Zen And the Stages of Screenwriting Growth: Intermediate Level, Stage 2

After novice writers have written a few scripts, they start to get a feel for how screenplays can be improved. They become less defensive about receiving criticism, and may even welcome it–as long as it’s constructive.

Good experiences internalizing feedback create a mindset where writers are open to more improvements and get a feel for when the scene “clicks,” or the dialogue is “crisp” and “sharp.” They develop a better awareness of clichés and learn to avoid them.

Comedy writers tend to move past certain beginner’s mistakes. A common mistake is writing jokes that have a “setup-punch line” rhythm. You can almost hear the rimshot at the end of the sentence. Other mistakes—writing dialogue that sounds too “written," meaning “too precious, or too “on the nose.”

When writers incorporate new ideas, and understand how and why they need to do so, their scripts get better. The best writers at the middle phase are willing to learn, and in fact, actively try to learn. They may take more classes, find mentors or get veteran writers to give them feedback.

At this stage writers are realizing that screenwriting is really hard work, and some decide it’s not for them. Others are up to the challenge. These writers tend to work harder, writing screenplays that build properly, have good character arcs, and construct decent scenes, acts, and dialogue.

These "intermediate-level" writers have discovered they need to be sponges. They need to read more produced scripts and more books on the subject. They take their careers more seriously; they are doing everything well, just not exceptionally. Unfortunately screenplays need to be exceptional to get picked up by the studios.

After writers have written a few screenplays they generally develop more of a “story sense.” They don’t just settle for the first idea for a scene or a line of dialogue that comes to mind. They spend more time considering options. As a result, they develop fresher and more surprising twists and endings.

Another thing that stalls some writers at these middle stages of development, is craving the sale more than getting the script into its best shape. Some writers even think, okay, it’s not a great script but the idea is so good, someone will buy it.

That idea is not entirely false. "Execution is everything” is a smart way to think about screenwriting. A good idea poorly executed will be hard for a producer or story analyst to read. It won't be a page-turner. Readers will get bored and not finish.

However, if your execution is "good enough" readers will finish your script, and if it's a great idea with "good enough" writing, you might get lucky.

I hate to tell you this, because you can't count on it. Also, if a studio or producer does buy your script because it has a great idea, but sub-standard writing, you'll have $50,000 in your pocket, but you won't have a career.

When you’re rewritten by the “go-to” screenwriter you may or may not even get a writing credit. Usually, though, if you’re the first writer on a project, you’ll get a “story by” credit at least—unless the story changes appreciably.

Intermediate-level writers have generally found a genre they're good at and have a voice. They become familiar with the bibles of screenwriting—Syd Field's or Blake Snyder's books about what’s supposed to happens on page ten, page 25, page 60 and so on. Sometimes a sign at this level is that they conform almost too strictly to these "rules," and the writing feels somewhat forced into the formula.

The good news is this is where some writers get their first jobs, or first screenplay sales, if they are very lucky. My advice, however, is to take the job and sell the script—but keep improving. Never stop. You want to become a bankable writer, a go-to writer, a writer people are happy to have with them on a TV staff.

David Silverman, LMFT, treats anxiety and depression, especially in highly sensitive individuals in his LA practice. Having experienced the rejection, stress, creative blocks, paralyzing perfectionism, and career reversals over a 25 year career as a Film/TV writer, he’s uniquely suited to work with gifted, creative, and sensitive clients experiencing anxiety, depression, and addiction. David received training at Stanford and Antioch, is fully EMDR certified, and works with programs treating Victims of Crime and Problem Gamblers. Visit www.DavidSilvermanLMFT.com.