The Screenwriting Master Class
From Concept to Sale: Structure, Character, and Industry Survival
I. INTRODUCTION: THE BLUEPRINT, NOT THE BUILDING
A novel is a finished product. You buy it, you read it, the experience is complete.
A script is not a finished product. It is a set of instructions. It is a blueprint.
If you write a beautiful sentence in a novel describing the internal melancholy of a protagonist, you are a genius. If you write that same sentence in a script, you are an amateur. Why? Because the camera cannot film "internal melancholy." It can only film a tear, a frown, or a slammed door.
Scriptwriting is the art of Externalization. It is showing, not telling. It is a rigorous discipline that balances artistic expression with technical limitation.
The Rule of Time
One page = One minute
One page of standard script format equals roughly one minute of screen time.
The Rule of Cost
"EXT. BATTLEFIELD - DAY" = $10M
Every time you write an extravagant location, you've just spent millions of a producer's money.
This master class will teach you how to think like a filmmaker, structure like an architect, and write like a poet.
II. THE SEED: CONCEPT, LOGLINE, AND HIGH CONCEPT
Before you write "FADE IN," you must know what your movie is about. If you cannot explain it in one sentence, you do not have a movie; you have a situation.
A. The Logline (The DNA)
A logline is a one-sentence summary of your story. It's the tool used to sell the script.
The Formula:
[Protagonist] + [Inciting Incident] + [Action/Goal] + [Antagonist/Obstacle] + [Stakes]
✗ Bad Logline
"A guy floats around in space and thinks about his life."
Boring, internal, no stakes.
✓ Good Logline (The Martian)
"An astronaut becomes stranded on Mars after his team assumes him dead, and must rely on his ingenuity to find a way to signal to Earth that he is alive before he runs out of supplies."
Checklist:
- Irony: Is there a hook? (e.g., A cop has to work with a criminal)
- Stakes: What happens if they fail? (Death? Divorce? End of the world?)
B. High Concept vs. Low Concept
High Concept
Premise easily communicated with mass appeal. Usually "Plot-Driven."
• "Jurassic Park" (Dinosaurs are cloned)
• "Liar Liar" (A lawyer cannot tell a lie for 24 hours)
Easier to sell to Hollywood
Low Concept
Premise focused on character development and subtleties.
• "Lady Bird" (A girl grows up in Sacramento)
• "Manchester by the Sea" (A man deals with grief)
Harder to sell, better for Indie films
C. The "What If" Engine
Great scripts often start with a "What If" question that breaks reality.
"What if..."
dreams could be invaded?
(Inception)
"What if..."
we aged backward?
(Benjamin Button)
"What if..."
toys came to life?
(Toy Story)
III. THE SKELETON: MASTERING THE 3-ACT STRUCTURE
Structure is not a formula; it is gravity. You can fight it, but you will likely fail. The human brain is wired to process stories in three parts: Beginning, Middle, and End.
In screenwriting, we use the paradigm popularized by Syd Field and Blake Snyder (Save the Cat).
ACT I: The Setup (Pages 1-30)
Goal: Introduce the hero and the status quo, then break it.
Example (Star Wars): Luke finds the message from Princess Leia inside R2-D2.
Example (The Matrix): Neo takes the Red Pill.
ACT II: The Confrontation (Pages 30-85)
Goal: The hero faces obstacles, fails, learns, and changes. This is the hardest part to write (The "Sagging Middle").
Example (Spider-Man): Peter Parker testing his web-shooters.
ACT III: The Resolution (Pages 85-110)
Goal: The final battle and the new status quo.
IV. GENRE: THE PROMISE YOU MAKE TO THE AUDIENCE
Genre is not just a category on Netflix; it is a set of rules and expectations. If you write a Horror movie where nobody dies and everyone feels safe, you have broken the contract.
A. The Core Genres and Their Requirements
Thriller
Needs a "Ticking Clock" and high stakes. Protagonist is usually a victim trying to survive.
Action
Needs "Set Pieces" (big visual sequences). Protagonist is a hero trying to save the day.
Rom-Com
Needs a "Meet Cute" and a "Breakup" (end of Act II).
Horror
Needs a "Monster" and a "Sin" (the transgression that invited the monster).
B. Mixing Genres
The best modern scripts mix genres to create something fresh.
Alien
It's a Horror movie inside a Sci-Fi setting.
Shaun of the Dead
It's a Rom-Com with Zombies.
Get Out
It's a Social Satire wrapped in a Thriller.
