Scriptwriting Archives - Writer's Digest https://cms.writersdigest.com/tag/scriptwriting Mon, 28 Jul 2025 16:00:00 +0000 en-US hourly 1 https://wordpress.org/?v=6.7.1 What ‘Superman’ Can Teach Screenwriters (From Script) https://www.writersdigest.com/what-superman-can-teach-screenwriters-from-script Mon, 28 Jul 2025 16:00:00 +0000 https://www.writersdigest.com/?p=43565&preview=1 In this week’s round up brought to us by Script magazine, learn how James Gunn took the new Superman film to the next emotional level.

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]]> In this week’s round up brought to us by Script magazine, learn how James Gunn took the new Superman film to the next emotional level. Plus, learn about the art of feedback, how Gen Z craves originality and authenticity, and Paul Peditto is back with a comical back and forth with his AI, Luna, on how “not” to write dialogue.

What ‘Superman’ Can Teach Screenwriters or: The Importance of Being Earnest

This is exactly what we’re supposed to be doing as screenwriters—immersing ourselves in the feelings of others, perhaps feeling them too much, and reacting to those feelings.

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Interview with ‘What Marielle Knows’ Filmmaker Frédéric Hambalek

Susan Kouguell interviews Frédéric Hambalek about his new feature film ‘What Marielle Knows’ at Tribeca Festival.

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AI Dialogue Workshop: Writing Dialogue Actors Love to Play!

Doesn’t do subtext and lousy at dialogue. Paul Peditto finds out what his AI, Luna, thought were “can’t miss” dialogue lines.

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A Bright Spot in the Future of Indie Films

Gen Z is all about originality and authenticity.

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Breaking & Entering: Reading for Other Writers – The Art of Feedback

Every writer knows the sting of bad feedback – the kind that leaves you doubting your story and yourself. But what if feedback could inspire, not deflate?

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]]> Weaving “The Handmaid’s Tale” (From Script) https://www.writersdigest.com/weaving-the-handmaids-tale-from-script Mon, 02 Jun 2025 16:00:00 +0000 https://www.writersdigest.com/?p=42022&preview=1 In this week’s round-up from Script magazine, “The Handmaid’s Tale” showrunners discuss complex character relationships, the creative process, and finding inspiration in their own writing.

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]]> In this week’s round-up from Script magazine, “The Handmaid’s Tale” showrunners discuss complex character relationships, the creative process, and finding inspiration in their own writing. Plus, what Mission: Impossible – The Final Reckoning can teach screenwriters, and more.

Weaving “The Handmaid’s Tale”: Showrunners Yahlin Chang and Eric Tuchman on Finding Humanity in the Final Season

Steve Wilkie; ELISABETH MOSS, O-T FAGBENLE

Yahlin Chang and Eric Tuchman discuss complex character relationships, the creative process, and finding inspiration in their own writing.

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What Mission: Impossible – The Final Reckoning Can Teach Screenwriters

Paramount Pictures and Skydance

The latest installment in the Mission: Impossible series boasts a long runtime and massive action sequences, with storytelling tricks we can study.

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‘Your Friends & Neighbors’ Creator Jonathan Tropper Crafts a Protagonist Underwater with a Wry Touch

AppleTV+

Jonathan Tropper shares how tone and feeling inspire his characters, then their story.

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]]> The Page or The Stage: The Differences in Writing Novels vs. Scripts https://www.writersdigest.com/the-page-or-the-stage-the-differences-in-writing-novels-vs-scripts Sat, 10 May 2025 20:00:00 +0000 https://www.writersdigest.com/?p=41571&preview=1 Award-winning playwright and novelist Leslie Liautaud breaks down the differences in writing novels vs. scripts, or The Page vs. The Stage.

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]]> The first time I stepped on stage, I was five years old. I might forget my anniversary or what I had for breakfast, but I will never forget the feeling the first time I performed in front of an audience. My role was “Little Girl” in ANNIE GET YOUR GUN. I remember that I had to wait for the lead actor to say, “Get out of here, little girl!” three times before running off stage. I remember being extremely nervous I would lose track of the prompts. I remember my eyes darting out to the audience and finding a sea of strange faces. But mostly, I remember being elated. Suffice it to say, I was hooked. From that performance on, I worked as an actor on stage and TV for the following 20 years.

