Do you watch a lot of TV dramas and soaps and fancy your chances of making money writing a TV script? Well, it’s not an easy task….but it’s not impossible either.

In fact, as you can see from script-writer Jack Rosenthal’s experience, being interested in certain soaps or dramas and having a go at writing one of them yourself can pay off….if you have the talent.

Thousands of people are trying and not getting anywhere. So don’t give up your day job until you are sure you have a commission. To start with, this has to be something you do in your spare time because you love it. If you get there, though, the personal and financial rewards can be huge.

• What is Script Writing?
• What do Script Writers do?
• How Much do Script Writers Earn?
• Can You Make Money Writing Script?
• How Can I Make Money With my Writing Skills?
• Do Screenwriters Make Good Money?
• Is Script Writing a Good Career?
• Who is The Richest Screenwriter?
• How do I Submit a Script to Netflix?
• How Much do BBC Pay For Script?
• How Much do Netflix Screenwriters Make?
• What Are The Highest Paying Writing Jobs?
• How Can I Get Paid For Writing Stories?
• How do You Break Into TV Writing?
• How do I Become a Successful Script Writer?
• How do I Become a Script Reader?
• Does Amazon Still Accept Scripts?
• Can I Sell my Script?
• How Much do TV Writers Get Paid Per Episode?
• What is a Script Fee?
• How Much Should I Charge For Script Coverage?
• Does Hulu Accept Unsolicited Scripts?
• Should I Register my Script With WGA?
• What Are The Basics of Script Writing?
• What Are The Key Elements of a Script?
• How Can I Improve my Script Writing Skills?
• What Skills Does a Writer Need?
• Types of Script Writing
• Script Writing Examples
• Script Writer Qualities

What is Script Writing?

Script writing (or screenwriting) is the process of writing stories in the screenplay medium. Script writing is writing down the movement, actions, expression and dialogue of the characters in screenplay, in screenplay format. The process of writing a novel, a poem, or essay, is entirely different than script writing.

In order to express yourself effectively for the screen, particular formatting methods are required. Screenplay format is used to express the story visually. Scriptwriters or screenwriters write for film, television, video games, and now even online web series. Script writing can be done for hire or on speculation in hopes to sell their screenplay or find an agent. 

What do Script Writers do?

A screenwriter writes content for visual mediums. They write screenplays for feature films, short films, television, commercials, and video games. They create the dialogue, the characters and the storyline of a script. 

Read Also: Get Paid With Greeting Card Writing Job

Screenwriters may start off as freelance, and write their first few screenplays “on spec,” or speculation. A spec script is a screenplay that wasn’t assigned to the writer, but is written to either be sold to a studio or as a writing sample. 

Because a screenwriter’s job is to craft a blueprint for the entire film, they have an enormous responsibility. Writing a great script becomes one of the hardest tasks to pull off. 

Again, every writer has a unique process for realizing and building their story. For some, particular organizational methods are necessary before the writing begins.

How Much do Script Writers Earn?

It’s not impossible to get paid to do what you love if you’re willing to accept the reality: there’s not much stability for script writers who choose this path.

Per the Writers Guild of America West, the minimum amount a script writer can get paid for a low budget (less than $5 million) feature-length film excluding treatment is $41,740. For a high-budget film (exceeding $5 million), the minimum amount a script writer can get paid is $85,902. Of course, screenwriter pay varies significantly in between and above those rates for both TV and movies.

According to Maberry, less than one percent of writers make a living at it. In the novel-writing world, Maberry said he knows writers who are turning out one or two novels each year, making anywhere from $5,000- $10,000 per book.

However, it’s not all harsh news. For screenwriters who are great at what they do, there is big money to be made. Screenwriter Doug Richardson, who wrote ‘Die Hard 2,’ ‘Hostage,’ and ‘Bad Boys,’ told us sought-after screenwriters willing to do rewrites can make hundreds of thousands of dollars … per WEEK. It’s the exception, of course, and not the rule.

Can You Make Money Writing Script?

Often screenwriters have the idea that they can win a lottery by selling their script to Hollywood. But how much money do you really think you could make by selling your script to Hollywood? Do you actually think your chances of winning the lottery are anywhere near as good as selling your script to Hollywood? The most common question I get asked is “How Do Screenwriters Make Money?”

Just because there have been some well-publicised script sales doesn’t mean you too are going to hit lottery-sized payment jackpots:

• Shane Black selling The Long Kiss Goodnight for $4 million
• Joe Eszterhas selling Basic Instinct for $3 million
• Tom Shulman and Sally Robinson selling Medicine Man for $3 million
• David Koepp selling Panic Room for $4 million
• Terry Rossio and Bill Marsilli selling Déjà Vu for $5 million
• Will Ferrell and Adam McKay selling Talladega Nights for $4 million
• Evan Daugherty selling Snow White and the Huntsman for $3.2 million

Reality Check

Firstly, only the very top screenwriters get money upfront. If you sell your script to an American company for a six-figure sum it will be broken into many stages depending on the box office returns. These contracts are written by entertainment lawyers who will tighten you up to the point where it becomes very difficult to secure payment past the first deposit.

How Can I Make Money With my Writing Skills?

1. Write a micro-budget film and get it made

This is the tried and tested Raindance way. Write a limited location story using as few actors as possible. Raise a bit of money and make it. Market the film by using film festivals.

You are unlikely to make much money as a writer, but if the film is well-made and presented properly to the industry, then you have a really good chance of getting a look-see with your next script (and more money!).

2. Write for a website

The internet is a sponge for content. Every website (including Raindance) is looking for sparkling content.

Alternatively, you can write for your own blog. Market your blog using social media. Set up ads on your website and cash in from the advertising revenue.

3. Create a web series

When the 2007/8 American screenwriter’s strike shut down TV and movies Matt Bledsoe and Troy Hitch created You Suck At Photoshop – probably the first-ever web series. The first edition attracted over 4,000,000 views on Youtube and then the series garnered national attention in Time Magazine. The series will have earned money for its creators.

Why not consider creating your own web series? But first do your research on this website owned by YouTube: www.vidstatsx.com. Here you can research the different kinds of YouTube channels and gauge their popularity.

4. Write poetry

If you want to get paid for writing poetry, there are two different routes: One is to write for some of the websites that actually buy poetry,  the other is to write for greeting card companies. Hallmark is the company that usually springs to mind, but they no longer accept submissions from the general public relying instead on their own in-house creatives.

5. Write commercially

The market for writers has never been stronger. Try not to encumber yourself with the label of a writer who only writes screenplays. Screenwriters make money doing a host of other kinds of writing. In your spare time, you can earn from writing grant applications, commercial texts and corporate promos.

Another area you can explore is writing for comics and graphic novels. Raindance has an excellent writing course detailing the creative parameters as well as the commercial opportunities for writing comics and/or graphic novels.

Do Screenwriters Make Good Money?

Once you’ve figured out how to sell a movie script, the money just rolls in, right? Well, a modern screenwriter salary depends on the kind of screenplay being written.

It also depends on whether a writer is in the WGA or not.

In the 2017-2018 period, WGA spec script sales ranged from $72,600 to $136,000. The average? Around $110,000.

There are different WGA minimums for everything, from a 15-minute episode of television, to selling a movie script, to a big budget feature film. Even then, those are divided into different prices. A TV script can be divided into “story by” and “teleplay by” credits. Those are worth two different things, monetarily speaking.  

Selling a movie script to a company that has signed the WGA agreement will get you a minimum of $72,662. But you don’t get all that at once. Payments for selling a screenplay are done through installments:

That means that the original treatment will get you $32,922. But, whether or not you write the script or another draft after that is completely up to the studio. They don’t have to hire you again.

Even if it’s your life story and your baby that you worked on for years, once you sell a screenplay it’s not yours anymore. It’s the studio’s intellectual property (IP) and they can do with it what they will. If they want to burn it, they can burn it. If they feel that after the first thirty grand it’s not worth continuing, they’ll shelve it forever.

But let’s say you have a good relationship with this studio and they like your treatment. So they hire you to write it into a script. That gets you $28,612. At this point, you’ve netted $68,534. That’s not bad.

Your next draft? They only have a few changes. You make them quickly and they get you that final $11,127. But as your checks come in the mail you start to see some deductions you didn’t know about.

