Everyone has to start somewhere.

I can remember that first screenplay I wrote. It was some kind of superhero mash up, it felt like a good idea at the time. If I'm honest, it had a good kernel of an idea at the heart of it, but it just wasn't very good.
Actually, it was pretty atrocious, now that I think about it.

I knew nothing about screenwriting and what exactly it involved or how hard it really is when I wrote it. Looking back, I can honestly say that I'm glad I did write it, if it hadn't been for that first attempt. This writer would never have discovered screenwriting.

I'm currently typing a screenplay that a wrote two-three years ago into Final Draft. As I've been typing this thing and reading it. I've come to realize that it's absolutely terrible. It has a good idea at the heart of it, but the execution of this thing is somewhat lacking to put it politely. It's basically a big pile of steaming horse manure.

Things just happen to the characters for the sake of moving the story forward. It's just bad and if I was giving notes on this thing, I'd be tearing it a new one. The fact that I entered this thing into contests is just ridiculous, not only did it put a dent in my wallet, but I can honestly feel the pain that the reader must've endured while reading this travesty of nonsensical nonsense.

What's become apparent as I've been typing this thing, is that a lot of writers come up with some pretty cool ideas, but it's the execution of the story that inevitably lets them down. If you have an idea for something, sit down with it, let it percolate and grow in your subconscious for a while. And hopefully while it's stewing away in your head, you'll come up with more ideas that will help you turn it into an interesting and entertaining story.
That someone will hopefully enjoy reading.

Don't rush in there and start writing straight away.

• Come up with ideas.
• Write them down.
• Outline the damn thing.
• Have an an idea of where you want to start, where you want to take it and how you want to finish it.
• Plan the damn story.

There is no sure fire way of writing a screenplay, everyone is different, but the above will certainly help in the creative process.

Once all this is done.
Then you can knock out that first draft as quickly as possible.

When you're trying to figure out and crack that story --

ASK YOURSELF --

“You can’t just say, ‘Well, I’m not really inspired by an idea yet, so I’m just gonna hang out and see what hits me. Maybe I’ll write a scene and see where it takes me.’”

“I don’t know any writers, who are successful, who approach writing that way at all. You have to approach writing like it’s a full-time job.”

Adam Rifkin

Tales from the Script

• What does your main character want?
• What are their goals?
• What or who is stopping the main character from getting what he or she wants/needs?
• What's getting in their way of achieving these goals?
• What flaws does your main character (secondary characters) have?
• What must the main character or characters overcome to achieve these goals?

One of the things I see a lot of in amateur screenplays, and in my own writing, if I'm honest, and it's a big thing, is a lack of character goals. There aren't any goals for the main character or characters to achieve. This leads to a story without any defined and clear direction. And generally the scenes that play out within the context of that story tend to meander and not actually go anywhere.

Giving the main character a goal to achieve will help structure the story that you want to tell, it will help drive the story forward and give it a sense of direction.

Character flaws and goals can generally be broken down into two categories.

Firstly, there's the INTERNAL struggle that the character is going through.

The internal struggle that the main character is going through usually revolves around some kind of personality trait. This personality trait is the character's flaw, it's their achille's heel that's stopping them from moving forward in their life.

This character flaw could be caused by a whole number of things.

• A bad divorce.
• Bullied at school.
• Just broke up with their partner.
• A death in the family.
• Maybe they caused the death of someone.

This major event (something bad happened to them) caused them to take on this negative personality trait. They're finding it difficult to get over what happened to them. They might not even be aware of this personality trait (flaw) that they have until it's pointed out to them or something happens (usually something bad) to them that brings it to their attention.

This is their INTERNAL struggle.

This internal struggle that manifests itself in the main character as a flaw could take the form of any number of personality traits.

• Selfish.
• Selfless.
• Uncaring.
• Egotistical.
• Womanizer.
• Irresponsible.
• Maybe they lie all the time.
• Likes being in control (control freak) all of the time.
• Cowardly
• They haven't grown up and still act like a kid.