(From Screenplay to Novel: Why It Works for Me.)

I hadn’t ever considered becoming a playwright until my early 30s when, at a dinner party, a man recounted the love story behind the Taj Mahal. Immediately, I thought, “Why isn’t this a movie? Or a television series??” It was at that dinner I decided to write a script about Shah Jahan and Mumtaz Mahal. I poured over history books and articles and bled the epic love story onto page after page. When I finished, I held the script delicately in my hands like a newborn baby. It embodied a fresh creative energy that I hadn’t felt in years. Make no mistake, I had written what is quite possibly the worst script ever written in the history of writing. But I had done it! I had written a script. It was abundantly clear I knew nothing about the technicalities of writing a screenplay. However, I knew stage plays—the formatting, the structure, the heartbeat—like the back of my hand.

Time went on and after 15 years of writing for the stage and after the production of several full-length dramas, I decided to challenge myself by writing a novel. Much like screenplays, I was starting at ground zero. But I wasn’t worried, as I was an avid reader. I figured, “I’ll just write the story, expanding on my knowledge of dialogue, add some descriptors, and voila!” But voila, it did not. I found myself in the same predicament of inexperience I had been in with attempting to write a screenplay. While some of the practices and techniques I had honed as a playwright were valuable, there was much to learn.

As creative and curious artists, we are constantly experimenting with new techniques and approaches which keeps art in a constant state of flux. That said, after an ongoing career as a playwright and with my second novel, Butterfly Pinned, set for May publication, I can state with all certainty that there remain distinct and stark differences between writing a novel and writing a play.

The Page or the Stage: The Differences in Writing Novels vs. Scripts, by Leslie Liautaud

Format

Formatting is the most obvious of the differences, but it is the foundation. A novel gives you free reign in chapter length and, in most cases, the only parameter you should abide to is writing in paragraph form. Plays, however, must be formatted into a preexisting, specific script form. There’s no getting around it.

Consider your script as an operating manual for the actors, director, set designer, etc. It needs to be cohesive, so all parties remain on the same page. (Pun intended!) The easiest way to achieve this is by using software designed to format for you, guiding you through dialogue, stage directions, and scene changes.

There are several reliable companies who offer formatting software specifically for playwrights, and which one is best for you comes down to personal taste. Some popular companies include Celtx, WriterDuet, and Trelby. My personal preference is Final Draft, which I’ve been using for over 20 years.

Setting

Again, the novel lends itself to more freedom when dealing with the setting of your story. It can include car crashes, explosions, and may span the globe. With a novel you can take your time describing the details of an expanse of land or the rich history of an ancient city. With a play, what you can convey beyond dialogue is minimal.

The main restriction is physical space. You must contain the setting to a stage. Unless the play is a big budget Broadway extravaganza, pyrotechnics, multiple scenery changes, and ornate sets are unrealistic. Rule of thumb is minimal is best. Most often, a stage production will have a hired set designer, so your sole job is to convey the setting you desire through the dialogue and stage directions.

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Content

A novel offers you a wonderful opportunity to tell a multi-layered, in depth look at the world through the lens of one character, many characters, or as an observer. A reader can hear inner monologues and passing thoughts of the characters. A novel allows narration to guide a reader through the story, gently pushing and pulling whichever direction you, the writer, intends.

A play relies solely on dialogue and action to convey the story. Every spoken word must count, and unspoken words carry as much weight. I like to think of plays as deep dives into human psychology. Where a novel can be either plot or character driven, a play is, with few exceptions, character driven.

And your character driven story must be succinct. While a novel has the breadth of 400 pages to express the Hero’s Journey, the psychological voyage in a play must take place in approximately 80 pages. Every line of dialogue and every stage direction must directly correlate to a particular character’s conscious or unconscious motives.

End Result

Whether you finish writing your novel or writing your play, please give yourself a pat on the back. It’s a huge accomplishment!

Naturally, your next step is to share your work of art with friends, family, or the world at large. This, too, differs when speaking of novels vs. plays. In the ever-changing landscape of publishing, there are now several outlets to share your book. Self-publishing is a wonderful option for those who are interested in a small batch of copies or for those brave enough to handle the entire process of selling books themselves. Hybrid publishing is another route for those who still would like to maintain control of the book itself but would like help in the physical publishing and distribution. And for those with perseverance, after obtaining an agent, traditional publishing is an option.