Your screenwriting agent takes 10%. There goes $7,200. Your manager takes 10%. There goes another $7,200. Your lawyer wants 5%. There goes $3,600. So you have 75% of your fee left.

But now you have to pay Uncle Sam. There goes at least another ten percent, plus whatever your accountant charges.

All in all, you might walk away with anywhere from sixty to forty percent of your check, depending on how many people you have to pay.

Which, best case scenario for this deal, is $43,597.20.

Joe Eszterhas is, once again, laughing all the way to the bank. Selling a movie script is not a great mathematical way to get rich quick.

Is it possible to make a higher screenwriter salary? Yes, absolutely. But it’s hard. That example was done for a low-budget feature film. That’s if it costs, in total, less than $5 million.

But if you check the box office numbers for most films these days, they’re well over that. That being said, the more expensive a script is projected to cost, the harder it will be to sell.

Add that to the number of writers already working, the number of writers who want to work, and the odds of selling a screenplay — much like the check you’ll take home — drastically decreases.

Is Script Writing a Good Career?

The number of people who try their hand at it is much larger than the market could support. The number of people who are significantly talented at it is also much larger than the market could support. The number of people who earn some money writing screenplays is larger than you’d think, but still much more than the market could support.

There is significant craft involved in writing a script, and the number of people who think they can do it is more than the number of people who actually can do it by a factor of a thousand or more, so there’s a great deal of smoke that hides the talented folks… until they get noticed.

There are decently talented writers who never get noticed. There are writers who earn bits and pieces of a living (I am one of these), but who do not completely support themselves as writers.

The industry is built on relationships, and knowing the right people is more important that the level of talent you have… Don’t get me wrong, there’s a minimum level of skill and talent that must be there, but after you’re minimally talented, your talent doesn’t count much toward your success. Being likeable and easy to work with is far more important than brilliance (no matter that the unlikable geniuses get all the press).

After that comes patience. Things take a long time to percolate through the industry, so remember that it takes a decade for anything worthwhile to happen. You must be patient and able to survive for you to have any reasonable shot at having a career as a scriptwriter.

Who is The Richest Screenwriter?

If you write a screenplay, you’re a screenwriter. It’s not terribly hard to write a screenplay. … Writing a GOOD script is very, very difficult and few people succeed. Even fewer people ever earn any money from screenwriting.

The average Netflix Salary for Screenwriters is $60,704 per year.

One of the biggest names in screenwriting, Aaron Sorkin is the brilliant mind who dreamed up some of your favorite films.

Here’s a list of the 25 richest directors in the world:

1. George Lucas – $5.4 Billion
2. Steven Spielberg – $3.7 Billion
3. James Cameron – $700 Million 
4. Tyler Perry – $600 Million
5. Peter Jackson – $500 Million 
6. Michael Bay – $430 Million 
7. Ridley Scott – $400 Million
8. Francis Ford Coppola – $300 Million
9. Roland Emmerich – $200 Million
10. Christopher Nolan – $180 Million
11. Ron Howard – $160 Million
12. Guy Ritchie – $150 Million
13. Tim Burton – $140 Million
14. Gore Verbinski – $130 Million
15. Coen Brothers – $120 Million
16. Quentin Tarantino – $120 Million
17. Irwin Winkler – $100 Million
18. Martin Scorsese – $100 Million
19. Rob Reiner – $100 Million
20. Judd Apatow – $90 Million
21. Chris Columbus – $80 Million
22. Jon Turteltaub – $80 Million
23. Woody Allen – $80 Million
24. Oliver Stone – $70 Million
25. Zhang Yimou – $70 Million

How do I Submit a Script to Netflix?

With over 100 million subscribers, Netflix is an online film powerhouse. Almost every single producer, screenwriter, and filmmaker dream about getting their film on Netflix.

The way to submit your screenplay to Netflix is through a licensed literary agent, producer, reputable distributor, or executive that has a previous relationship with them. This method might seem very Hollywood but it works, if you have a script or a finished film.

Your options are as follows: 

1. Go through a manager or agent. When you are signed with a manager or agent, they can set up meetings or recommend your work to potential creative execs at Netflix who could option your script or hire you through an open pitch submission. 
2. Get hired by a showrunner. Working with your own connections or through a savvy manager connect, you might be able to get hired to write on an existing Netflix show by interviewing with a showrunner to join their team. More on this below. 
3. Impress in another field entirely. This will take a little more explaining, but sometimes if you create an impressive feature film, book, or podcast outside of the realm of TV, you might be able to work with your reps or personal contacts to get a meeting to explore the option of developing content for Netflix through a development deal. 

Those are the three main ways to become a writer for Netflix, and they also happen to be the main ways to become a screenwriter for TV in general.

How Much do BBC Pay For Script?

Current rates for radio drama writing for the BBC are listed below and accomodate a 2.1% uplift agreed with the BBC by the Society of Authors, Writers’ Guild of Great Britain, and the Personal Managers’ Association (PMA) sitting as the Radio Forum.

Original drama (per minute)

• Beginners’ rate: £67.23 (2 tx) / £40.33 (1 tx)
• Established writers’ rate: £101.41 (2 tx) / £60.80 (1 tx)
• Attendance payment: £73.00
• A New Public Services Fee (NPSF) applies to all commissions to cover simulstreaming, iPlayer use, R4 Extra broadcasts and podcasting (for 5 years) The uplift for this is 15% of the one transmission rate.

An established writer is one where the writer has had 120 minutes of dramatic works transmitted provided that this has been achieved over more than at least two plays, dramatisations, dramatised features, adaptations, series or long running series.

A writer who qualifies as ‘established’ for the purposes of the BBC’s Agreement with the WGGB and the PMA for Television Drama shall also be regarded as established for radio.

Co-written script minutage is calculated on a pro-rata basis and the share is agreed when the play is contracted. E.g. two writers of a 90′ play , if on an agreed 50:50 basis, each receive a 45′ allocation. If the split changes during the writing and the share needs to be adjusted (with the agreement of all parties) this needs to be arranged prior to or when paying the second half of the fee (and not after the event). 

As a beginner accrues more experience the fee customarily slides upwards towards the established rate. Minutage applies when the play has been completed and broadcast.

Commissioned short stories (per 15 minutes)

• 1st and 2nd: £203
• 3rd – 5th: £241
• 6th – 9th: £273
• 10th onwards: £349
• Generally established outside the BBC: £342
• Generally established inside the BBC: £405

Radio talks contributions

Talks are commissioned on a flat-fee basis with no residuals paid for further broadcasts. There is a limited exclusive period, after which the author is able to use their script elsewhere.

Minimum rates are:

• Script and Read: £23.97 per minute with a minimum fee of £47.93
• Script only £18.58 a minute with a minimum fee of £37.15
• Daily rate Reporting £134.33 per day. Minimum fee of £67.17 (per half day).

How Much do Netflix Screenwriters Make?

Netflix is a Writer’s Guild Signatory so they pay Writer’s Guild Adjusted Rates for low budget movies and non-network production companies.

We’re looking at $12,000 for a half hour script. $22,000 for an hour script. $50,000 for a feature script. $95,000 for a feature script with treatment.

Plus residuals for syndication.

You make more at the networks or for a feature budgeted over $10,000,000

It’s commissioned or freelance.

Staff works at production company offices. Staff writers are probably paid $3,500 a week or so.

But you have to be in the union. If you’re not in the union they can pay you as little as $500 a week and call you a story editor.

What Are The Highest Paying Writing Jobs?

1. Editor

Average salary: $53,520
Salary range: $35,000–$83,000

It’s an editor’s job to oversee a piece of writing from inception to publication. Depending on the type of writing they’re editing (and the writer they’re working with), this can include honing the thesis, framing, and structure; ensuring the facts are accurate and the sources credible; making suggestions about how to improve the writing (for example, calling out inconsistencies in voice or tone); eliminating unnecessary sentences or paragraphs, and correcting grammar and spelling mistakes.

Editors can work in a variety of settings, including for book publishers, media companies, magazines, newspapers, and brands (where they would edit the company’s website or other content).

Editors need to have an in-depth understanding of all things writing—including grammar, style, narrative, and structure. As such, most editors are writers themselves and/or hold a degree in a writing-related field (like English or journalism).

