Screenwriting : Screenplay rules by Allen R. Nelson

Allen, are you talking about presenting your idea in a pitch session, or are you talking about creating a log line? As far as log lines go, I would suggest checking out log lines for movies that were hard to describe or so revolutionary as defy description when they came out. For example: the Matrix. How did the Wachowski Bros pitch that, what was the log line like? I hope this helps. Keep writing and God bless!!

You sound sure yet unsure lol. Focus on your characters and the story you want to tell with them first. The atmosphere will come out by itself through their actions, interactions, and dialogue. If anything like futuristic tech comes up that your characters use or encounter that you think might be hard to grasp at first, then, again, try and let their purpose in the story be shown through story action, not description. Too much description of one single thing will disrupt the flow when your readers are reading. There are always exceptions but for the majority of films, when you watch them do you think they hold a shot for several seconds and lay out for you what the purpose of something specific like a prop is intended to be? No, but if it's something important to the story, then in a script you should just causally give it a brief mention.

write a book or graphic comic novel. then hire a Screenwriter to adapt. the Wachowski Sisters did not do The Matrix on their first film. they had to build a career before Matrix. Matrix, Harry Potter, Lord of Rings, Maze Runner, .... any big SCI-FI movie is too grand for a rookie writer. the producer/studio will just buy your script idea and replace you with a proven writer. And that's okay. as long as check clears and u get a screen credit. any covers, drawings, posters, sketches in a script by an unknown... the script goes in trash

The Matrix, James Cameron's Avatar, Blade Runner, these are all great examples for what I have in mind but I could hardly get help from them because my idea is still way more complex. It's not the means, environments, instruments, vehicles, houses, character styles, figures, the weather and time in the story which are different but the ways they work. Besides, imagine you've created something new ( that looks like nothing of the same product) that functions like nothing else you are known to. I can describe that but I'm afraid if the description gives a different imagination about the thing and that would be a disaster, so I was thinking of drawing them to show their exact form and functionality.

@allen do a graphic novel. more leverage and ownership. graphic novels, IP, are the future. ask Max Landis. He s started doing comic books before movies

You can always try writing it all out James Cameron scriptment style before writing the screenplay. http://www.script-o-rama.com/movie_scripts/s/spider-man-scriptment.html

Hi, Allen. You probably will have to make a short film and sell your concept through that, as it now sounds like you feel you'd betray yourself, by writing a readable script.

Allen. It can seem daunting but overly detailed writing is the enemy of the screenwriter. Brevity is your friend. My interpretation of what you call atmosphere is what we call tone. This is essential for Sci-fi projects. If you want to send me a few pages of what you've written I will happily give you some feedback.

There is no description in screenwriting, only action. So make sure there are no "still lifes" in your screenplay, everything needs to be a moving picture. So show the world in action. If the production design stuff is more important than your story and concept - maybe this is a novel. Here's EMPIRE STRIKES BACK: http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Empire_Strikes_Ba...

Generally speaking, unless you're directing it yourself and need those descriptions as references, or unless the description is somehow integral to the action or plot, leave it out. Figuring out how things will look on film is the director's job. Aside from the most basic description ("a nineteen-year-old Marine", "a beat-up old car", "another beautiful day on the beach"), limit yourself to actions only. If you have any doubts about what this entails, seek out a downloadable copy of any produced screenplay and examine what's in the script versus what's on the screen.

Thank you everyone for all the helps, hints and tips. Comparing the script and the movie; now I'm even more sure that I need to write every details of a scene just like what I have in mind and want to be imagined and directed. Yes, it's all actions and I only have to write the actions, so that's the trick because most of the details or as I'm thinking, all the details in my script is in move or a part of the action, so the only thing I must avoid is trivial details like the style of the extras passing through my character that has nothing to do with the story.

You can write whatever you want, it's your script in the end: but these people are giving you good advice, you should probably listen to them... What you're trying to do is not screenwriting, it's art direction: the screenplay should be the skeleton over which all the other trades will later build their part (the director, art director, music score composer, actors, etc. ...). Good luck,

Of course I listen. After all you are experienced in this hundreds of times than me, I have to listen. That's why I ask these questions and I take all advices together and make the best decision at the end. Thank you!

I agree with the story board/graphic novel concept. If you imagine things that are unique, even if you write a graphic novel, you are still going to need to at least do sketches and descriptions of machines, equipment, etc. In a screen play I would treat new equipment/ machines etc. like one would do when they introduce a new character- give a brief description, then go on with the story.