For plays, publishing is possible, but it is not the end game. Production is the goal. As with novels, there are many roads to production. I began my career by lending a script to a local community theatre. They did not have to pay a royalty fee, and I was granted live productions to gauge what worked and what didn’t in my writing. It was a win-win for all. Playwrights can submit to local and regional theaters. You may even put sheets up in the backyard, or apartment basement, corral some willing friends, and stage your own low budget (free!) production.

Whether you choose to write a novel or write a play, I wish you joy in telling your story!

Check out Leslie Liautaud’s Butterfly Pinned here:

Butterfly Pinned, by Leslie Liautaud

Bookshop | Amazon

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]]> Why Am I Stalled With Writing? (From Script) https://www.writersdigest.com/why-am-i-stalled-with-writing-from-script Mon, 21 Apr 2025 16:00:00 +0000 https://www.writersdigest.com/?p=40986&preview=1 In this week’s round up from Script magazine, writing coach Jenna Avery unpacks feeling stalled with writing and brainstorms how to recover.

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]]> In this week’s round up brought to us by Script magazine, writing coach and Called to Write founder Jenna Avery unpacks some of the possibilities for underlying causes from feeling stalled with writing and then brainstorms how to recover from the stall. Plus, read our interview with The Ugly Stepsister filmmaker Emilie Blichfeldt, plug into the latest Reckless Creatives and Selling Your Screenplay podcasts, and more!

SELLING YOUR SCREENPLAY: Ep. 533 – Writing an Interactive TV Series with Gavin Michael Booth

In this episode of the podcast, Ashley Scott Meyers interviews prolific Indie Filmmaker Gavin Michael Booth.

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Reckless Creatives Podcast: Emmy-Winning Screenwriter and Author Charles Kipps on Making a Plan

Charles Kipps talks about producing Aretha Franklin, to our struggles as writers, to his decades of writing experiences – and he’s still selling screenplays to this day! 

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Lois Weber: More than a Writer-Director She’s the Auteur Activist of Early Cinema

To celebrate this 50th column, we’re celebrating Lois Weber, whose use of screenwriting in her activism lends continued relevance to her work.

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Sinners Review

Ryan Coogler’s foray into horror is bold and layered, as much a tale about the odyssey of the soul as a tale about monsters.

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Why Am I Stalled With Writing?

Writing coach and Called to Write founder Jenna Avery responds to a reader about stalling with writing and how to recover.

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Subverting a Classic Fairy Tale: Emilie Blichfeldt Discusses The Ugly Stepsister

Filmmaker Emilie Blichfeldt talks about landing on the seed of the story, retelling a classic fairy tale, creating within the ‘beauty horror’ subgenre, her writing process, and more!

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]]> The Truth About Screenwriting Contests (From Script) https://www.writersdigest.com/the-truth-about-screenwriting-contests-from-script Mon, 14 Apr 2025 16:15:49 +0000 https://www.writersdigest.com/?p=40860&preview=1 In this week’s round up from Script magazine, Script Pipeline executive Bri Janes gives her four hard truths about screenwriting contests.

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]]> In this week’s round up brought to us by Script magazine, Script Pipeline executive Bri Janes gives her four hard truths about screenwriting contests, dive into an in-depth interview with Sacramento filmmaker and co-start Michael Angarano, and The Connoisseur indie short filmmaker Anne Marie Boidock.

Small Fortunes

Anne Marie Boidock’s latest short film, The Connoisseur, explores obsessive loops, coping mechanisms, and one man’s search for answers at the center of a cookie.

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INDIE SPOTLIGHT: Sacramento – Theme of Communication

Filmmaker and co-star Michael Angarano talks about his writing process with co-writer Christopher Smith, writing non-linearly, focusing on character dynamics and their emotional trajectory, and more!

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The Truth About Screenwriting Contests: Confessions of a Writer Turned Contest Executive

Script Pipeline executive Bri Janes offers four hard truths about screenwriting contests.

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Developing & Pitching Your TV Series

This carefully curated bundle of 11 digital products will give you the necessary tools to develop, pitch, and sell your script!