The financial opportunity for editorial professionals increases as you progress in your career—with senior editors making an average of $69,986 per year and editorial directors pulling in an average of $94,713 annually.

2. Content Marketing Manager

Average salary: $68,395
Salary range: $46,000–$100,000

Content marketing managers lead the charge when it comes to developing and executing content for a company. While some content marketing managers take a generalist approach, many specialize in creating and overseeing specific types of content—such as blog posts, ebooks, whitepapers, website content, and social media posts.

While content marketing managers do spend a significant amount of time creating content (including writing), they also spend a good amount of time on strategy—making this a great role if you love to write, but don’t want to spend all your time tapping at a keyboard. You’ll also have a chance to think about the bigger picture and figure out how content can support an organization’s overall mission and goals.

Some companies want their content marketing managers to hold degrees, but many are more interested in a candidate’s ability to strategize, create, and promote content—so as long as you’re a solid writer and understand the basics of content marketing, there are definitely opportunities to get into the field.

Content marketing managers also have the opportunity for upward mobility (and the increased salary that goes with it)—with content marketing directors making an average of $93,400 per year.

3. Communications Manager

Average salary: $65,851
Salary range: $44,000–$101,000

Communications managers are, as you might guess, in charge of a company’s communications—often both internal and external. Responsibilities could include defining and developing the company’s voice, developing and managing the company’s communication strategy, writing internal guides and resources, managing client- and customer-facing communications (such as press releases, press conferences, or other media opportunities), and ensuring that all business communications, internal and external, are in line with the company’s mission and goals.

Because a communication manager is managing the company’s communication, a lot of writing and editing is involved—but there are also plenty of strategic responsibilities and opportunities to interact with colleagues and external partners to keep things interesting.

To get your foot in the door as a communications manager, you’ll need a bachelor’s degree in communications, marketing, or a related field. And while communications managers demand competitive salaries, the financial opportunities will only increase as you grow in your career—with senior communications managers making an average of $100,520 per year and VPs making an average of $148,870.

4. Technical Writer

Average salary: $60,852
Salary range: $43,000–$88,000

Technical writers are responsible for writing copy that translates complex technical ideas into something a general audience can read and understand—including for instruction manuals, tutorials, journal articles, and educational resources.

As the title implies, writing is the main part of any technical writing gig. But to succeed in this role, you’ll need more than writing chops; you’ll also need a deep understanding of tech-related concepts—and the ability to communicate those concepts using nontechnical language.

As such, technical writers often have a degree in English, communications, journalism, or similar, along with background knowledge relevant to the subject matter they’ll be writing about, such as computer science, information technology, scientific research in a certain field, environmental policies, or manufacturing processes (although, depending on the role and company, a degree might not be required to land a job). For senior technical writers, the average salary jumps up to $84,292.

5. Medical Writer

Average salary: $72,948
Salary range: $55,000–$102,000

Similar to a technical writer, a medical writer takes extremely complex concepts and ideas and translates them into easier-to-digest copy—only medical writers have a particular focus on all things healthcare.

Medical writers can work in a variety of environments, including businesses (for example, pharmaceutical companies, medical device companies, supplement companies, or health tech startups), medical associations, or healthcare providers. They may work on a number of project types, including medical articles, policy documents, or training and educational materials.

Because medical and scientific know-how is a must to succeed, most medical writers have an academic background in biology or other sciences and some have experience in the medical field (for example, as a nurse).

However, depending on the role, having impeccable research skills and the ability to understand medical concepts and translate them for the target audience may be enough to get into the field. And while medical writers make a great salary from the get-go, there’s also room for growth—with senior medical writers making an average of $95,239 per year.

6. PR Manager

Average salary: $70,255
Salary range: $46,000–$101,000

Public relations managers (also commonly referred to as PR managers) are responsible for building brand awareness and driving positive brand sentiment for a person, company, product, or service. They accomplish those goals through a variety of strategies, including building relationships with the media, drafting press releases, developing and leading consumer-facing campaigns, and minimizing the impact of negative press.

PR managers may work for an independent business (like a restaurant), a business group or corporation (like a hotel chain or a book publisher), a nonprofit (like a food bank), an academic or other institution (like a university), or an individual (like a politician, celebrity, or author) and generally need a bachelor’s degree in public relations, communications, marketing, or a related field.

And while PR managers enjoy a great average salary, candidates who prove they can drive brand awareness and positive press can typically demand higher compensation packages—and PR directors make an average of $88,178.

7. Copywriter

Average salary: $52,821
Salary range: $38,000–$76,000

Copywriters are responsible for writing material that persuades the reader to take action—whether that’s in the form of an advertisement, a website landing page, or a sales letter. Ultimately, copywriters create the content that helps businesses drive sales—making them an incredibly valuable asset to companies looking to engage their customers and move the needle on conversions and revenue.

While some companies will require their copywriters to hold a degree, many are primarily concerned with their ability to write copy that drives results. It should be noted that while the average copywriter demands a solid salary, many companies out there are willing to pay big bucks for results—so if you’re gifted at writing sales copy, you’ll likely be able to demand a higher salary. A senior copywriter, for example, makes an average of $75,689.

8. Research Analyst

Average salary: $56,793/year
Salary range: $42,000 – $82,000/year

Research analysts are responsible for collecting, verifying, organizing, and analyzing data—and using that analysis to reach key business conclusions and make data-backed recommendations to their employer. Research analysts can work in a variety of fields and departments (including finance, marketing, economics, and operations).

While much of a research analyst’s job has to do with data, another major part of their role is sharing their analysis and findings to stakeholders within the company—and that means writing detailed reports and preparing and giving presentations. So if you’re looking for a job that combines your love of research and data with your love of writing? This could be the opportunity for you.

Generally, you need at least a bachelor’s degree to get started as a research analyst, but once you’ve got your foot in the door, there’s serious opportunity for growth—with senior research analysts making an average of $70,169 per year and, for those who want to eventually take on more of a leadership role, research directors making an average of $103,556 per year.

9. Curriculum Developer

Average salary: $63,750
Salary range: $43,000–$92,000

Curriculum developers are responsible for researching and writing academic, educational, and/or training materials, including textbooks, digital and college course materials (such as outlines and syllabi), and other resources to aid in teaching and/or training. Depending on the type of curriculum they specialize in, curriculum developers may work for universities, research institutions, nonprofits, or corporations.

Most curriculum developers have at least a bachelor’s degree, top-notch research and writing skills, and in-depth knowledge in their area of focus (for example, a curriculum developer writing a textbook on math would need to have an in-depth understanding of the subject matter). Next steps on your career path might include curriculum director (with an average salary of $74,513) or training director (with an average salary of $87,540).

How Can I Get Paid For Writing Stories?

There are lot of opportunity that are available, especially in the online market. As most of the offline literary magazine and publishing houses don’t pay much for short stories, you have to focus your energy on finding them online.

There are a ton of online magazine and blogs available on the online platform that pays a hefty amount for publishing your short stories on their platform.

And due to that self-published authors mainly starts with publishing short stories first as it is enough to pay the bills until they are capable enough to find and convince a publishing house to print their “Dream Novel”.

There are multiple places online as well as offline where you can submit your short stories for money.

The best one where you can submit your short stories for recurring income or royalty are:

Amazon KDP

Amazon Kindle Direct Publishing (KDP) is a platform by Amazon which offers an author to publish a book on Amazon for free.

You can self-publish your short stories as a paperback or in an ebook format without spending a single penny.

It’s a digital platform uses by both self-published authors as well as by the publishers.

When you submit your short stories on Amazon KDP your short stories will be available worldwide.

Thus there is a lot of chance that you could be able to sell multiple copies across the globe and make money writing short stories.

Amazon KDP also ranks your eBook based on the number of sells.

And if you can make it to the top 100 rankings on your selected category you will automatically sell more copies without even spending anything on promoting your stories.

Penpee

Penpee.com is an airbnb of this space.

You can publish your short stories and you will be paid for each chapter that is read by other users.

At Penpee you don’t have to wait to get paid. Just post the chapters as you go and if people read that part also you will be paid.

Penpee only accepts short stories that are up to 6000 words and no more than 5 chapters.

At Penpee you don’t need to be a professional writer.

You can write any stories as you think of.

