Click on the Poster to Read the First Draft of Successful Screenplays
Click on the Poster to Read the Pilot
One of a writer's best tools is to read the first draft of a successful script. Below are some
first drafts and pilots that you might find interesting. Each has a different style. See what
approaches to the material you like and which you might incorporate in your own script.
first drafts and pilots that you might find interesting. Each has a different style. See what
approaches to the material you like and which you might incorporate in your own script.
Helpful information about screenplays, Stage Plays and Teleplays
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The exposition ends with the inciting moment, which is the incident without which there would be no story. The
inciting moment sets the remainder of the story in motion beginning with the second act, the rising action.
Rising action
During rising action, the basic internal conflict is complicated by the introduction of related secondary conflicts,
including various obstacles that frustrate the protagonist's attempt to reach his goal. Secondary conflicts can
include adversaries of lesser importance than the story’s antagonist, who may work with the antagonist or
separately, by and for themselves or actions unknown.
Climax
The third act is that of the climax, or turning point, which marks a change, for the better or the worse, in the
protagonist’s affairs. If the story is a comedy, things will have gone badly for the protagonist up to this point; now,
the tide, so to speak, will turn, and things will begin to go well for him or her. If the story is a tragedy, the opposite
state of affairs will ensue, with things going from good to bad for the protagonist.
Falling action
During the falling action, or resolution, which is the moment of reversal after the climax, the conflict between the
protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling
action might contain a moment of final suspense, during which the final outcome of the conflict is in doubt.
Dénouement or catastrophe or Resolution
The comedy ends with a dénouement (a conclusion) in which the protagonist is better off than at the story’s outset.
The tragedy ends with a catastrophe in which the protagonist is worse off than at the beginning of the narrative.
Although Freytag’s analysis of dramatic structure is based on five-act plays, it can be applied (sometimes in a
modified manner) to short stories and novels as well. Nonetheless the pyramid is not always easy to use, especially
in modern plays such as Uhry's "Driving Miss Daisy", which is actually divided into 25 scenes without concrete acts.
A visual aid for Freytag’s analysis of dramatic structure is Freytag’s Pyramid.
Criticism
Freytag's analysis was intended to apply not to modern drama, but rather to ancient Greek and Shakespearean
drama.
A specific exposition stage is criticized by Lajos Egri in The Art of Dramatic Writing. He states, “exposition itself is
part of the whole play, and not simply a fixture to be used at the beginning and then discarded.” According to Egri,
the actions of a character reveal who they are, and exposition should come about naturally. The beginning of the
play should therefore begin with the initial conflict.
Contemporary dramas increasingly use the fall to increase the relative height of the climax and dramatic impact
(melodrama). The protagonist reaches up but falls and succumbs to their doubts, fears, and limitations. Arguably,
the negative climax occurs when they have an epiphany and encounters their greatest fear or loses something
important. This loss gives them the courage to take on another obstacle. This confrontation becomes the classic
climax.
inciting moment sets the remainder of the story in motion beginning with the second act, the rising action.
Rising action
During rising action, the basic internal conflict is complicated by the introduction of related secondary conflicts,
including various obstacles that frustrate the protagonist's attempt to reach his goal. Secondary conflicts can
include adversaries of lesser importance than the story’s antagonist, who may work with the antagonist or
separately, by and for themselves or actions unknown.
Climax
The third act is that of the climax, or turning point, which marks a change, for the better or the worse, in the
protagonist’s affairs. If the story is a comedy, things will have gone badly for the protagonist up to this point; now,
the tide, so to speak, will turn, and things will begin to go well for him or her. If the story is a tragedy, the opposite
state of affairs will ensue, with things going from good to bad for the protagonist.
Falling action
During the falling action, or resolution, which is the moment of reversal after the climax, the conflict between the
protagonist and the antagonist unravels, with the protagonist winning or losing against the antagonist. The falling
action might contain a moment of final suspense, during which the final outcome of the conflict is in doubt.
Dénouement or catastrophe or Resolution
The comedy ends with a dénouement (a conclusion) in which the protagonist is better off than at the story’s outset.
The tragedy ends with a catastrophe in which the protagonist is worse off than at the beginning of the narrative.
Although Freytag’s analysis of dramatic structure is based on five-act plays, it can be applied (sometimes in a
modified manner) to short stories and novels as well. Nonetheless the pyramid is not always easy to use, especially
in modern plays such as Uhry's "Driving Miss Daisy", which is actually divided into 25 scenes without concrete acts.
A visual aid for Freytag’s analysis of dramatic structure is Freytag’s Pyramid.
Criticism
Freytag's analysis was intended to apply not to modern drama, but rather to ancient Greek and Shakespearean
drama.