There are so many to choose from. The list is endless.

Go to character flaws

Over the course of a story, the main character learns to overcome this negative aspect of their personality and hopefully by the end of the story they will be the opposite of how they were at the beginning. If they were irresponsible at the start, they have now learned to become responsible. If they were selfish, they have now learned to be more giving by the end of the story. They have learned something about themselves, their personality has arced over the course of the story. They may not even be aware that they have changed.

But as the reader/audience member, we have seen this change occur.

Secondly, there's the EXTERNAL struggles that characters find themselves in which are usually much easier to see.

• Guy gets girl, guy loses girl, guy has to win girl back.
• Beating the bad guys.
• Saving the hostages.
• Defeating the bad ass monster.

Generally, and this is just my own point of view. Dependent on the genre, certain films require that characters are flawed, otherwise those movies just aren't going to work. These are usually character driven pieces, and certainly not your tent-pole summer blockbusters. Generally in these types of movies I just want to be entertained, as long as the story makes sense and the characters don't behave in a stupid manner.

When it comes to a character driven story, I want to see a lot of depth to characters. This is when I want to see characters change over the course of a movie, and the more characters that have some kind of character arc, the better. This is when I want to feel something and possibly even relate to the characters and their struggles in some way. I want to feel their pain and anguish that they go through over the course of the story. This is when I want to be emotionally invested in the characters and the story and situations they find themselves in. And of course, I still want to be entertained with a story that makes sense.

N.B.

• INTERNAL GOALS
• EXTERNAL GOALS

Make sure there are obstacles that get in the way of your characters achieving their goals. Hopefully this will create conflict for your character(s) to overcome.

This is just my take on how I approach my writing.

Movies to check out:

1. Lost in Translation (2003)
2. Where the Wild Things Are (2009)
3. Slumdog Millionaire (2008)
4. Little Miss Sunshine (2006)
5. It's a Wonderful Life (1946)
6. The Virgin Suicides (1999)
7. Heavenly Creatures (1994)
8. Sideways (2004)
9. The Wrestler (2008)
10. Juno (2007)

There are loads more.

Nobody sets out to fuck up your movie. It’s not like the director or the stars wake up in the morning and say, “Let’s screw up this scene. How can I really cause Bill Goldman pain?” It’s just that they’re terrified. I wrote a line once that caught on out there in Hollywood: “Nobody knows anything.” And they don’t. If we knew what we were doing, every movie would be wonderful. If actors knew what they were doing, every performance would be just swell. It’s a crapshoot. It just is. There’s no answer. I wish there were.

WILLIAM GOLDMAN

That's a big question. And a big ask.

Who could do the Star Wars universe and the mythology that surrounds it real justice?

Now that the big man himself, George Lucas has passed on the mantle.

I grew up for the most part on the original trilogy. They're the films that got me into movies in the first place. They set a benchmark for others to follow. There are few films that can rival them.

This would be a role with great privilege, but it comes with a lot of responsibility to take on as well.

Because, if you get it wrong. You'll be in a whole heap of trouble.

Whoever Disney decide to get on board for these projects. They will need to do some thorough research into what the writer/writers can bring to the table.

• What's their track record?
• What movies have they written before?
• How well do they know the Star Wars universe and mythology?
• How dedicated will they be to carry on with what George Lucas created?

Picking someone just because they happen to be the writer who's in with the crowd in my mind would be the wrong way to go.

They must know the Star Wars universe inside out and they must have passion. Real passion to want to make it work on all levels. A fly by night approach isn't going to cut it. The writer/writers will need to show that they care and want to do justice to what's gone before.

The five writers who I think should be considered for the role:

• Lawrence Kasdan
• Ted Elliot and Terry Rossio
• JJ Abrams
• Joss Whedon
• Andy & Lana Wachowski

There are possibly a few others that could be brought to the table.

