🎥 FREE MASTERCLASS Seven Screenwriting Mistakes Stopping You Getting an Agent www.scriptfella.com/mistakes-masterclass 100% of agents and execs who fail to finish your script will pass. Join this free masterclass with WGA Screenwriter Dominic Morgan, where he will teach you how to eliminate the 7 BIGGEST MISTAKES that cause Hollywood agents and managers to stop reading your script. Spoiler alert: This isn’t about your plot, characters, logline, or story circles. And the first mistake is an absolute dealbreaker… Get access now at www.scriptfella.com/mistakes-masterclass
Yes, love #5. We talk about this a lot. The key to great dialogue is to make every line do as many jobs as possible. 1. Move the plot along 2. Develop character 3. Be funny or interesting 4. Do exposition on backstory or worldbuilding 5. Establish tone and voice It's impossible to have every line do all of these of course, but the more you can make each line do, the better. No line should just be accomplishing one thing.
Damn. Received permission to submit an action spec to an agent and came here. I sorta knew this info but it's good the way it was presented! 1st Page is crucial! Subscribed.
Brilliant video. Every non professional writer needs to watch this clip to understand how important the first page is. You are a brilliant mentor, Dominic.
Gotta admit… I have never heard that tidbit about the opening line of dialogue. Very obvious in retrospect, but somehow I have never heard it verbalized. Good shit!
Love this video... so good! Thank you, Dominic, for always providing your viewers with the best of the best screenwriting advice. And thank you, Peter Lydon, for taking time out of your schedule to provide insight on what gets you/directors hooked when reading a script. Much appreciated!
Good to know Brian. If you enjoyed this vid, a Scooby sense tells me this free class will also hit the target with you - FREE MASTERCLASS Seven Screenwriting Mistakes Stopping You Getting an Agent www.scriptfella.com/mistakes-masterclass
@@Scriptfella I take it you have been busy getting your next project finished or rewriting it for the umpteenth time. You must look at your scripts and think, yes. I need to change this and take that out. How do you really know if you have a finished project that your happy with and pass it on to your management
@@bazmurphy7792 the short answer - when all the big picture problems have been addressed - and when the script reads like the wind, with zero fat or suboptimal prose or dialogue.
I wish you uploaded with more consistancy cause your content is absolutely amazing and I find your videos so inspirational, helpful, and honest. I just wish there was more lol.
Thank you JM and I hear you on the cry for consistency.. I'm shooting an online course which I hope will give me enough petrol in the tank to make regular videos on a scale and frequency I've never done before.
Summary: Captivating Directors Immediately: Start with a minimal but engaging description that leads swiftly to dialogue. The opening dialogue should be unique, unexpected, and prompt a strong mental image. Aim to surprise the reader early to maintain their interest. Creating a Cinematic Experience: The first page should be cinematic, with a visceral quality that is tight and compelling. Avoid technical film language; instead, use vivid descriptions to play the movie in the reader's head. Every line should evoke passion and earn its place in the narrative. Introducing the Main Character: Introduce the main character quickly, showcasing their attitude and tone. The character should be the hook that pulls the reader through the story. Avoiding Red Flags of Amateur Writing: Excessive description and irrelevant details are warning signs. Overwriting can cause a director to skim, losing control of the narrative. The story must propel forward, not tread water, with engaging character actions. Setting Up the Stakes and Keeping Interest: Establish clear stakes within the first few pages, using dialogue and light touches. Maintain a dynamic relationship with the reader; keep them engaged and on your side. Originality and Freshness: Avoid scripts that are too predictable based on their log line. Scripts should offer a fresh take or a surprising angle on familiar concepts. Learning from Classic Cinema: Study classic films for their quick pacing and immediate character engagement. Ensure the story starts with something grounded and relatable before escalating. Editing and Refining: The first few pages deserve a significant amount of time and attention. Continuously refine and improve the script to maintain high quality and engagement.
When I, for the first time, found myself writing a screenplay: I read and learned from the Internet everything I needed to get started. I will preface this by saying that I don't know what scripts the gentleman gets--but the things he said at the beginning are the basis. The other things he said, one is "don't describe the weather" ... it's debasing, an artist describing, for example, the weather, maybe he wants to leave a feeling with the reader, try to make them feel and read ... what does "don't describe" mean ... it seems as if a writer has to rip the soul out of his creature because the reader wants nothing more than to make money. "FILMS" are description, narrative, LOVE--not a fucking profit in first place.