C. Tone Consistency
You can mix genres, but you cannot mix tones randomly.
Bad Example:
If you start with a gritty, realistic tone (like "Saving Private Ryan"), you cannot have a character slip on a banana peel and make a cartoon sound effect in Act II.
It breaks the "Suspension of Disbelief."
V. CHARACTER DESIGN: WANTS VS. NEEDS
"Plot is character revealed by action." — Aristotle
You cannot separate plot and character. The plot is just a series of events specifically designed to torture your protagonist until they change. If your character is boring, your plot is boring.
A. The Difference Between Real People and Characters
Real people are messy, contradictory, and often change very slowly.
Movie characters are "hyper-beings." They are defined by obsession. They must want something intensely.
The Want (External Goal)
The engine of the movie. The tangible object or state the protagonist is chasing throughout Act II.
- •Indiana Jones wants the Ark.
- •Clarice Starling wants to catch Buffalo Bill.
Usually, "The Want" is what the character thinks will make them happy.
The Need (Internal Goal)
The spiritual or emotional growth the protagonist must undergo to become whole. Usually unaware of this at the beginning.
- •Indiana Jones needs to believe in something greater than himself (faith).
- •Clarice Starling needs to silence the screaming of the lambs (resolve past trauma).
D. The Arc (The Collision)
A good story forces the character to choose between their Want and their Need at the climax.
- •To get what they Need, they usually have to sacrifice what they Want.
- •Example (Cars): Lightning McQueen Wants to win the Piston Cup. He Needs to learn the value of friendship. In the end, he sacrifices winning to help The King finish the race. He loses the Want, gains the Need, and becomes a hero.
VI. THE GHOST & THE LIE: PSYCHOLOGY OF CHARACTER
To make a character feel real, they need a past that haunts their present.
A. The Lie the Character Believes
At the start of the movie (Act I), your hero is living a lie. This lie is their "armor" against the world.
Examples of Lies:
- "I am better off alone."
- "Money is the only thing that matters."
- "If I follow the rules, I will be safe."
The structure of your film is designed to slowly chip away at this lie until they are forced to face the truth in Act III.
B. The Ghost (The Wound)
Why do they believe The Lie? Because of something that happened in their past—The Ghost.
- •This is the backstory trauma. It doesn't have to be tragic (like Batman's parents dying), but it must be formative.
- •Example (Good Will Hunting): Will believes The Lie that "Letting people close is dangerous." The Ghost is his abusive childhood. The movie is about Sean Maguire exorcising that Ghost so Will can accept love.
VII. SCENE CONSTRUCTION: POLARITY AND TURNS
A screenplay is a collection of about 40–60 scenes. If your scenes are flat, your movie is flat. A scene is a mini-movie; it needs a beginning, middle, and end.
A. The Golden Rule of Scenes
Every scene must do at least one of two things (ideally both):
1. Advance the Plot
Something happens that makes the goal closer or farther away.
2. Reveal Character
We learn something new about who they are.
If a scene does neither, cut it. It is "dead weight."
B. Scene Objectives & Obstacles
In every scene, somebody wants something.
Character A wants [X]. Character B wants [Y]. They are mutually exclusive.
This creates immediate conflict.
"Two people agreeing in a room" is not a scene; it is boring. Even allies should disagree on how to achieve the goal.
C. Polarity Shift (+ / -)
A good scene starts on one emotional charge and ends on the opposite.
✗ Flat Scene
Starts Positive (+) (couple preparing for date)
Ends Positive (+) (they leave happy)
Nothing has changed. Scene feels flat.
✓ Good Scene
Starts Positive (+) (preparing for date)
Ends Negative (-) (one gets text from ex-lover)
The scene has turned. It has energy.
D. The "Button"
End your scenes late. Don't let characters say goodbye and walk out a door.
End on the highest moment of tension, a revelation, or a joke.
The final line or image of a scene is called "The Button." It propels the reader into the next scene.
VIII. DIALOGUE: THE ART OF SUBTEXT
Dialogue is what characters say. Subtext is what they mean.
Novice writers use dialogue to explain the plot. Expert writers use dialogue as a weapon to hide the truth.
A. "On-the-Nose" Dialogue (The Enemy)
This is when characters say exactly what they are thinking or feeling. Real people rarely do this.
✗ Bad
"I am so angry at you because you cheated on me, and it breaks my heart!"
✓ Better
A character silently packing a suitcase while the other watches.