But as a writer who gets offered this role. You're going to need to show that you really care and are in love with the source material. Old and new. And there's a lot of Star Wars material out there. Lots and lots of source material, new and old to work from.

Disney have their work cut out and they are going to have to take this into consideration when they interview writers for these projects.

I certainly don't envy the decision makers.

I forgot about Peter Jackson.  Although he is busy with The Hobbit.  But he'd do a great job with story and directing.  A very passionate film maker.

• Pixar should also be brought on board to do an animated trilogy. 
• The Thrawn Trilogy (Heir to the Empire) springs to mind.
• Bring back as many of the the original cast to voice the characters.

May the Force be with you.

"The film industry is about saying 'no' to people, and inherently you cannot take 'no' for an answer."
James Cameron

A few notes I made during the session with Simon Beaufoy at the London Screenwriters' Festival 2012.

• Keep ideas simple.
• You want to engage the reader from the very first page.
• If you're doing an adaptation -- make sure you layer the story.
• Make sure that the character journeys are satisfying.

Sometimes it's good to write what you know.
It can be equally as good to write about what you don't know.

In order to have a clear vision of the world you want to create.  You need to do the RESEARCH.

No need to add specific music to a screenplay.

Being able to take notes and understand problem areas within a screenplay.

BE OPEN TO SUGGESTIONS!

LISTEN.

Keep REFINING & TIGHTENING YOUR WORK.

Layer your scenes -- Make them rich.

What do I need my CHARACTERS to do within the context of the STORY?
What would they do in the situation and circumstances they find themselves in?

Character ACTIONS & CHOICES must be believable.

TRUST YOUR VOICE and the IDEAS in your HEAD.

Notes taken from Luke Ryan's session at London Screenwriters' Festival 2012

Most Important Things

Know and understand who you're pitching and querying to.

• AGENTS -- want to make money -- lots of money.
• MANAGERS -- want to be producers -- they take an active part in developing you as a writer.
• PRODUCERS -- want to get movies made.
• STUDIO EXECUTIVES -- don't want to get fired.
• ASSISTANTS -- want promotion.
• LAWYERS -- want to argue, I'm sure the money's a bonus as well.
• TALENT -- Actors want to stay exactly where they are.
• READERS -- want to be writers -- as writers, you need to take away the reasons for them to say NO!

Writers earn a living by writing.

• Majority of work through assignments.
• Assignments gained through reputation for great creative delivery.
• Need an AMAZING SAMPLE.
• That SAMPLE SHOULD BE A SPEC.
• Well written, story told well.
• Selling it is a bonus.

As a writer you should be easy to work with.
And have excellent ideas for projects.

PURPOSE OF PITCH

To make the person you're pitching to say:

"I have to READ/BUY that!"

Using as few words as possible.

CONFLICT most important component of STORY.

Testing HERO.

CONCEPT and PREMISE

Concept = BIG IDEA
Premise = The way into the BIG IDEA.

Ideally the story needs to be:

• FOUR QUADRANT
• INTERNATIONAL
• HIGH CONCEPT -- Easy to get/sell
• A huge event -- TENT POLE -- SUMMER BLOCKBUSTER

LOGLINES

A Good logline:

Captures the most interesting ideas in the story within one or two sentences.
Gives us a clear idea of character, tone and stakes.
Two vital parts

The BUT and the MUST.

GIVES US A

A (CHARACTER) sets out to (ACHIEVE A GOAL),  but (RUNS INTO AN UNEXPECTED & SOMETIMES IRONIC OBSTACLE) and must (GROW IN A WAY TO TRIUMPH OR FACE CERTAIN DOOM).

Is this something other people want to see?
Is this something I can write the hell out of?

QUERYING

-- Managers
-- Agents
-- Producers

ALWAYS REMEMBER TO WORK THE ASSISTANTS

Find out who writes like/similar to you?

Actually do a proper letter rather than email.

1. Polite opening
2. Logline
3. A paragraph about who you are.
4. Past accomplishments
5. What you're currently working on.
6. What projects are you finishing next.