When a user joins Penpee they are awarded with some free credits.

They can use this credits to read stories available on the platform.

You can get paid for stories read and you can withdraw the money using PayPal or even by bank transfer.

It is an amazing platform if you are just getting started.

Wattpad 

Wattpad is an online community for readers and writers to read and publish their stories in any genre. Wattpad offers most influential writers revenue-sharing from advertising on Wattpad.

As this is a beta program from Wattpad and currently they are not taking new applications. But you should also try posting your short stories on Wattpad to build your fan base as Wattpad has over billions on users.

The Wattpad Futures is limited to writers in the Wattpad Stars program and the initial beta. You can explore and learn about this program at Wattpad Future.

How do You Break Into TV Writing?

There’s no rulebook for what it takes to make it in Hollywood. However, there are things you can do to increase your chances and place yourself in a position for success, including:

1. Know your television history. Knowing your television history is key to being a great television writer. For example, if you’re writing a medical drama like Grey’s Anatomy, then you better know the other medical dramas that have been created and why they either succeeded or failed.
2. Move to Los Angeles. The vast majority of production companies are based in LA, and as a result, most TV writing jobs are based there.
3. Write a spec script. A spec script is a TV script written speculatively, meaning it was not commissioned by a network. Writers use spec scripts to demonstrate talent and creativity. An easy way to write a spec script is to choose a current TV show you’re familiar with and write a sample episode. Your manager can use your spec scripts when being considered for various writing jobs.
4. Get a job as a writer’s assistant. Working as an assistant is a rite of passage for many new to the industry. Rather than looking down on the position as entry-level work, consider it an opportunity to observe and learn from the brilliant minds around you.
5. Network. You should be making an effort to not only build relationships with executives, but also with your peers. As they rise, they are likely to offer you opportunities to help you grow as well.
6. Enter TV writing contests, apply for TV writing fellowships, and attend TV writing workshops. The competition is tough, but somebody has to win or get selected to attend. To enter, you usually have to submit unique writing samples, which is great practice for aspiring TV writers.
7. Work hard. Breaking into the world of television writing isn’t easy. There are many more hopeful writers than there are positions available within the industry’s writers’ rooms, so bringing your dream to life requires a lot of hard work and dedication.
8. Have a positive attitude. Be conscious of the vibe and attitude you give off to your superiors, especially as you take on some of the more mundane tasks the job entails. Nobody wants to work with someone who is grouchy or entitled.
9. Write every day. As you make your way through the industry, don’t forget that your most valuable assets are your writing skills and portfolio work. Writing is one of the few jobs you don’t need to be hired to do. Write every day, put in the time to hone your craft, and focus on writing original content.

How do I Become a Successful Script Writer?

There is no definitive rulebook to guide screenwriters to fame and fortune in Hollywood. However, there are certain steps you can take to better position yourself for success. Keep in mind that many new writers cannot survive on screenwriting alone; many have part-time jobs to support themselves along the way. Here are 10 steps to guide you.

• Step 1: Start writing. If pursuing a career in screenwriting is what you want, then approach your work as you would any other career: dedicate each day to your craft. Start writing, and keep writing. You should always be working on the first draft of something.
• Step 2: Learn the business. Subscribe to trade publications to learn about what television shows are being picked up, what scripts are being sold, and who is behind the projects. You should also read screenplays—as many as you can get your hands on. Learning how other screenwriters work is the best way to see how it’s done.
• Step 3: Move. To be a serious screenwriter, you should live where the work happens. Los Angeles is the epicenter of the American film industry. This is where studios, production companies, and agencies are located. New York City is also home to many production companies and is especially good for screenwriters looking to work on independent films and talk shows.
• Step 4: Find a mentor. Mentorship is a great way to get a foothold in the industry. Find a person to keep you accountable for your writing. There are also mentorship programs for aspiring screenwriters, such as the Sundance Institute; CBS Writers Mentoring Program’ and NBC Universal Writers on the Verge Program.
• Step 5: Get a job in the film industry—any job. Working as an assistant is a great way to make connections with executives and your peers. Grey’s Anatomy creator and writer Shonda Rhimes says that an assistantship job is a rite of passage for any aspiring screenwriter. The most important rule, even when performing mundane office tasks, is to have a positive attitude. Rhimes says: “People who have a great attitude are the ones that I always end up saying, ‘What’s your script about?’”
• Step 6: Continue learning. Pursuing a graduate degree in screenwriting is not a necessary step to becoming a screenwriter. There are many schools that offer two-year MFA programs. This is a great way to learn about the structure and form of scriptwriting. Obtaining an MFA also affords graduates the ability to teach. Another way to build skills and practice is to take screenwriting courses. Screenwriting books can also be helpful.
• Step 7: Join a writer’s group. Form a simulated writers room with other writers. Discuss and debate plot ideas for a current television show, and come up with future episodes. This is a great way to share ideas, work collaboratively, and practice creative writing.
• Step 8: Create a portfolio. Remember that you don’t need someone to hire you to write. Keep building a portfolio so that when someone asks what you’re working on, you have a body of work to present them. It is also important to have synopses and query letters prepared for each of your projects.
• Step 9: Build your support team. It is important to have industry professionals to help steer your career. A manager will help you develop and market your scripts. An agent will help you find work opportunities and negotiate contracts.
• Step 10: Sell your script. There are a few ways to get your work seen. Make connections with producers and creative executives through websites such as IMDB Pro. Upload your screenplays to online databases such as InkTip, and submit your projects to film festivals.

How do I Become a Script Reader?

In order to evaluate and assess the suitability of a script to be produced, some companies, especially those involved in the funding process, employ Script Readers to provide objective opinions on new proposals.

The main aim of the Script Reader’s job is to evaluate a script and the possibility of it becoming a successful production. This means that the story has to be interesting, the characters well defined and appealing to audiences, and the themes have to match, or at least be coherent with, the current trends in the industry.

In short, the Script Reader is the middleman between the Script Writer and the Development Executive. They decide which scripts have the potential to make it.

Script Readers are usually required to write a Report, which serves both as a summary and as an assessment for the script. The typical Report is made up of seven sections:

• Logline (one line summary of the main concept)
• Premise (analysis of the commercial potential and originality of the script)
• Synopsis (breakdown of the plot)
• Tone and Genre (analysis of the writing compared to the communicative intentions)
• Comments (details of strength and weaknesses of the script)
• Summary
• Verdict

If the reading is linked to a funding competition or contest, the Script Reader may be asked whether it should receive funding or be rejected.

Since they need to swiftly evaluate and assess many different scripts, Script Readers must be familiar with the standard format and layout of both screenplays and reader’s reports.

Also, in order to correctly make an estimate of the commercial value of a script, Readers have to be up to date with the latest trends in film and read a lot of original quality screenplays, so that they can have a standard with which to compare different pieces of work.

How To Get Work as a Script Reader
In order to be hired as a Reader, you have to submit some examples of coverage work and reports you have written to companies involved in production and funding. You could also look to join a union, such as the Writers’ Guild Union which represents writers across TV, film, theatre, radio and more.

Education & Training
Script Readers usually need a BA or MA degree, with a specialization in Creative Writing, Screenwriting, Media and Communication or similar. Specific Script Reading courses for graduates are also available. If you are looking to gain a formal qualification, the MetFilm School offers many qualifications for those looking to start out in the industry.

Does Amazon Still Accept Scripts?

As of April 13, 2018, Amazon Studios is no longer accepting unsolicited submissions. It will continue to review and evaluate submissions it’s already received through June 30, according to a notice on its website.

Here’s how Amazon Studios explained the move: “As we have grown and evolved over the last several years, we are making changes to our website and closing our open call for script and concept submissions… Thank you all for your contributions.”

The division’s FAQ now includes info about the shutdown, telling visitors, “At Amazon we are always reinventing ourselves and looking for ways to become even more efficient.” The shutdown of the program was reported previously by Engadget.

Can I Sell my Script?

1. Make the main character female

No one buys a script unless they get it reviewed by someone they trust. A film production company can receive hundreds of scripts. In order to weed out the ones that aren’t appropriate for that company, they employ script readers.

Since most script readers are female, why not write a film with a female leading role? The theory is that a female reader would be more likely to recommend your film if the leading role is female, even if the script is one that they might normally pass on. And there are so few good scripts starring women.