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]]> A Love Story of Friendship (From Script) https://www.writersdigest.com/a-love-story-of-friendship-from-script Mon, 07 Apr 2025 16:00:00 +0000 https://www.writersdigest.com/?p=40593&preview=1 In this week’s round up by Script magazine, FX’s “Dying for Sex” co-creators and showrunners give a deep dive look into their podcast adaptation process for the series.

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]]> In this week’s round up brought to us by Script magazine, FX’s “Dying for Sex” co-creators and showrunners Elizabeth Meriwether and Kim Rosenstock give a deep dive look into their podcast adaptation process for the series. Plus, horror icon Nick Castle talks about his career, filmmaking team Ryan Fleck and Anna Boden talk about their new film Freaky Tales, and more!

Nick Castle — Director of The Last Starfighter— Talks Being a Horror Icon and a Writer/Director by Bryan Young

Nick Castle talks about his career from beginning to end, taking a chance with new technology on ‘The Last Starfighter,’ and shares advice for screenwriters.

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UNDERSTANDING SCREENWRITING: Three Men and a Lot of Women by Tom Stempel

BRIDGET JONES: MAD ABOUT THE BOY — Renée Zellweger as Bridget Jones — (Photo By: Jay Maidment/Universal Pictures)

The guy movie isThe Comeback Trail, and the movies about women are Bridget Jones: Mad About the Boy, The Last Showgirl, and The Substance.

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Freaky Tales – The Ultimate Mixtape by Sadie Dean

Pedro Pascal as Clint in Freaky Tales. Credit: Courtesy of Lionsgate

Writing-directing team Anna Boden and Ryan Fleck talk about the inspiration behind Freaky Tales, how they eventually settled on four interconnected chapters, their writing process, and more!

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A Love Story of Friendship: A Conversation with “Dying for Sex” Co-Creators and Showrunners Elizabeth Meriwether and Kim Rosenstock by Sadie Dean

In this deep dive conversation with Kim Rosenstock and Elizabeth Meriwether, they share their process of honoring the podcast’s essence, the balance between humor and serious themes, and more!

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Script University April 2025 Courses and Live Events

Check out this month’s course offerings led by Script University’s industry experts!

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Outlining Techniques Before You Type FADE IN

Our techniques will help you transform your ideas into a gripping story. Start outlining now!

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]]> Do Your Opening Pages Really Matter That Much? (From Script) https://www.writersdigest.com/resources/do-your-opening-pages-really-matter-that-much-from-script Mon, 17 Mar 2025 16:00:00 +0000 http://ci02f6ae724000275d In this week’s round up brought to us by Script magazine, we look at why your opening pages send all sorts of messages that transcend the actual story you are telling and why they are your introduction as a writer to be taken seriously.

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]]> In this week’s round up brought to us by Script magazine, we look at why your opening pages send all sorts of messages that transcend the actual story you are telling and most importantly why they are your introduction as a writer to be taken seriously. Plus, catch up on our in-depth interviews with screenwriting legend David Koepp on his new film Black Bag, Long Bright River co-creator and showrunner Nikki Toscano, A24’s Opus writer-director Mark Anthony Green, and more!

SELLING YOUR SCREENPLAY: Ep. 532 – Get To The Truth Of The Story With Jon Gunn

Ashley Scott Meyers talks with filmmaker Jon Gunn about writing the The Unbreakable Boy and how he gets to the truth of the story when he adapts books and true stories.

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Writing the Sci-Fi Screenplay

When writing the Sci-Fi script, audiences are looking for entertaining stories with interesting, developed characters that take them out of this world and into another.

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Make Your Script’s Opening Pages Stand Out

This live webinar will explore why these pages matter so much, and how you can entice a reader to stay with your script.

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What Happens in the Field, Stays in the Field: David Koepp Discusses His New Thriller Black Bag

David Koepp talks about penning this crackling thriller, writing on spec, and utilizing a MacGuffin that’s simple and powerful.

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The Soul and the Spine of What Made “Long Bright River” with Showrunner and Co-Creator Nikki Toscano

Nikki Toscano discusses the adaptation and seamless collaborative process with author and co-creator Liz Moore, why she was drawn to lead character Mickey’s voice and her unreliable narration, the importance of balancing character drama and the murder mystery, ensuring each twist served a larger narrative purpose. And the importance of portraying the Kensington community authentically, involving local advisors and casting.