Unfortunately there’s the catch 22 situation of only being able to hook a director if you have an agent and a manager but you can only get an agent and a manager if you’ve got a film writing credit so already hooked a director 🤯🤯🤯🤯🤯🤯
I hear you - However if you slowly network - without asking anything in return - and build relationships , you can get to directors and other decision makers .
I concur DouglassD. Drive sports a great opener by an A list writer - but I'd say it's 20 percent overwritten. (A listers like Hoss Amini don't have to battle for the reader's attention like the rest of us mortals) How would you rewrite the first paragraph to eliminate the skim. Care to share?
Their classification of "unique", is different from the viewer. Theirs is about the script and yours is about the movie. Unfortunately that's two different things. The writers seem better than the directors and it's only good if a great writer is the director. Quinton Tarantino.
The vast majority of movies and tv shows is boring trash these days. But yeah just keep thinking it’s your writing skills alone that get you in lol. Who you know Are you the right person they want in their team to fit their writing agenda. It’s extremely discriminatory.
🎥 FREE MASTERCLASS
Seven Screenwriting Mistakes Stopping You Getting an Agent
www.scriptfella.com/mistakes-masterclass
100% of agents and execs who fail to finish your script will pass. Join this free masterclass with WGA Screenwriter Dominic Morgan, where he will teach you how to eliminate the 7 BIGGEST MISTAKES that cause Hollywood agents and managers to stop reading your script. Spoiler alert: This isn’t about your plot, characters, logline, or story circles. And the first mistake is an absolute dealbreaker…
Get access now at www.scriptfella.com/mistakes-masterclass
Yes, love #5. We talk about this a lot. The key to great dialogue is to make every line do as many jobs as possible.
1. Move the plot along
2. Develop character
3. Be funny or interesting
4. Do exposition on backstory or worldbuilding
5. Establish tone and voice
It's impossible to have every line do all of these of course, but the more you can make each line do, the better. No line should just be accomplishing one thing.
Damn. Received permission to submit an action spec to an agent and came here. I sorta knew this info but it's good the way it was presented! 1st Page is crucial! Subscribed.
He's back he's back he's back and here to stay. For every hour of every minute of every day!!!
Brilliant video. Every non professional writer needs to watch this clip to understand how important the first page is. You are a brilliant mentor, Dominic.
Vivien - what a lovely, shiny comment to wake up to on a very grey day in England. D
Guess who's back. Back again. Scriptfellas back. Tell a friend.
You provide immense value. Thank you so much for sharing your knowledge!
Thank you Rashad, I'm very pleased you found the vid useful. D
Gotta admit… I have never heard that tidbit about the opening line of dialogue. Very obvious in retrospect, but somehow I have never heard it verbalized. Good shit!
Yeah me too, Tawdry - the moment Peter uttered that tip, I knew I needed to get it out there.
Love this video... so good! Thank you, Dominic, for always providing your viewers with the best of the best screenwriting advice. And thank you, Peter Lydon, for taking time out of your schedule to provide insight on what gets you/directors hooked when reading a script. Much appreciated!
I watched this video twice. This is probably the primary problem most scripts have, min,e included. Thanks for the inspirational insight
Wow! This is gold! Peter Lydon knows his stuff. This one should be watched a few times over. Thank you both for this.
'Thanks'... you turned on the light for me to add an essential set-up detail to my opening.
Brian Couch
Good to know Brian. If you enjoyed this vid, a Scooby sense tells me this free class will also hit the target with you - FREE MASTERCLASS
Seven Screenwriting Mistakes Stopping You Getting an Agent
www.scriptfella.com/mistakes-masterclass
It dropped early! 😄 Looking forward to watching this!
Cheers Luci
You provide immense value. Thank you so much for sharing your knowledge!
Welcome back sir. Really enjoy your content on here. It always gives me inspiration to sit back down and continue with my script.
Good to see you again Baz
@@Scriptfella I take it you have been busy getting your next project finished or rewriting it for the umpteenth time. You must look at your scripts and think, yes. I need to change this and take that out. How do you really know if you have a finished project that your happy with and pass it on to your management
@@bazmurphy7792 the short answer - when all the big picture problems have been addressed - and when the script reads like the wind, with zero fat or suboptimal prose or dialogue.
This video is a brilliant summary of what Dom's taught us over the past year. I'd recommend his consultancy to everyone.
Cheers Craig, appreciate the shoutout.
Great tips, as usual. Thank you, Scriptfella.
Hello Chuck, good to see you back on HMS Scriptfella. And congrats on your two most recent script deals.
