Producing : Writer‑Producers: How Do You Switch Lenses When Writing a Script? by Sandra Correia

Sandra Correia When writing on commission, I adhere strictly to instructions from the person hiring me, and ensure those are also reflected in our agreement. I don't write on spec, ever. For projects we intend to produce in-house, I usually write with direction in mind and don't worry about practicalities or budget, but will expunge anything that directs an actor's choices or performance before anyone reads it. (Not so with camera angles, as it is part of my visualization on scripts I intend to direct) I have my producer had on at that time only where the project has a specific budget range.

Shadow Dragu-Mihai, this is a really clear way of separating the roles. I love how you anchor each approach to the purpose of the project: commission, in‑house, or budget‑specific. And the discipline of removing anything that directs an actor’s performance is such a strong writer‑director habit. It’s a great reminder that the “right lens” depends on the job in front of you. Shadow, can I ask you something? I often see the term “commission” used, but I’m not entirely sure what it means in a screenwriting/filmmaking context. When you say you write “on commission,” what exactly does that involve? Is it essentially being hired to write a script to someone else’s brief?

Sandra Correia Really interesting question. As someone who approaches projects as both a writer and a director, I’ve found it helps to separate the creative and practical lenses during different stages of the process.

When I’m writing the first draft, I try to stay completely in the storyteller’s mindset focusing on the characters, emotional arc, and the cinematic experience without letting budget or logistics limit the page too early. That’s the phase where imagination needs to stay unrestricted.

Once the script exists as a complete story, that’s when the producer/director lens becomes valuable. I begin looking at scale, locations, cast size, and how the vision can realistically translate to production.

For me, the key is letting the story breathe first, and then shaping it into something producible rather than restricting it before it fully forms.

great topic! For spec scripts I’m a firm believer in just writing! forget it all and tell the biggest best story possible and rewrite it until it’s crafted into a strong version. then if you are producing it yourself you can structure a production strategy that you feel works for the story and do a second pass of the story based on this structured framework. and if you work w a producer it allows them to shape the story into a producible framework.

if it’s an assignment or you have a budget you are trying to back into. it’s a hybrid approach where you have the framework already in mind but even so still allow yourself the opportunity to explore the story and in a second pass further shape it into a cleanly crafted framework that lines up w the budget.

basically what I’m trying to say is there’s so much to discover while writing - putting limitations on it initially can affect you when trying to first realize the story.

Abhijeet Aade, this is such a grounded and healthy way of approaching the dual role. Your process really highlights that the creative phase and the practical phase don’t have to fight each other; they just need to happen in the right order. Thanks for sharing this; it’s a great reminder that structure and feasibility should shape the story after the story has had room to exist.

Michael Wormser, this is such a strong way of framing the process and honestly, such a relief for writer‑producers who feel torn between “dream big” and “be practical.” I love how you put it: for specs, just write. Let the story be as big, wild, emotional, or ambitious as it wants to be, and only later shape it into something producible. That separation between discovery and refinement is something many of us forget when our producer brain jumps in too early.

Your last line really nails it: limiting the story too soon can choke the very thing you’re trying to uncover. Letting the writing lead first is such a healthy reminder for all of us juggling multiple hats. Thank you for sharing.

Sandra Correia Yes, writing on commission is exactly that. Ghost writers are essentially writing on commission. Though I don't ghost write. For example I was hired to do pilot script that had a specific actor in mind, following a specific set of beats and product placement moments the producer needed covered. Then as supervising producer, I had to rewrite a script from top to bottom two weeks before principal photography because the talent (an A lister who was doing them a deep favor on her rate) refused to come on board unless it was completely reworked with her brand in mind (she nearly got the director fired, too, the original was so poor.).

I’m not a producer, but I work as an AD and a writer, so I often see both sides of the equation.

Personally, I think it’s important to write the story first and figure out what the characters and the story actually need. Character, action, and location are deeply connected. If you start separating those elements too early because you’re thinking about logistics or budget, you risk limiting the story before it has a chance to fully exist.

For me, the producer brain comes in later. In the second draft or sometimes much later, you can start adjusting the script to the realities of production. By that point, you know which locations are truly essential, which ones could change, and where costs might be reduced without harming the story.

In other words: let the story breathe first, then solve the production puzzle. Yes it takes longer, but the outcome will be better.