✓ Best
"Did you pick up the dry cleaning?" said with icy contempt.
B. Subtext in Action
Think of a scene where a couple is arguing about doing the dishes:
The Text:
"You never help around the house."
The Subtext:
"I feel unloved and taken for granted, and I worry our marriage is failing."
Great scenes are about the subtext, never the text.
C. Exposition Dumps (As You Know, Bob...)
Audiences need information to understand the plot, but they hate being lectured.
✗ Bad
Two scientists discussing their project in a lab for 5 minutes for the audience's benefit.
✓ Good (Jurassic Park)
The exposition about cloning dinosaurs is delivered during a ride where characters debate the ethics of it. The information is weaponized in an argument.
The Rule: Only deliver information when the audience is dying to know it, or hide it inside conflict.
D. "Show, Don't Tell" (Visual Writing)
Before writing a line of dialogue, ask: "Can I show this instead?"
Don't have a character say:
"I'm so nervous."
Show them:
Tapping their foot, biting their nails, checking their watch repeatedly.
Film is a visual medium. Let the actor act.
IX. THE PAGE: WHY IT LOOKS LIKE THAT
A screenplay looks strange compared to a novel. There is a lot of empty space. The font is like a typewriter. This is intentional.
A. The "Courier 12pt" Rule
You must use Courier 12-point font. No exceptions.
Why Courier?
It's a "monospaced" font (every letter takes up the same horizontal space).
The Golden Rule:
One Page = One Minute of Screen Time.
Warning: Producers use page count to budget the film. If you use "Times New Roman," you break the formula, and your script is rejected.
B. Margins & Spacing
- Left Margin: 1.5 inches (room for hole punch in printed script)
- Right Margin: 1 inch
- Dialogue: Centered in a narrow column (~3 inches wide)
- Never justify text: Always "ragged right"
X. THE UNFILMABLES: WHAT NOT TO WRITE
Screenwriting is strict. You can only write what can be seen or heard. Everything else is "Unfilmable."
A. "Directing from the Page"
Do not tell the director where to put the camera.
✗ Avoid:
"CAMERA PANS LEFT"
"ZOOM IN ON"
"LOW ANGLE SHOT"
✓ The Fix:
Describe the action so the shot is implied.
Instead of "ZOOM IN ON the gun," write "His hand trembles as it reaches for the gun."
It's the director's job to visualize the shot, not yours.
B. Internal Thought (Novelistic Writing)
✗ Bad:
"John stands at the window. He thinks about his ex-wife and regrets the day he left her. He wonders if she is happy."
Why it fails:
The audience cannot see his thoughts. They just see a guy standing at a window. It is boring.
✓ The Fix:
"John stands at the window. He holds a cracked photo of his ex-wife. He brings a lighter to the edge of the photo, hesitates, then puts the lighter away."
Now we see the regret.
C. "We See" and "We Hear"
Avoid writing "We see a car drive by." Just write "A car drives by."
"We see" takes the reader out of the story. It reminds them they are watching a movie. Keep it immersive.
XI. SOFTWARE & TOOLS: DO NOT USE WORD
You cannot format a screenplay in Microsoft Word or Google Docs. It is technically possible, but the margins will drift, the pagination will break, and you will look like an amateur.
A. The Industry Standard: Final Draft
✓ Pros
- Used by 95% of Hollywood
- Auto-formatting
- Revision tracking
- Industry acceptance
✗ Cons
- Expensive ($200+)
B. The Competitors (Cheaper/Free)
1. WriterDuet / WriterSolo
Excellent, cloud-based, free version available. Great for collaboration.
2. Fade In
Professional grade, cheaper one-time fee. Used by Rian Johnson (Knives Out).
3. Highland 2
Minimalist, great for Mac users.
Recommendation: If you are just starting, use the free version of WriterDuet. Do not spend money on Final Draft until you are selling scripts.
XII. PACING: THE "READ"
A script is read before it is filmed. The reading experience (The "Read") matters. The pace of your writing should match the pace of the scene.
A. Action Scenes
Use short, punchy sentences. Fragmented grammar is okay here.
A knife misses his ear by an inch.
This makes the reader read fast, mimicking the adrenaline of the scene.
B. Emotional/Slow Scenes
Use longer, more flowing sentences. Combine actions.
This forces the reader to slow down and sit in the emotion.
C. The "White Space" Aesthetic
- •A page of script should look inviting.
- •If a reader turns the page and sees solid blocks of black ink, they groan.