2. Get on the Black List

In December 2005 the Blacklist was launched. It’s a survey of the most liked un-produced screenplays of that year. The scripts submitted are rated using votes from film executives working in the film industry.

Black Lists are meant to shine a light on extraordinary screenwriting. Past lists have included such Oscar winning films as JUNO, THE KING’S SPEECH and ARGO.

Writers can upload screenplays and make them downloadable by industry members. There are also lots of useful writing resources to help you sell your screenplay.

There’s also the British version for European writers to engage with.

3. Avoid drama

Drama is a killer word. Why? Because all stories are drama. The word drama is too generic.

Imagine telling an estate agent that you are seeking a home. They would want to know the ‘genre’ of home you are looking for. The price, location and numbers of bedrooms defines the type of home.

In storytelling and movies we define the type of story by the story genre. And more specifically, the genre blend. Is your script action / adventure? Or rom-com? Or thriller?

The more specific you can be about the genre, the better. It helps the story development executives to quickly decide if your script is of interest or not. It also gives a great big hint as to how the film can be marketed.

Avoid comedy

Funny is money they say in show biz. But be aware. Even though comedy is likely to be in big demand as we emerge from the public health crises of 2020, comedy scripts are hard to sell. And that’s because of the way films are made.

For example, in horror, an actor’s face is often close up and reacting to something horrible. Horror filmmakers seldom use big names and expensive cast. It just wouldn’t read too well to have Idris Elba or George Clooney full screen, up close and screaming. Filmmakers usually use a cast of talented unknowns (inexpensive) in horror – making them cheap to film.

In comedy, the shots tend to be mid-shots. Like a couple at a table. Because the actors faces are much smaller in relation to the screen size, you need well-known actors that the audience can relate to. Making a comedy much more expensive to make.

If you are determined to write comedy – and I would urge you to do so – make sure you hone your craft.

Beware horror

Because horror films are cheaper to make – they are often the entry point for new writers and directors. This means the market is flooded with horror films. We have made a fair few ourselves here at Raindance. Films like Deadly Virtues were made for under $100,000 and sold well internationally.

But the problem is the film companies are also inundated with horror scripts. It takes a horror script with unique and highly original ideas to make any impression on a development executive.

4. Make sure your script format is correct

Submitting a finished manuscript presented in the wrong format invites an instant rejection. Most executives won’t bother to read it. Get the script format right! There is simply is no excuse for getting this part wrong.

5 .Length of script

Generally speaking, hour long episode scripts can be anywhere from 45-63 pages, although a majority of the time you want to stick with 50-55 pages.

For a feature film you really have 3 choices:
65 – 85 Straight to streaming or VOD
90 – 100 pages – the typical independent film destined for wide release and some theatrical
120 pages – your typical ‘Hollywood’ movie

Cheats

1.  Script too short
Let’s suppose you are aiming at a 90 page script, but no matter how hard you try it’s coming out at 85 pages.

Script readers usually start by looking at the end page count. At 85 pages their worry is your script might be considered a VOD and shorter movie and not taken seriously. Simply open the script to a relevant point, say, after page 37 and on the top of page 38 write: Car chase: 3 pages yet to be written. or Love scene: yet yo be written. The following page will then be page 41. Or whatever insert you need to out the last page number to the length you wish to present.

2. Script too long
Suppose your final draft is 123 pages, no matter how you have edited and crammed the pages together, and you don’t want a script reader thinking your 123 pager is a three hour epic written by a writer with delusions of grandeur.

Simply go through the script and call page 38 page 37a and so on until your final page count falls within the number you want.

6. Title, tagline and logline

Your title is your first chance to market your screenplay. I recommend 2 or 3 words – taut and tense. These few words should start to sell the story.

A tagline is the simple few words often seen under the title on a movie poster. The tagline is used to tease out an emotional response to the title of the film

The logline could be considered the shortest possible summary of the story, or the ’25 words or less’ pitch of your script.

Learning to properly pitch your story is one of the trickiest skills a writer needs to develop.

Hone your pitching skills. Raindance has a regular Pitching Skills Workshop, and also frequency hosts the Live!Ammunition! Pitching Competition.

7. Say something worth buying

The one golden nugget about selling your script is really quite simple:

Come up with an idea or concept that no one has thought of yet. An idea that is bold, fresh and original. Express it clearly and succinctly. Test market your idea with your friends and your social networks. And if you have managed to create and express an idea that no one else has thought of yet, they will send the limos.

How Much do TV Writers Get Paid Per Episode?

TV screenwriters make $26,566 per 30-minute episode and $39,072 per 60-minute episode on a prime-time network or high-budget programming channel. This number changes every year according to the WGA (Writers Guild of America).

For example for the 2020-2021 season of shows TV writers get paid $26,832 per 30-minute prime time episode. And Feature film writers will then get between $76,341 – $143,319.

These are only the minimum payments a production company can offer you if you’re in the WGA.

What is a Script Fee?

According to the Bureau of Labor Statistics, half of all writers earn less than $63,200 a year. Neither figure, however, accounts for content, nor do they reflect experience. A copywriter, for example, is likely paid a different scale than a scriptwriter.

Film Script Writing Fees

In the film industry, scriptwriters aren’t usually paid a salary. Instead, a fee is given on a project-by-project basis. Most professional movie screenwriters are members of a union, the Writers Guild of America. WGA sets minimum rates for union screenwriters based on the medium (television, film, theater, digital platforms and video script writing rates), the duration of the production, and the overall budget.

The budget makes a significant difference to a scriptwriter’s fee. For instance, a low budget film may pay around $60,000, while high budget film may pay over $100,000, reports The Art Career Project.

Television Writing Salary

Scriptwriters working in the television industry are often paid by length. A 30-minute script for prime-time TV for example, comes in at $9,036 for the story and $27,100 for the actual script per WGA minimum rates, which would include anything from dialogue to “stage” direction. For a 60-minute script, the fees are higher, averaging $15,904 for the story and $39,858 for the teleplay, regardless of experience.

Commercial Writer Salary

In the world of commercial advertising, scriptwriters are paid a variety of ways. Some earn an hourly rate, while others work on a project-by-project basis. The average salary for writers working in the advertising and public relations sector was $78,200 in May 2019, according to the Bureau of Labor Statistics. Independent writers earn more, $95,800 on average, but you would have to build a strong reputation and portfolio as a freelance commercial script writer to command these types of salaries.

How Much Should I Charge For Script Coverage?

You can expect to pay around $70 for basic script coverage and up to several hundred dollars  for more in-depth coverage with inline notes and comprehensive feedback from a professional reader.

Script coverage is still done “by hand” — a professional reader has to read your script and give accurate notes and feedback. That takes time, which they should be paid for, which is why it costs the screenwriter money. But getting an outside/fresh eye on your work — it’s worth it.

Does Hulu Accept Unsolicited Scripts?

It is Hulu’s policy not to accept unsolicited submissions, including scripts, story lines, articles, fan fiction, characters, drawings, information, suggestions, ideas, or concepts. Hulu’s policy is to delete any such submission without reading it.

Therefore, any similarity between an unsolicited submission and any elements in any Hulu creative work, including a film, series, story, title, or concept, would be purely coincidental.

Should I Register my Script With WGA?

Copyright automatically exists when you write something. Proof that you completed the work and the date by which you completed it is valuable, but stealing scripts is fairly rare. That said, there may be comfort in registering your IP.

Register it with the WGA — When you register a script with the WGA, it does not offer formal, legal copyright protections, but it does maintain a record of your material and its submission date. This is not recommended. It costs $10 for WGA members and $20 for non-members.

What Are The Basics of Script Writing?

There are a few steps to follow when developing and writing your screenplay. Remember, though, there are no real rules, so they can happen in any order, or not at all. It’s up to the story, and ultimately you.

Step 1: Craft a Logline

A logline is a brief summary of your story, usually no more than a single sentence, that describes the protagonists and their goal, as well as the antagonists and their conflict. The protagonist is the hero/main character of the story, while the antagonist is the villain/bad guy/opposing force. The goal of a logline is to convey both the premise of your story and its emotional undertones. What is the story about? What is the style? How does it feel?