Really the only "rule" is the pay check. If someone signs his/her name on the pay check, u done good (just get a lawyer on merchandise, ownership rights). Lucas became a billionaire because he kept the Star Wars merch rights

I need to prove my skills by my non-important scripts. Those single stories that end with certain endings and I'll have no future thoughts for them, so later I can jump to my greatest projects and pursue my big plans. This galaxy looks so far far away. But I should totally write these big scripts and register for their copyrights. I'm not the only creative screenwriter. What if some others just develop something as my ideas? Then my future scripts are already wasted before I could find the opportunity to turn them into movies.

patricia get a lawyer. a good one. Producers are lying when he/she open their mouth. dont care producer is your best friend/sister/family. seen it from my own experience. gets ugly when big money gets tossed

Yes and thank you! It is a franchise and needs a lot of work. I know that it won't protect ideas but this scene and what my character is doing, what is happening in the background with all the action and dialogues, that can be protected, right? And I'm not sure if I'll need to change anything in my scripts because I review them 6 times permanently but still you're right. There's always something left to put or erase or to be corrected. To be honest I care a lot about the story and characterizations. Details are just like supplements to me, to complete a theme, charter or action. And I think if you enjoy writing your script, no matter how strong the storyline would be, whoever's gonna read it will also enjoy it.

I'll be careful not to get it into the ugly part.

You should make a list of all of the "facts" unique to your story. Aren't stories loaded with important facts? That's part of what makes creative writing a challenge - to convey important information within the body of the story, and (hopefully) without upsetting the story's flow. Think of your favorite films, and how much information is conveyed within those frames. Characters state information in dialogues with each other; through voiceover narrations; or through "talking head" characters (think of the "Super Agent" in Jerry McGuire, or the scientists in Close Encounters.). Information is also shown visually through on-screen words. I bet if you make that list and really think about it, you can find creative ways to convey all of the necessary information. Good luck!

Dan M. Anyone can goggle your name and see what you are saying here. Don't you think it might be counter productive calling all producers liars. I certainly wouldn't want to work with someone that says that about me.

@ dan pardon me. only the producers who didnt pay me. the rest are super cool :)

I understand you wouldn't be very happy with a producer that didn't pay you and I am sorry that happened to you.

That list is a good idea. Through that I can see what I'm looking for and what I need to put in order to make a better script. Thank you! Yes! I think that " no matter how strong the storyline would be" part is the hugest assumption. I regret and I have to admit that you're right. Not everyone got the same taste and satisfaction point. I've learnt that long ago when I was a school guy and had to submit several articles. Not everyone's ok with your view and style of thinking/writing. Rejection is what I'm familiar with. Even after a hard work and great pressure to provide the best but still it wasn't enough and I had to go through a lot more. That's why I'm here, to ask, to learn and prepare myself for what's coming through on my career, so I can make better choices and less mistakes. I was like a kindergarten kid at first but thanks to many people including you and Stage 32, now I'm graduated to a higher level and I can write like never before. And something else to admit you're right miss Zell: I enjoyed writing my second script so much. It was before joining the site. When I returned to it yesterday, I kinda hated myself for writing such boring story and decided to rewrite it.

Patricia. I don't trust anyone as far as I can throw them. I was just suggested people might not want to call all producers liars in a public form such as this one.

View of Action. I forget that mindset sometimes in description. It is view of action, atmosphere, character.

A script needs to read at 1 page per minute of screen time. And reader (and ultimately the audience) needs to be engaged in the story of your main character in the first 5 or so pages. What you've vaguely described sounds incredibly complex. If you have all these exacting details already planned you really need a format that gives you total control. The collaboration of artists that both film and television are doesn't sound like the right tool to tell your story. No one wants a script that through description writes, directs, acts, scores, frames and edits every element in advance. In effect that is micromanaging the production before it even exists, and makes everyone think you believe you are better than anyone else. I'm sure that would not be your intent. You definitely seem to have an open and receptive mind in the comments so maybe your comfort and familiarity with your material just comes off a little cocky. I'd be fascinated to read your synopsis or script.

As far as I got, description is extremely the enemy of screenwriting. The best to describe a new creation and details around it or the atmosphere is to do it during the action or as short as possible to just give enough information. It's not really hard and I can mange it now after all these useful comments. I'm sure the professionals know their jobs as well and I shouldn't be obsessing about a few unnecessary details. Thank you!

FYI... I just returned from the Nashville Writers Conference... panelists... ie.. top agents & managers... said... do not tell me what they're wearing... tell me what they're doing. When pitching it... Posters or a few story boards are okay for Sci-Fi worlds... in fact they prefer it.

Exactly. It's action that matters not ornaments.