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Do Your Opening Pages Really Matter That Much?

Your opening pages send all sorts of messages that transcend the actual story you are telling. They are your introduction, your initial handshake, your non-verbal communication that you are a writer to be taken seriously.

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Interview with Director Catherine Gund about Her New Film Meanwhile

In this wide-ranging interview, Susan Kouguell discusses with filmmaker Catherine Gund their respective work and shared artistic sensibilities in terms of employing nontraditional filmmaking structures, the inclusion of poetry in film, tackling challenging subject matter, and how to make it the most honest.

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The Facets of Tribalism: A Conversation with Opus Writer-Director Mark Anthony Green

Mark Anthony Green discusses his approach to filmmaking, focusing on thematic anchors, like tribalism and character development, particularly Ariel’s character. As well as his overall mission to engage with audiences, his dream collaboration with music artists Nile Rodgers and The-Dream and praises his crew for giving it their all to support his vision.

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]]> A Hundred Henchmen? (From Script) https://www.writersdigest.com/resources/a-hundred-henchmen-from-script Mon, 10 Mar 2025 16:00:00 +0000 http://ci02f61a7b2000275d In this week’s round up brought to us by Script magazine, learn how create distinctive minor character roles, catch up on our Oscars 2025 coverage, and more.

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]]> In this week’s round up brought to us by Script magazine, learn how create distinctive minor character roles, catch up on our Oscars 2025 coverage, and read interviews with The Girl with the Needle screenwriter Line Langebek, “Shifting Gears” and “Deli Boys” showrunner Michelle Nader, and SXSW 2025 Video Barn indie short filmmaker Bianca Poletti, and more!

New Faces on the Forefront: Oscars 2025

The night was a classy mix of old and new, with a wide range of fantastic stories represented.

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Using Sound to Establish Place: Line Langebek Knudsen Talks The Girl with the Needle

Line Langebek Knudsen talks about developing this world that’s based on a true story, and working with imagery and sound.

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Write a Gripping Crime Script

Learn the foundational principles of writing crime, how to authenticate your forensics while keeping it entertaining, how to take true, dramatic stories and make them your own, how to set a crime scene, and more!

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UNDERSTANDING SCREENWRITING: An Oldie and Some Newbies

The Oldie is Hud, and the Newbies are The Room Next Door, and I’m Still Here, and some TV Oldies and Newbies are: “9-1-1 Lone Star,” ‘Elsbeth,” “Matlock,” and “High Potential.”

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Interview with “Shifting Gears” and “Deli Boys” Showrunner Michelle Nader

Michelle Nader discusses her current projects, including the multi-camera show “Shifting Gears” and a new series, “Deli Boys,” which she found compelling due to its novelistic script and universal themes. Additionally, she talks about her background in comedy, highlights the challenges of sitcoms, describes them as akin to poetry in their rhythm and difficulty, and so much more.

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A Hundred Henchmen?

What if you have 40 Thieves robbing passengers on an express train or a teacher with 40 Students or an office with 40 Executives? How to create distinctive minor character roles. From Weapons For Weirdos to “Warriors” Theory to creating “spear carrier” characters who don’t feel like a number.

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INDIE SPOTLIGHT: An Interview with SXSW Short Video Barn Director Bianca Poletti

Bianca Poletti discusses the development and collaboration phase of the short film, which was inspired by the likes of David Lynch and Stephen King, the film’s underlying thematic elements, to the importance of building a strong team, how her team was able to license an iconic horror film clip, and being a versatile filmmaker.

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]]> Breaking The Rules: The Deft Cheat (From Script) https://www.writersdigest.com/resources/breaking-the-rules-the-deft-cheat-from-script Mon, 03 Mar 2025 17:00:00 +0000 http://ci02f5375b3000275d In this week’s round up brought to us by Script magazine, Barri Evins offers more tips and techniques on how to break screenwriting rules that will engage the reader.

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]]> In this week’s round up brought to us by Script magazine, Barri Evins offers more tips and techniques on how to break screenwriting rules that will engage the reader. Plus, see what other film festivals independent film distributors attend to scout new talent and films, listen to the latest Reckless Creatives podcast with horror writer Seth Sherwood, and more!