In the old days, the logline was printed on the spine of the screenplay. This allowed producers to get a quick feel for the story, so they could decide whether to invest the time into reading it or not. Today, the logline serves the same purpose, although it’s usually communicated verbally, or included with a treatment.

Step 2: Write a Treatment

A treatment is a longer 2-5 page summary that includes the title of your screenplay, the logline, a list of main characters, and a short synopsis. Like loglines, treatments are mostly used for marketing purposes. A producer may read a treatment first before deciding if the script is worth their time.

The synopsis should highlight the main beats and turning points of your story. Anyone who reads it should get a very good idea of the story, the characters, and the style. They should learn enough to feel empathy for the characters and want to follow them on their journey to see how it plays out.

Writing a treatment also gives you the opportunity to view your story as a whole and see how it reads on the page, and it can help you understand what’s working versus what needs work before you dive into the details of writing each scene. Since your treatment will be used to market your screenplay, be sure to include your name and contact info, too.
 

Step 3: Develop Your Characters

Think about the story you want to tell. What’s it about? Do you know the theme yet? Create characters who will contrast the central question, and who will have to undergo a major transformation to answer it. There are plenty of character profile worksheets online that can be helpful in bringing your characters personalities to life.

The most important thing when developing your characters is that you make them empathetic and interesting. Even the bad guy should have a reason he’s bad, although it may be unjustified.

Step 4: Plot and Outline

Break your story down into its narrative-arc components and map out every scene beat by beat. A number of writers use flashcards or notebooks for this.

Do whatever works for you. The goal is to plot out your story. The more detailed you make your outline, the less time you’ll waste down the road. As you plot, keep in mind that tension drives a story. Building and releasing tension is key to keeping the audience engaged and driving the story forward. When hope is faced with fear, tension is created. This is what forces the hero to change.
 

Step 5: Write a First Draft

Using your outline as a map, write your script scene by scene, including the dialogue and descriptive action. The first ten pages of a screenplay are the most critical. A reader or producer usually has a ton of scripts flying across their desk and they don’t have time to read them all.

They’ll give a screenplay ten pages to pull them in. If the script has interesting characters and the proper structure elements, they’ll likely continue reading. If not, it’s going in the trash.

The screenplay is a unique format of writing. While it’s true that there are a number of elements common to any story regardless of medium, screenwriting is different in that every word of descriptive action must be written in present tense and describe something the audience can see or hear.

Although typewriters and word processors work just fine, I suggest investing in software that will do the formatting for you. Hollywood follows a fairly strict format when it comes to screenplays. While this can cause quite a bit of confusion, it was more of a problem in the past. Modern screenwriting software makes it a very easy process. The most commonly used apps include Final Draft, Movie Magic Screenwriter, and Adobe Story.

Don’t stop and go back to fix dialogue or update action description until you’ve written the screenplay all the way through. Then you can go back through it, tear it apart, and rebuild it. Don’t be too self-critical during the first draft. Just write.
 

Step 6: Step Back and Take a Break

Once you finish a first draft, it’s a great idea to relax a bit and take your mind off of it. That way when you finally do come back to it, you can read it with a fresh set of eyes.
 

Step 7: Rewrite

Now that you have a completed draft, you have a much better picture of your story as a whole. Go back and refine the action, tighten the dialogue, and edit the script. Chances are you will have to do this more than once.

When creating a final version, using more white space on your pages is better. It’s easier to read and seems quicker to get through. When a producer has to read multiple scripts a day, it’s discouraging to see a script filled with pages of dense action description and long monologues.

Overall, writing a screenplay is a difficult task — one that takes sacrifice and a dedication to the craft. In the end, it’s a rewarding process, in which you get to create characters and watch them come to life as they make choices to navigate the obstacle course you’ve placed before them. Take some time to study the craft, and your script will be done in no time.

For more in-depth tips on learning to write a screenplay, there are a handful of books considered by most industry professionals to be must-reads for any aspiring screenwriter. Each one offers valuable insight into a different aspect of developing a story, creating interesting characters, and crafting a thoughtfully motivated screenplay. These include Screenplay by Syd Field, Story by Robert McKee, The Art of Dramatic Writing by Lajos Egri, and Save the Cat by Blake Snyder.

What Are The Key Elements of a Script?

These are the unique margin, case, and position attributes that give feature film script text the format and consistency expected by all participants. Once you are accustomed to them you’ll be able to tell your story the way an industry reader is accustomed to seeing it. The elements for a script are:

• Scene Heading
• Action
• Character Name
• Dialogue
• Parenthetical
• Extensions
• Transition
• Shot

How Can I Improve my Script Writing Skills?

To help, we’ve come up with 5 ways to improve your script in minutes so you can skip the frustration and easily jump into your rewrite.

Chunk Your Narration

One way to improve your script quickly is by making it more readable. You want your script to be a “fast read”: one that the reader flips through easily and can’t put down. A great way to accomplish this is to comb through your narration and break up large paragraphs into small, readable chunks of 1-3 sentences max.

No reader wants to wade through lengthy paragraphs to understand what’s happening in a scene. Get to the point quickly in your narration, and do it in small chunks that are quick and easy to read.

Do a Pass for Redundancy

There’s very little real estate to work with in a screenplay. It’s important to make every word count. Sometimes writers can accidentally waste space on the page by being redundant. Here are a couple of examples:

EXT. BUSY STREET – DAY

People stand outside on a busy street in the middle of the day, waiting for the parade to start.

INT. JESSICA’S HOUSE – NIGHT

Jessica sits inside her house, waiting up late at night for her daughter to come home.

See the redundancy? There’s no need to repeat the scene heading in the narration. Instead, these could be rewritten as:

EXT. BUSY STREET – DAY

People mill around, waiting for the parade to start.

INT. JESSICA’S HOUSE – MIDNIGHT

Jessica waits up for her daughter to come home.

Take a read through your script and see where you might be saying the same thing twice. This can quickly improve the readability of your script while also potentially cutting down the page count.

Condense, Condense, Condense

A third trick you can do is to condense your wording. Where do you go on too long? How can you say the same thing in fewer words? Where can you take several sentences and combine them into one? Here’s an example.

INT. BALLPARK – DAY

Marty sits in the bleachers beyond right field, watching the game. He sips a beer. The BATTER hits the ball out toward Marty’s direction. He puts down the beer. He puts on a baseball glove. He readies himself to catch the ball. The ball comes careening down and SPLASH! Lands right in the beer.

It took seven sentences to convey that. Let’s see if we can say the same thing in three instead.

INT. BALLPARK – RIGHT FIELD BLEACHERS – DAY

Marty sips a beer, eyeing the BATTER at the plate. The batter connects with the ball and it careens toward Marty. Marty puts down his beer, readies his baseball glove to catch the ball, and SPLASH—it lands right in the beer!

Now we’ve conveyed the same idea in less space, and it’s more interesting to read.

Proofread Your Script

It seems obvious that you should proofread your writing, but you’d be surprised how many people skip this crucial step. I’ve read so many contest scripts that are riddled with spelling and grammatical errors. What people may not realize is that many contests have a separate category for spelling and grammar. They may label it Spelling/Grammar, Presentation, or the like.

If your script is full of typos, you can bet you’re going to get a low score in this area. Do you really want typos to be the reason your script didn’t get enough points to advance to the next round of judging? Make sure you find someone to proofread your script (preferred), or make sure to proofread it yourself before sending it out.

Read Your Script Out Loud

Nothing will improve your script faster than listening to it being read out loud. You’ll hear where your narration is dragging on to long, and which lines of dialogue sound natural and which sound forced. This is also a quick way to catch spelling and grammatical errors. You’ll learn more about your script in 90 minutes of hearing it read out loud than you will in weeks of staring at the page on your computer screen.

The best way to get your script read is to stage a table read. Spring for pizza or Chinese food and invite friends over, or cast actors who can read the roles. It’ll be well worth the investment.

Alternatively, if a live table read isn’t an option, you may be able to have your software read the script out loud for you. If you have Final Draft, you can go to Tools > Assign Voices to “cast” voices for each role, and then go to Tools > Speech Control. Press “play” and the program will read your script out loud with you, with a different voice for each role (and for the narrator).

