Bee Movie (which has the unique story of a
beewho sues humans for eating honey!) and Ratatouille (which hasthe unique idea of a rat being
a chef!). Many films now combine‘reality’ with animation like Enchanted and The Golden
Compass.This popularity has been helped enormously by CGI (computergenerated imagery).

COMEDY
There are a wide variety of sub-genres in comedy, but the onething they all have in common is a
plot which is designed toamuse and provoke laughter by exaggerating the situation,
thelanguage, action, relationships and characters. Comedy can be:
X funny side, farce
X sophisticated

X adolescent

X dark and complex

X romantic

X unreal/ odd, wired

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CRIME/GANGSTER
Crime (gangster) films are developed around the sinister actions ofcriminals or mobsters,
particularly bank-robbers, underworld figuresor ruthless hoodlums who operate outside the law,
stealing and
murdering their way through life.
Criminal and gangster films areoften categorized as film noir or detective-mystery films because
of
underlying similarities between these cinematic forms.

DRAMA
The main characteristics are:
X serious plot and character combined stories;
X three-dimensional characters, settings and situations;
X intense character development and interaction.
Dramatic films are probably the largest film genre, with manysubsets:

EPIC
Epics include costume dramas, historical dramas, war films,medieval romps or ‘period pictures’
thatoften cover a largeexpanse of time set against a vast, panoramic setting. The
maincharacteristics are as follows:
X Sharing elements of the elaborate adventure films genre.
X Using a historical or imagined event, and a mythic, legendaryor heroic figure.
X Adding an extravagant setting and lavish costumes.
X Using spectacle, high production values and a sweeping musicalscore
.
FANTASY
Fantasy films often take us on a fairy-like journey into strangemythological worlds where
incredible things happen. They haveelements of magic, myth and folklore which often appeal to
bothchildren and adults.

FILM NOIR
Film noir comprises a dark, brooding vision of urban existence,often built around the nature of
betrayal. Its main characteristicsare as follows:
X The central character inhabits a world of danger or risk,
i.e. they are usually on the fringes of society.
X The protagonist believes that their chance of happiness lies in asexual relationship with

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another person.
X This other person usually betrays them (becomes theirantagonist).
X However, the real ‘villain’ is the city in which they live; itdestroys the possibility of honest
relationships.

HORROR
Horror films are designed to frighten and to invoke our hiddenworst fears, often in a terrifying,
shocking finale, while captivatingand entertaining us at the same time in a cathartic experience.
Itsmain Characteristics are as follows:
X the central character is usually a victim.
X Violence and sexuality are out of control in this genre.
X The location is principal,
However, the horror film genre has a wide range of styles, fromthe earliest silent classic, to
today’s CGI monsters andderanged humans. They are often combined with science fiction when
the menace or monster is related to a corruption oftechnology, or when Earth is threatened by
aliens. There aremany sub-genres of horror: slash, teen terror, serial killers,satanic, Dracula,
Frankenstein, etc.

MUSICAL
Musical/dance films are cinematic forms that emphasize full-scalescores or song and dance
routines in a significant way (usuallywith a musical or dance performance integrated as part of
thefilm narrative), or they are films that are centered on combinationsof music.

SCIENCE FICTION
Sci-fi films are often quasi-scientific, visionary and imaginative complete with heroes, aliens,
distant planets, impossible quests,improbable settings, fantastic places, great dark and
shadowyvillains, futuristic technology, unknown and unknowable forcesand extraordinary
monsters (‘things or creatures from space’),either created by mad scientists or by nuclear havoc.
The main characteristics are as follows:
X The protagonist is generally an innocent victim.
X He or she may not defeat the antagonist by the end of the film.
X The antagonist may not be human.
X The humans are usually ennobled by their attempt to survive.
X This genre is generally plot-driven rather than characteroriented.
Science fiction often expresses the potential of technology todestroy humankind and easily
overlaps with horror films,particularly when technology or alien life forms becomemalevolent as
in The Terminator.

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Sci-fi films are sometimes an offshoot of fantasy films, or theyshare some similarities with
action/adventure films.

THRILLER /Suspense
The main characteristics of this genre include:
Xa high level of anticipation;
X nerve wracking tension and suspense;
X fast pacing;
X resourceful protagonists;
X complicated twists and turns in the storyline.

WAR
War films acknowledge the horror and heartbreak of war, lettingthe actual combat fighting
(against nations or humankind) onland, sea or in the air provide the primary plot or background
forthe action of the film. War films are often paired with othergenres, such as action, adventure,
drama, romance, comedy
(black) and even Westerns. They often take a denunciatoryapproach toward warfare. They may
include POW(prisoner of war) tales, stories ofmilitary operations and training.

