Do you have any writing styles?
For example: do you write scripts for Netflix, Prime video, or with an emphasis on some movies or TV series? Maybe you write at a slow pace? With smart dialogues?
Here's my pilot I wrote for HBO style. I'm currently writing a full-length film script with a strong atmosphere and visual style, clever dialogues, and a slow pace.
I would like to know how you write scripts. I'm looking forward to the answers in the comments.
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I start off by writing my protagonist trying to get what he or she wants but is unable to get it. the antagonist is hiding in plain sight
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I don't have a company in mind when I write scripts, Oleg Mullayanov. I mainly have a Horror writing style and Action writing style, and I'm big on writing action lines that make it easy for the reader to visualize what's happening, hook a reader, and hold their attention.
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Maurice Vaughan, Nicholas P thank you so much for sharing your opinion with me.
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You're welcome, Oleg Mullayanov. I've also written scripts with actors in mind. Not that they'll play the roles. It just helps me visualize the scenes as I write them.
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I've never written a spec script for an existing TV series; I don't see the point in that. It is obviously a good idea to write something then look for the best suited target. Several of my pieces do have a particular actor in mind because, as MAURICE says, it helps visualize. But I do have one actress who keeps popping into my writing because I think she does a character type way better than others. If she ever got involved in one of my pieces I would die a very happy man.
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I don’t typically write for a specific studio... at least not yet. I’ve considered doing targeted spec scripts, but if I ever go that route, I’d want to make sure the script’s structural DNA isn’t so tied to one brand’s identity that it becomes unusable elsewhere if they pass.
Most of the time, I write with the assumption that the project will eventually find its way to an audience in some form. But my first priority is always the story I want to tell.
Sometimes I’ll do a bit of mental fan‑casting to help lock in a character’s presence, and occasionally I’ll reference that in the action lines if it helps communicate the vibe. For example, in a script about a stage magician, I described his look as having shades of Howard Hughes and Vincent Price; just enough to give the reader a compass without locking the role to a specific actor. If I do reference a particular performer, I’ll usually frame it as “in the vein of…” so it’s clear that I’m describing tone, not dictating casting.
I sometimes take it further by designing mock posters or concept art for my projects. Giving the story a visual identity early on helps me stay connected to its atmosphere and keeps the creative momentum going.
One production‑minded habit I’ve picked up is building in opportunities for product placement. It’s not about forcing brands into the story; it’s about recognizing that certain props (e.g., cars, phones, a can of diet soda) can be swapped for sponsors later. A film‑finance class in my MFA program really opened my eyes to how much that can offset production costs. The key is keeping it organic so it never distracts from the narrative.
As for pacing, that varies from script to script. Some stories pour out in a few weeks; others take years of slow, exploratory drafting. I let the project dictate the rhythm, but when a deadline or production pressure is involved, I can shift gears and move quickly.
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Once inspiration hits me, I focus on the vibe of the story first. Almost immediately, a beginning, a middle , and an ending appear, that’s my anchor. From there, research helps to fill the gaps naturally. I love this process because it feels like my imagination takes over, and my job is to simply write it down.
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When it comes to specs, I write for myself first. People underestimate how important that is and how powerful it can be.
When it comes to assignments, there's a strategy there and, typically, a need to make a return. That's different. In that case, I am thinking of the marketplace that the producers are targeting.
Where I see a lot of writers go wrong is trying to target spec scripts. For 99% of writers, that's a one-way ticket to disappointment in terms of career progression and discontentment in terms of artistic fulfilment.