You may be thinking, “In my rewrite, don’t I need to revise my plot? Structure? Characters?” Yes, of course. But using the above techniques can help you suss out other underlying issues in your script, and also help you to effectively jump right into your rewrite instead of pushing it off. And maybe, just maybe, you’ll be able to finish your rewrite quickly!

What Skills Does a Writer Need?

Here are seven skills, other than writing, that you need to be a successful writer:

1. Communication Skills

It may seem obvious, but writers should be good communicators. That means you need to be able to get a message across in a clear and succinct manner not only in your writing — but also in your day-to-day communication.

When writing is a part of your career, you’re going to have to work with others. That could mean marketing your services to clients, collaborating with co-workers or connecting with other writers.

No matter your situation, writing is never solely a solitary activity. While the part where you actually do the writing will be, there’s always going to be times where you’ll have to communicate with others to get the work done.

2. Adaptability

When you write for a living, you probably aren’t always writing the things you want to write. At least not if you want to make any money from it.

People or companies are hiring you to write the things that they need. That means you may have to adapt your writing voice to a specific brand. You also may need to write about something you don’t know that much about (more on that below).

Whatever the case, as a writer, you need to be flexible and open to new challenges. Especially in the world of digital marketing and publishing, things are always changing. The successful writers will be the ones who are able to adapt.

3. Discipline

Writing is not always an exciting career. There are days when the blank page in front of you feels like a punishment. Where the hours drag and it feels like you need to pull each word out of your brain with an iron man’s strength.

But successful writers soldier on. They do not believe in writer’s block. Instead, they continue to pick up the pen (or keyboard) day after day and do the work, whether they feel like it or not.

You can see it here on Medium. The writers publishing consistent content day in and day out are the ones with the most followers and making the most money. The same is true for writers in other areas.

If you can stay focused and write quality content efficiently, the people you write for will think highly of you. And that means you’ll continue to get good work and in turn, make good money.

4. Organizational Skills

Successful writers are organized writers. You may argue with me, citing your beliefs about the creative process and that creative people cannot be boxed into something so rigid as organization. But you’d be wrong.

Writers can be both organized and creative. You just need to know how to organize your own creativity.

You can’t have notes and scribbles scattered over your desk. You can’t misplace your client’s phone number or forget where you saved your article on your desktop. Your boss or your client won’t have the patience, and they’ll drop you faster than you can say “where’d I put that again?”

Just as you organize your writing, like I’m doing right now with my numbered sections in this blog post, you need to keep the same order in how you work with others.

Set up a system for saving files so you always know where everything is. Keep a dedicated notebook for notes, and set up sections for each project you’re working on. Use Google Calendar to track appointments, calls and deadlines.

5. Research Skills

Writers are often told to “write what you know.” But it seems to me writing about only things you know about limits your options quite a bit.

Writers can’t be afraid to step outside their comfort zones and take on tasks that may be a bit outside their wheelhouse. Take my current day job, for example. I’ve been working as a copywriter for a financial services company for the last year. And let me tell you, I’m nowhere close to being an accountant. Instead, I rely on research.

If I’m writing about a topic I’m unfamiliar with, I don’t turn the project down. I do research to discover what I need to do my work effectively. Most of the time, a little research goes a long way and I can write about the topic confidently, or if not confidently, at least sufficiently.

If you’re unable to do research or learn a new topic, how will you ever grow? Not just as a writer, but as a person. Learning is a huge part of life, and writers should be proactive about it.

6. Thick Skin

Not everyone is going to like what you write. The sooner you realize it and understand it, the more successful you will be.

When you’re writing for someone else, your work is subject to their approval. And sometimes they may disagree with you about a word, a phrase or even your entire piece.

And you have to be okay with that.

I’m not saying you shouldn’t defend your choices. But pick and choose your battles. You want your client to be happy with you and your work, and fighting with them over one word in a 1000-word blog post isn’t going to do you any favors.

Remember that you are employed to write by others. If they want to change something about your piece, work with them to find the solution that works best.

And try to be objective. Commercial writing shouldn’t be looked at as a work of art. It’s a commodity that you’re selling. Treat it as such.

7. Editing

Last but certainly not least, writers need to be good editors. You should have a good grasp of grammar and punctuation, and if you don’t, you may want to spend some time studying. The Elements of Style may be a good place to start.

When you’re working, make sure to leave time at the end to read over your work. If you can, come back to your piece in a day or at least a couple of hours to read it over with fresh eyes.

Even the best editors miss typos sometimes. Use spell check as a backup or consider installing Grammarly on your browser.

When you’re submitting your work to a client or your boss, first impressions are everything. You don’t want a typo to overshadow the hard work you’ve done on the piece. You want them to judge the writing on its own merits, not on the basis of a misspelling.

Types of Script Writing

Screenwriters are told to have two key types of screenplays in their arsenal. Spec scripts and original screenplays. Hands up if you know the difference between the two. For those of you who didn’t raise their hands, here are the answers:

1. Original Script

I’m sure you can guess what this means. Any screenplay that is wholly born from a writer’s original idea. It is not based on any underlying work.

2. Spec Script

Spec is an abbreviation for speculative. It refers to any script that is written without pay in the hopes of securing a paid writing assignment or becoming a staffed writer on a TV show.

These are scripts based on existing properties such as a film franchise or TV series. Spec TV scripts are vital to ensure that writers can adequately capture the tone, voice and characters of a particular TV show or a movie franchise.

The remaining categories refer to spec scripts too:

3. Off Book Script

This type of script is for screenwriters who want to get a little more daring and show off their individual flair. It is a slight deviation from the established format of the show. It will probably get you noticed, but it will never be produced. For instance, imagine if Ray Donovan (Showtime) went to church (to pray) or Bojack Horseman (Netflix) went to an AA meeting. These scenarios are possible, although unlikely.

4. Stunt Script

This is a high risk, outlandish attempt at getting noticed as a screenwriter. It’s gimmicky and deliberately breaks all the screenwriting rules. If you’re writing a TV spec script, do everything you’re not supposed to such as writing a script for a cancelled show, being boorish, and generally writing a script that is so off the wall, it will get you noticed.

Following on from the previous examples, a stunt script for Ray Donavan might be an episode of Ray becoming a born again Christian or Bojack Horseman volunteering in an orphanage.

5. On The Bubble Script

This is generally a TV term used to define a show awaiting its renewing fate. It can refer to mature TV series that have been running for several years or a newer show that has failed to gain the required traction. Screenwriters are generally advised to avoid writing these scripts even if they are of high quality. They may suggest you that you either don’t know the current TV landscape or you haven’t written a spec script for a few years.

6. Canon Script

A canon is a group of texts considered an authority on a subject. It is derived from the Greek word for rule. In the screenwriting terms, canon scripts refers to typical or the best scripts in a genre.

7. Standlone Script

This is a feature of series/ serialized TV, sometimes called a reserve or backup script. it captures the mood, tone, feel and voice of the show, but it doesn’t follow the established story trajectory.

These are essentially emergency scripts that are produced when there is an issue with the main script such as scripts not being turned in on time, production problems, a last minute rewrite, the producer changes their mind on the story or they simply don’t like the current script.

8. Pitch Script

This occurs when the producers, usually of a movie franchise with established characters, are asked to pitch their take on a film. This helps producers decide on a story direction and a screenwriter. Sometimes, they haven’t completed scripts at all. They can be outlines, treatments or synopses.

Script Writing Examples

1. Boogie Nights.
screenplay by Paul Thomas Anderson.

This script was somewhat controversial… Mark Wahlberg originally didn’t want the role, after seeing how Showgirls had tanked. He changed his mind after reading the screenplay. William H. Macy’s agent didn’t want him to take the part. Macy read the script, loved it, and immediately signed up. Burt Reynolds did the same but later regretted it and fired his agent for recommending the role to him.

2. Forrest Gump.
screenplay by Eric Roth / based on the novel by Winston Groom.

Whatever you may think of the movie, Roth is one of our generation’s greatest screenwriters and this script doesn’t disappoint. Just take a look at this gem of a line from the opening page: “And we see a Man, sitting on a Bus bench, reach to pick it up. In his forties, he looks like he smells like fish.”

3. The Disaster Artist.
screenplay by Scott Neustadter & Michael H. Weber / based on the novel by Greg Sestero and Tom Bissell.