COMBINING GENRES
your script can combine two genres, e.g. Romantic Comedy orHistorical Thriller, but if you need
three or more genres todescribe your story, you need to go back to your outline andrework it.
(Although once it’s in production, the film can be listedunder four or five genres.)

NOTE: - the above genres are not the least but there many other and every screenwriter have to
know that genres are born with new types of films in a new era….in relevant to some new techs,
innovation and etc.

Chapter five
IDEA DEVELOPMENT AND SCREEN WRITING ETHICS

Find and make connection

Finding an idea

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There is no one way to get an idea – theyseem to spring, unbidden, from the great
collective unconscious, or from your own darkand troubled past, or from the blitz of
information we encounter every day. You mighthave an idea, or an image you just can’t
get out of your head, or a dream, or somethingyou see while walking down the street.
You might read about an event in the paper, or in ahistory book, or something happens
to you personally, or to someone you know. Maybethere’s a historical figure you’ve
always found fascinating, or there’s an unusual, larger than-life figure in your own
family. As you can see, the possibilities for where ideas can
come from are endless

Here generally, writers should understand, people o to films because there is something within
the film that speaks to them. This might be by showing them an experience that they have had
or experiences they would like to have. (Ideas that have universal appeal to the audience). Such
as

Underdog triumph(victory)
Revenge
Greed
Love
Success
Filer
True stories etc.

At this point the noted psychologist “Abraham Maslowe” states a seven part hierarchy of human
needs that explain and clarifies what drives us, what we want, and what’s at stake if we don’t get
it. And many successful films have directly spoken to these needs. These are

1. Survival
2. Safety and security
3. Love and belongingness
4. Esteem and self respect
5. The need to know and understand
6. The Aesthetic and
7. Self actualization.

Then after having your story, make it connect with the following to produce a great script. In this
sense try to look at the following three main elements for successful scripts

A. Marketability
 Is the story tight, new?
 Did the script have the element to make buyers invest in the script?

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B. Creative
 Is it fresh? (new)
 Is it original?
 Is it different?
 Does it have a hook?
 Is it compelling to the audiences life?
C. Script structure
 Is the story developed through the structural story telling process?

SCREEN WRITING ETHICS

The following ethical guides should be considered in great film script writing.
Censorship is unacceptable. There is no excuse for government,religious, or
societalcontrol imposed on creative work.Rather,screenwriters should exercise self-
restraint in order to respectaudiences and themselves.
Screenwriters, because they work in a medium that has the potential to influence and
affect large numbers of people, shouldstrive to make people think about the culture in
which they live,and to make statements that are based in a profound respect
forhumanity and the human condition.
Screenwriters who want to live in peaceful societies have a responsibility to make sure
their work contributes to the peaceofthose societies. Psychological degradation and
physical violence, by themselves, do not solve problems.
Not onelittle bit less important isthe fight for social justice and for the strengthening of
spiritual values of human beings.with the defense ofspiritual values in the soul of every
human being.
I take spiritual to mean assome level of concern for others' well-being, "concerned
withthose qualities ofthe human spirit—such as love and compassion, patience,
tolerance, forgiveness, contentment, a senseofresponsibility, a sense of harmony—
which bring happiness toboth self and others."
Ethical screenwriting means putting forth ideas and actionsthat show respect for
audiences, humanity, and self. Althoughethical films may contain material that is
controversial or edgy,
such films use this material to make a point and not for its own sake simply to excite or
encourage others to perform debasingor chaotic actions.
Morality is different from ethics. Morality changes with thetimes. What may be
acceptable in one age may be unacceptablein another. In the 1800s, women's ankles

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were considered eroticand women who bared them were fast and loose. Today
nearlybare bosoms are flaunted on fashion runways, films, televisionshows, magazines,
and even city streets.
Screenwriters who make irresponsible andthoughtless statements that will
denigrate, inflame, or offendaudiences needlessly, and even inspire them to
dastardly deeds,are writing immorally and unethically.

Sometimes the values of the screenwriter might not be the values ofhis own
culture. In that case, he can be revolutionary by accusing the values of his own
society. they create works that will shape and/or influence the values,
philosophies, and the lives of others

“Don’t ever be a person who owns ideas, be a

person who owns the tangible draft……….so move
your fingers”!!!

*****The end*****

Thank you

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