- •Aim for a healthy mix of dialogue and action. Keep the page airy.
XIII. THE REWRITE: FROM VOMIT DRAFT TO POLISH
"Writing is rewriting." — Ernest Hemingway
The first draft of your script will be bad. In the industry, this is called the "Vomit Draft." Its only purpose is to exist. You cannot fix a blank page, but you can fix a bad page.
A. The "Drawer" Method
Once you type "FADE OUT" on your first draft, do not read it.
- •Put it in a drawer (physical or digital) for 2 weeks.
- •Why? You are currently "Snowblind." You know what you meant to write, so your brain fixes errors automatically. You need to forget the script to read it like an audience member.
B. The "Kill Your Darlings" Pass
In the second draft, look for scenes you love but that do not advance the plot.
Scenario:
You wrote a hilarious 3-page scene where characters debate pizza toppings. It's funny, but has nothing to do with the murder mystery plot.
Action: Cut it.
If it doesn't move the story forward, it is dragging it down.
C. The Dialogue Pass
Read your script out loud.
XIV. THE PITCH: SELLING THE AIR
In Hollywood, you rarely hand someone a script first. You pitch it. You have to sell the idea of the movie in 60 seconds (The Elevator Pitch) or 20 minutes (The General Meeting).
A. The "Why Now?" Question
Producers are business people. They want to know why this movie needs to be made today.
✗ Bad Answer
"Because it's a cool story."
✓ Good Answer
"It explores AI anxiety, which everyone is talking about right now, but framed as a 90s thriller."
B. The Pitch Structure
- The Hook: The Logline (The irony/concept).
- The Characters: Who are we following? Why do we love them?
- The Act I Turn: How does the trouble start?
- The Midpoint: What is the crazy set piece in the middle?
- The Climax: How does it end? (Yes, you must spoil the ending in a pitch).
C. The "Look Book" (Pitch Deck)
Modern screenwriters often create a visual slide deck to accompany the script.
Visual Tone
Images from other movies that look like your movie.
Casting Ideas
"Think of a young Harrison Ford type."
Comps
"It's Die Hard meets The Hangover." (Helps producers understand tone and budget instantly).
XV. AGENTS, MANAGERS, AND THE BLACK LIST
The Catch-22: "You can't get an agent until you sell a script, but you can't sell a script without an agent."
Here is how you actually break in.
A. Manager vs. Agent
Manager
Focuses on your long-term career. Develops scripts, gives notes, provides emotional support.
Easier to get when new. Takes 10%.
Agent
Focuses on the deal. Negotiates contracts and money.
Usually signs you once "money-ready." Takes 10%.
Lawyer
Negotiates the fine print.
Takes 5%.
B. The Black List (blcklst.com)
This is the most democratic way to break in today.
- How it works: Upload your PDF and pay ~$100 for a professional reader evaluation.
- The Score: You get a score out of 10.
- The Result: If you score an "8" or higher, your script is emailed to thousands of industry professionals.
Movies like "The Imitation Game" and "Slumdog Millionaire" were discovered via the annual Black List.
C. Contests (The Lottery Tickets)
Most contests are scams. Only enter the "Big Four."
1. Nicholl Fellowship
Run by the Oscars/Academy
2. Austin Film Festival
3. PAGE International
4. Final Draft Big Break
D. Query Letters
The old-fashioned way. Find the email of a manager's assistant (IMDbPro is the tool for this).
Subject: QUERY: [Title] - [Genre] - [Logline]
Body: Keep it under 5 sentences.
"Hi, I wrote a script called X. It placed in the Nicholl Fellowship. Here is the logline. May I send you the PDF?"
Success Rate: Low (1%), but it costs nothing but time.
XVI. CONCLUSION: THE MARATHON
Screenwriting is the most rejection-heavy career in the arts. You will write 10 scripts before one is good. You will write 20 before one is sold.
The difference between an "Aspiring Screenwriter" and a "Professional Screenwriter" is not talent; it is discipline.
Aspiring Writer
Waits for inspiration
Professional Writer
Writes 5 pages every morning before work, whether they feel like it or not
You now have the tools.
- •You know the Structure (Act I, II, III).
- •You understand the Psychology (Wants vs. Needs).
- •You have mastered the Format (Sluglines and White Space).
- •You know the Business (Pitching and Managers).
The only thing left to do is the hardest part:
Sit down. Open the software. And watch the blinking cursor until you bleed.
FADE OUT.