Since their 2009 breakout script, (500) Days of Summer, Neustadter and Weber have focused more on book adaptations and this one is the best of the bunch. The script tells the true story of Greg Sestero’s friendship with the weird and wonderful Tommy Wiseau and their attempts to make it in Hollywood. Anyone who’s writing a script from a novel should compare both for a masterclass in adaptation.

4. Election.
screenplay by Alexander Payne & Jim Taylor / based on the novel by Rex Pickett.

Behind Sideways this is probably Payne and Taylor’s greatest screenplay. Writing comedy is all about making your protagonist make the wrong choices due to their flaw, which is something lead character, Jim, does over and over while battling his antagonist, Tracy Flick. One of the very best comedy screenplay examples you’ll find.

5. 300.
screenplay by Michael Gordon, Zack Snyder and Kurt Johnstad.

Many aspiring screenwriters get stuck wondering how to write a fight scene. Well, here’s the answer. With a body-count of 585, there’s much to learn in this script on how to write action sequences, hand-to-hand combat and epic battle scenes. A must-read for any budding Action/Adventure writers out there.

Script Writer Qualities

Hollywood and beyond is full of tens of thousands of screenwriters, most of whom, sadly, will likely never see their dreams come true. Those that do make it often share many of the same qualities. These qualities are the difference makers. They are what takes a novice or average screenwriter and makes them stand out among the crowd of tens of thousands.

Below we’ll explore eight of these qualities in detail and showcase how attaining and honing these qualities will make any screenwriter better, and hopefully many more, great.

1. Vision

The ability to see your stories through the mind’s eye before placing any word on paper. Too many writers simply write page to page, plotting out the movie, and make choices strictly to get from point A to point B and beyond. The great writers can SEE the movie already from the perspective of an audience. “Write what you know” is one of the most misleading phrases given to aspiring screenwriters in books, seminars, etc.

Better to tell them “Write what you love,” as far as genre, atmosphere, and what you love to see in the movie theater. But as far as vision goes, best to say “Write what you can see.” If you can’t see the scene and eventual compilation of scenes in your head, edited and shot like a film you see in theaters, then best to consider another avenue of expression and certainly another career.

2. Confidence over Ego

It takes time to get to this stage, but screenwriters need to be confident in their work. Writers will always have various forms of self-doubt, but in order to have a career in screenwriting you need the ability to go into a conference call or meeting room, know your story, know your strengths, and be able to communicate on an equal level — rather than looking up with nervous puppy eyes to the executives and powers that be.

That said, you need to know that ego is not confidence. Ego is a facade.

“You need to buy my script because if you don’t, someone else will because my writing is better than anyone out there.”

Ego will get you nowhere. You need to be someone an executive or producer wants to work and collaborate with — not battle with. So throw away your books written by Joe Eszterhas. That’s not what Hollywood wants. They want someone confident in their own work, so they know they can ask for what they need and trust you to deliver the goods.

3. Collaborative Skills

Plain and simple. If you are someone that can absorb notes from producers and studios and understand that in the end, you are hired to do a job, and then find a way for those notes to work within the confines of your own writing wants, you’ll be one step ahead of most. Know when to choose your battles.

Know when to back off and accept what you’ve been given. Understand that film is a collaborative effort and while the whole process truly starts with the written word — beyond the spark of the concept in one’s mind — it most certainly does not end with just that.

In short, be someone they can work with and someone that they want to work with. Know that you’re not always right and that others can improve your work. And even when you think what they want is not something you agree with, be able to roll with it anyway and make their notes work.

4. Resilience

You will fail. You WILL fail. You will fail more than you prevail. Even the most successful screenwriters in past and present have failed more than they have prevailed.

If you don’t have thick skin, you won’t make it. If you can’t take notes from others on your writing, you won’t make it. If you can’t take a hit, get up, brush yourself off, and then do the same over and over and over, you won’t make it in this profession.

You need to be able to handle adversity on any given day.

You need to be able to deal with the “sure thing” deal with a studio falling through at the last minute because of some lame reason that has nothing to do with you.

You need to be able to deal with rejection after rejection.

You need to be resilient and have the ability to get back on your feet and jump through the fire again and again until you make it. Sometimes you need to be resilient for years — a decade. Be resilient.

If you’re an aspiring screenwriter and have no idea what’s going on in the film industry, you won’t make it.

5. Know Your Industry

You need to read the trades.

You need to know what movies are being made and who is making them.

You need to know the studios, the executives, the producers, the talent, etc.

You need to know who is a player in the current game.

Every day there are writers that see stars after they get their script to someone of the caliber of, say, Kirk Cameron, and think that their script is going to get made and they’re going to reap the benefits. It’s Kirk Cameron, folks. Growing Pains was awesome, but even back then he couldn’t get a movie greenlit. Take a co-star from any major television series right now — even they can’t get a movie greenlit most of the time.

Know the industry. Know what’s in development, what’s in development hell, what’s being produced, what’s in production, what’s in post, and when those movies are coming out.

Know which films opened big, opened small but grew, bombed, etc. Read Variety, Hollywood Reporter, Deadline, IMDBPro, Box Office Mojo, etc.

Know your industry because if you do get to a level where you are talking with agents, managers, execs, producers, and talent, you’ll want to be able to sit down and have a conversation with them.

“Oh, James Cameron is developing Avatar 2 and 3? Awesome!” That won’t play too well.

6. Know the Guidelines and Expectations

This can obviously fall under the above fifth quality but needs to be touched on. Be ready to forget Robert McKee or Blake Snyder, as well as others. It’s all theory. There is no secret formula for success. There are no rules. As William Goldman famously said, “Nobody knows anything.”

It’s great food for the brain, and you should explore all angles, knowledge, and perspectives that you can, but in the end, it’s you alone in front of that screen. All you can do is know the guidelines and expectations of the film industry. The rest is up to you and your storytelling abilities.

Even if you can tell a great story, but can’t follow the guidelines and expectations, you’ll go nowhere.

Know that a 145-page screenplay won’t get read on spec.

Know that if you don’t correctly format your script, it probably won’t get read.

Know that if you don’t engage the reader with those first few pages, the script will be tossed aside.

Know that if you don’t keep everything (scene descriptions, scenes, dialogue, etc.) short, sweet, and to the point, your scripts won’t be considered.

The two books that are recommended the most in that respect are The Screenwriter’s Bible and How NOT To Write a Screenplay. That’s all you need. Beyond that, read produced scripts that can be found online, or even through ScreenCraft’s Download 70 Screenplays Legally and Free. You’ll quickly learn the guidelines and expectations from those resources alone.

7. Know How to Handle Any Success

Be ready. Prepare yourself. If you’ve been querying left and right, trying to get somebody to read your script, and then you finally get a bite from a notable player? That’s a successful first venture. But you better have a fantastic script because you’ll burn that bridge with your first step if it’s not.

Thus, you don’t go out and spend a year marketing your first script. Your first script is and will be your worst.

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Let’s say your script makes it through the studio walls, you’ve found someone who likes it, and you take a few meetings. The next question they’ll ask is, “What else do you have?” How are you going to be able to handle that successful venture? Do you have any other notable scripts? If not, you’re in trouble.

Furthermore, let’s say you finally nab an option on your script. You ge

t a couple thousand bucks. Great. Now what? How do you handle that success? Do you stop and wait for this project to get made? You better not because there are tens of thousands of projects that have been optioned or purchased and have never seen the light of day.

Keep writing. Keep moving and shaking because obviously you’ve done something right.

Lastly, let’s say you finally get something produced. Excellent. Go celebrate. But what’s next? How are you going to handle the success? What if the film bombs? Will you be resilient enough to get back up and start that whole process over? What if it succeeds? Have you prepared yourself? Is your writing up to par to handle an even bigger project with bigger expectations?

Will you let the poison of ego seep into your soul because of said success, or will you be humble and accept your next assignment with confidence while being collaborative and building a reputation of being someone people love to work with?

8. Hope

Without hope, none of the above will matter. You have to believe in the dream. You have to believe enough to overcome disappointment, time, and constant rejection.

You may find that this isn’t for you. Fate may lead you down a different path and in the end, it’ll be the right one that was intended all along. But if you feel it in your heart and gut that this is for you, that you feel confident in your work, and that you’re destined for this career and there is no other, hope is what will get you through the rough times.