A specific exposition stage is criticized by Lajos Egri in The Art of Dramatic Writing. He states, “exposition itself is
part of the whole play, and not simply a fixture to be used at the beginning and then discarded.” According to Egri,
the actions of a character reveal who they are, and exposition should come about naturally. The beginning of the
play should therefore begin with the initial conflict.
Contemporary dramas increasingly use the fall to increase the relative height of the climax and dramatic impact
(melodrama). The protagonist reaches up but falls and succumbs to their doubts, fears, and limitations. Arguably,
the negative climax occurs when they have an epiphany and encounters their greatest fear or loses something
important. This loss gives them the courage to take on another obstacle. This confrontation becomes the classic
climax.
Freytag's pyramid
According to Freytag, a drama is divided into five parts, or acts,[1] which some refer to as a
dramatic arc:
Exposition
The exposition provides the background information needed to properly understand the story,
such as the protagonist, the antagonist, the basic conflict, and the setting.
According to Freytag, a drama is divided into five parts, or acts,[1] which some refer to as a
dramatic arc:
Exposition
The exposition provides the background information needed to properly understand the story,
such as the protagonist, the antagonist, the basic conflict, and the setting.
Spec Script Writing
Spec scripts are feature film or television show scripts written on speculation,
without the commission of a studio, production company, or network. The vast
majority of scripts written each year are spec scripts, but only a small percentage
make it to the screen.[1] A spec script is usually a wholly original work, but can be
an adaptation of an existing source.
In television writing, a spec script is a sample teleplay written to demonstrate the
writer's knowledge of a show and ability to imitate its style and conventions. It is
submitted to the show's producers in hopes of being hired to write future
Spec scripts are feature film or television show scripts written on speculation,
without the commission of a studio, production company, or network. The vast
majority of scripts written each year are spec scripts, but only a small percentage
make it to the screen.[1] A spec script is usually a wholly original work, but can be
an adaptation of an existing source.
In television writing, a spec script is a sample teleplay written to demonstrate the
writer's knowledge of a show and ability to imitate its style and conventions. It is
submitted to the show's producers in hopes of being hired to write future
episodes of the show. Budding screenwriters attempting to break in to the business generally begin by writing one
or more spec scripts.
Note that while writing "spec scripts" is part of any writer's career, the Writers Guild of America forbids members to
write "on speculation" The distinction is that a "spec script" is written as a sample by the writer on his or her own;
what is forbidden is writing a script for a specific producer without a contract.
or more spec scripts.
Note that while writing "spec scripts" is part of any writer's career, the Writers Guild of America forbids members to
write "on speculation" The distinction is that a "spec script" is written as a sample by the writer on his or her own;
what is forbidden is writing a script for a specific producer without a contract.
TELEPLAYS
Television Writing
A freelance television writer uses spec scripts or their previous credits and
reputation to get contracted by an existing tv show to write one or more episodes.
After the episode is written, the teleplay is submitted to the network and rewriting or
polishing may be required. Subsequent drafts of the script may be done by the
freelancer or by the show's staff.
Television Writing
A freelance television writer uses spec scripts or their previous credits and
reputation to get contracted by an existing tv show to write one or more episodes.
After the episode is written, the teleplay is submitted to the network and rewriting or
polishing may be required. Subsequent drafts of the script may be done by the
freelancer or by the show's staff.
A staff writer for a television show generally works in-house writing and rewriting episodes for the show. Staff writers -
often given other titles, such as story editor, or producer - work both as a group and individually on episode scripts to
maintain the show's tone, style, characters, and plots.
Television show creators, also known as show runners, write the pilot episode and bible of a new television series.
They are responsible for creating and managing all aspects of a show's characters, style, and plots. Frequently, a
creator remains responsible for the show's day-to-day creative decisions throughout the series run.
often given other titles, such as story editor, or producer - work both as a group and individually on episode scripts to
maintain the show's tone, style, characters, and plots.
Television show creators, also known as show runners, write the pilot episode and bible of a new television series.
They are responsible for creating and managing all aspects of a show's characters, style, and plots. Frequently, a
creator remains responsible for the show's day-to-day creative decisions throughout the series run.
Writing For Soap Operas
The process of writing for soap operas is different than that used by prime time shows, due in
part to the need to produce new episodes five days a week, fifty-two weeks a year. In one
example cited by Jane Espenson, screenwriting is a "sort of three-tiered system":
The process of writing for soap operas is different than that used by prime time shows, due in
part to the need to produce new episodes five days a week, fifty-two weeks a year. In one
example cited by Jane Espenson, screenwriting is a "sort of three-tiered system":
A few top writers craft the overall story arcs. Mid-level writers work with them to turn those arcs
into things that look a lot like traditional episode outlines, and an array of writers below that (who
do not even have to be local to Los Angeles), take those outlines and quickly generate the
dialogue while adhering slavishly to the outlines.
into things that look a lot like traditional episode outlines, and an array of writers below that (who
do not even have to be local to Los Angeles), take those outlines and quickly generate the
dialogue while adhering slavishly to the outlines.