Discovering the Light and Shadows of Naples: Trudie Styler Discusses Posso entrare? An Ode to Naples

Trudie Styler discusses finding the soul of Naples while filming Posso entrare? An Ode to Naples and exploring the historical and socio-economic wounds of this ancient metropolis and how it heals itself and survives through its people’s resilience, ideals, and creativity.

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The Blockbusters That Shaped Us: Structure & Style in Cinderella

The Disney animated classic turned 75 this month, and we’re dissecting what makes it endure, enthrall, and spin out all those remakes.

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I Didn’t Get Into Sundance…Now What?: A Guide to Festivals That Distributors Attend Beyond the “Big Five”

Didn’t get into Sundance or any other of the ‘Big Five’ festivals? Don’t fret. Rebecca Norris Resnick surveyed several independent film distributors to find out what other festivals they attend to spot new talent.

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Reckless Creatives Podcast – Season 4 | Episode 10 – Horror Writer Seth Sherwood: Breaking In, Staying In, and Everything In Between

Sadie Dean and Jeanne Veillette Bowerman talk with Emmy-nominated horror writer/director Seth Sherwood about the 10 years it took for him to break in, the challenges and joys of writing horror, tips for newbies wanting to break in, and so much more!

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The Era of the Multi-Hyphenate: An Interview With Writer and Filmmaker Mario O. Moreno [SERIES]

Do you want to get to know a storyteller? Have a look at their work. It reflects their inner landscape and reveals how they experience life—sometimes in very concealed ways. Author, screenwriter, filmmaker, and creative coach Mario O. Moreno shares his journey navigating the industry, and getting back to the essence of storytelling.

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Breaking & Entering: Breaking The Rules Part 3: Pro Secrets – The Deft Cheat

Break the rules to create memorable moments, evoke a mood, convey unspoken dynamics between characters. It’s not telling. It’s the magic of engaging the reader!

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Bite Size Oscar History: Documentary Feature Films and the Oscars

Documentaries can point to societal ills or looming political upheaval. Depending on how well they’re made, they can move the socio-political needle on an issue and create change.

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]]> Intention, Intention, Intention (From Script) https://www.writersdigest.com/resources/intention-intention-intention-from-script Mon, 24 Feb 2025 17:00:00 +0000 http://ci02f4b5e810002680 In this week’s round up brought to us by Script magazine, learn how to give honest feedback while also learning the best approaches to receiving constructive criticism for your own writing.

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]]> In this week’s round up brought to us by Script magazine, learn how to give honest feedback while also learning the best approaches to receiving constructive criticism for your own writing. Plus, learn what Captain America: Brave New World can teach screenwriters, find the best medium for your specific story idea, learn new tools to overcome procrastination, and more!

All Media Access 2025 (Part Two)

You have an amazing idea for a screenplay, or maybe a limited series for a streamer, or maybe a novel, or is it a network series? We look at finding the best medium for your specific story idea. Part Two!

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What Captain America: Brave New World Can Teach Screenwriters

Brave New World never quite soars to the heights of Captain America: The Winter Soldier, but it does offer some interesting lessons for screenwriters to look out for as they’re honing their craft.

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Intention, Intention, Intention

One of the best ways for a reader to dial in to the project’s end goal is having a thoughtful, honest conversation with the scribe and asking them some questions before the analytical work begins.

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Julie Crawford Ivers: From Rich Widow to Writer-Director

Dr. Rosanne Welch celebrates the female screenwriters who came before us with this month’s spotlight on prolific screenwriter and director Julie Crawford Ivers.

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7 Strategies for Dealing with Procrastination and Self-Criticism

Writing coach and Called to Write founder Jenna Avery responds to a reader about overcoming procrastination and dealing with self-criticism.

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Characters are Paramount in Action: A Conversation with Old Guy Director Simon West

Simon West talks about what initially attracted him to screenwriter Greg Johnson’s script, the importance of character and dialogue in action scripts, and offers great advice and insight into what he thinks makes a great action script.

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Bite Size Oscar History: Foreign Language Films Nominated for Best Picture

Which non-English language film was the first to nab the top prize for Best Picture?

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