Great Interview and insights, thanks for this material.
Cheers, Darth.
Great content. Thanks! Glad to see you back...
Cheers Jack. D
Thanks for this. I've become more and more interested in getting better at using hooks. Great topic!
Scriptfella's videos are the kind I like before watching
Such a great video. Please keep them coming!
I wish you uploaded with more consistancy cause your content is absolutely amazing and I find your videos so inspirational, helpful, and honest. I just wish there was more lol.
Thank you JM and I hear you on the cry for consistency.. I'm shooting an online course which I hope will give me enough petrol in the tank to make regular videos on a scale and frequency I've never done before.
@@Scriptfella sounds cool, I really enjoy your content, looking forward to seeing what you do in the future.
Loved this video!
Ah, great video. I was by chance looking for a screenwriter, and it looks like you are
I have a novel that I want to show you, it is really great🤭
Brilliant! new subscriber here. Cheers from Western Australia
Thanks gentlemen, great notes.
Cheers Andre
Thank you!
Every point doesn't need a background heart attack inducing music.
Top stuff. Good refreshers
Summary:
Captivating Directors Immediately:
Start with a minimal but engaging description that leads swiftly to dialogue.
The opening dialogue should be unique, unexpected, and prompt a strong mental image.
Aim to surprise the reader early to maintain their interest.
Creating a Cinematic Experience:
The first page should be cinematic, with a visceral quality that is tight and compelling.
Avoid technical film language; instead, use vivid descriptions to play the movie in the reader's head.
Every line should evoke passion and earn its place in the narrative.
Introducing the Main Character:
Introduce the main character quickly, showcasing their attitude and tone.
The character should be the hook that pulls the reader through the story.
Avoiding Red Flags of Amateur Writing:
Excessive description and irrelevant details are warning signs.
Overwriting can cause a director to skim, losing control of the narrative.
The story must propel forward, not tread water, with engaging character actions.
Setting Up the Stakes and Keeping Interest:
Establish clear stakes within the first few pages, using dialogue and light touches.
Maintain a dynamic relationship with the reader; keep them engaged and on your side.
Originality and Freshness:
Avoid scripts that are too predictable based on their log line.
Scripts should offer a fresh take or a surprising angle on familiar concepts.
Learning from Classic Cinema:
Study classic films for their quick pacing and immediate character engagement.
Ensure the story starts with something grounded and relatable before escalating.
Editing and Refining:
The first few pages deserve a significant amount of time and attention.
Continuously refine and improve the script to maintain high quality and engagement.
Another great video!
Cheers Brandon.
When I, for the first time, found myself writing a screenplay: I read and learned from the Internet everything I needed to get started.
I will preface this by saying that I don't know what scripts the gentleman gets--but the things he said at the beginning are the basis.
The other things he said, one is "don't describe the weather" ... it's debasing, an artist describing, for example, the weather, maybe he wants to leave a feeling with the reader, try to make them feel and read ... what does "don't describe" mean ... it seems as if a writer has to rip the soul out of his creature because the reader wants nothing more than to make money.
"FILMS" are description, narrative, LOVE--not a fucking profit in first place.
Unfortunately there’s the catch 22 situation of only being able to hook a director if you have an agent and a manager but you can only get an agent and a manager if you’ve got a film writing credit so already hooked a director 🤯🤯🤯🤯🤯🤯
I hear you - However if you slowly network - without asking anything in return - and build relationships , you can get to directors and other decision makers .
excellent
I'm really unsure about finding a beta reader for my story. Any advice?
His #7 rule -- "Don't write, skim" -- is broken by the graphic of the script page at 1:10 minutes in.
I concur DouglassD. Drive sports a great opener by an A list writer - but I'd say it's 20 percent overwritten. (A listers like Hoss Amini don't have to battle for the reader's attention like the rest of us mortals) How would you rewrite the first paragraph to eliminate the skim. Care to share?
@@Scriptfella Sorry, too busy trying to write my own scripts. Thanks for your comment and channel. :)
Their classification of "unique", is different from the viewer. Theirs is about the script and yours is about the movie. Unfortunately that's two different things. The writers seem better than the directors and it's only good if a great writer is the director. Quinton Tarantino.
The vast majority of movies and tv shows is boring trash these days. But yeah just keep thinking it’s your writing skills alone that get you in lol.
Who you know
Are you the right person they want in their team to fit their writing agenda. It’s extremely discriminatory.
Who is this dude in his pajamas
He has great perspective...