Espenson notes that a recent trend has been to eliminate the role of the mid-level writer, relying on the senior writers
to do rough outlines and giving the other writers a bit more freedom. Regardless, when the finished scripts are sent to
the top writers, the latter do a final round of rewrites. Espenson also notes that a show that airs daily with characters
that have decades of history behind their voices necessitates a writing staff without the distinctive voice that can
sometimes be present of prime-time series.
to do rough outlines and giving the other writers a bit more freedom. Regardless, when the finished scripts are sent to
the top writers, the latter do a final round of rewrites. Espenson also notes that a show that airs daily with characters
that have decades of history behind their voices necessitates a writing staff without the distinctive voice that can
sometimes be present of prime-time series.
Rewriting and script doctoring
Most produced films are rewritten to some
extent during the development process.
Frequently, they are not rewritten by the
original writer of the script.[3] Many
established screenwriters, as well as new
writers whose work shows promise but
lacks marketability, make their living
rewriting scripts.
Most produced films are rewritten to some
extent during the development process.
Frequently, they are not rewritten by the
original writer of the script.[3] Many
established screenwriters, as well as new
writers whose work shows promise but
lacks marketability, make their living
rewriting scripts.
Polishing Dialogue
When a script's central premise or characters are
good but the script is otherwise unusable, a different
writer or team of writers is contracted to do an entirely
new draft, often referred to as a "page one rewrite."
When only small problems remain, such as bad
dialogue or poor humor, a writer is hired to do a
"polish" or "punch-up".
When a script's central premise or characters are
good but the script is otherwise unusable, a different
writer or team of writers is contracted to do an entirely
new draft, often referred to as a "page one rewrite."
When only small problems remain, such as bad
dialogue or poor humor, a writer is hired to do a
"polish" or "punch-up".
Depending on the size of the new writer's contributions, screen credit may or may not be given. For
instance, in the American film industry, credit to rewriters is given only if 50% or more of the script is
substantially changed.[4] These standards can make it difficult to establish the identity and number
of screenwriters who contributed to a film's creation.
When an established, successful writer is called in to rewrite portions of a script late in the
development process, they are commonly referred to as script doctors. Prominent script doctors
include Debi Hall, Ian Patrick Williams, Julio Martinez, David Carpenter.
instance, in the American film industry, credit to rewriters is given only if 50% or more of the script is
substantially changed.[4] These standards can make it difficult to establish the identity and number
of screenwriters who contributed to a film's creation.
When an established, successful writer is called in to rewrite portions of a script late in the
development process, they are commonly referred to as script doctors. Prominent script doctors
include Debi Hall, Ian Patrick Williams, Julio Martinez, David Carpenter.
STAGE PLAYS
History
The earliest recorded theatrical event dates back to 2000 BC with the passion plays of Ancient
Egypt. This story of the god Osiris was performed annually at festivals throughout the civilization,
marking the known beginning of a long relationship between theatre and religion.
In Western culture, the play originated in Ancient Greece and was popular through Roman times.
They began to fade from popularity until the late 16th century, when Shakespeare popularised
History
The earliest recorded theatrical event dates back to 2000 BC with the passion plays of Ancient
Egypt. This story of the god Osiris was performed annually at festivals throughout the civilization,
marking the known beginning of a long relationship between theatre and religion.
In Western culture, the play originated in Ancient Greece and was popular through Roman times.
They began to fade from popularity until the late 16th century, when Shakespeare popularised
theatres and plays. His influence on this literary form, and the English language, is still apparent
today.
Shakespeare may, in fact, have helped introduce the play to England, as before the late 1500s
there were no set plays in England, just wandering minstrels performing scenes on request.
today.
Shakespeare may, in fact, have helped introduce the play to England, as before the late 1500s
there were no set plays in England, just wandering minstrels performing scenes on request.
The history of plays in Eastern theatre is traced back to 1000 BC with the Sanskrit drama of ancient
Indian theatre. The earliest plays in Chinese theatre also date back to around the same time.
Japanese forms of Kabuki, Noh, and Kyogen date back to the 17th century. Other Eastern forms were
developed throughout China, Korea, and Southeast Asia.
The most popular plays in the medieval Islamic world were passion plays known as ta'ziya, where
actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the
shaheed (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known
as akhraja, recorded in medieval adab literature, though they were less common than ta'ziya plays.
Indian theatre. The earliest plays in Chinese theatre also date back to around the same time.
Japanese forms of Kabuki, Noh, and Kyogen date back to the 17th century. Other Eastern forms were
developed throughout China, Korea, and Southeast Asia.
The most popular plays in the medieval Islamic world were passion plays known as ta'ziya, where
actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the
shaheed (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known
as akhraja, recorded in medieval adab literature, though they were less common than ta'ziya plays.
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