Screenwriting Study Guide

📖 Core Concepts Screenwriting – Writing scripts for film, TV, or games; includes research, narrative development, dialogue, and delivering a properly formatted screenplay. Spec script – Written on speculation (no commission); sold to studios; can be original or an adaptation. Commissioned screenplay – Assigned after a concept or rights are secured; often involves multiple writers. Three‑Act Structure – Setup (≈30 min), Confrontation (≈60 min), Resolution (≈30 min). Syd Field Paradigm – Plot Point I (end of Act 1), Midpoint (≈p. 60 of a 120‑page script), Plot Point II (end of Act 2); “Pinch” points keep momentum. Four‑Act (Thompson & Bordwell) – Set‑up → Complicating Action → Development → Climax. Eight‑Sequence Structure – Eight 10‑15‑min “mini‑movies,” each with its own three‑act mini‑structure. Character Motivation – Outer (tangible goal) vs. Inner (why the goal matters). Master‑Scene Format – Slug line, action, character name, dialogue, parenthetical, transition (in that order). Copyright (US) – Automatic protection for works created after 1978; only the expression of an idea is protected, not the idea itself. Implied Contract Theory – Submitting a script can create a contractual obligation to pay for the ideas if certain facts are present. --- 📌 Must Remember Spec script pitch: strong title + logline + clean script = better chance of sale. Rewrite credit rule (US): ≥ 50 % of the final script must be substantially changed. Page‑point benchmarks: Inciting Incident ≈ p. 15–20 Plot Point I ≈ p. 30 (end of Act 1) Pinch I ≈ p. 45, Pinch II ≈ p. 75 Midpoint ≈ p. 60 Plot Point II ≈ p. 90 (end of Act 2) Climax ≈ p. 105–110 Four‑act timing: roughly 25 % each, but “Complicating Action” often begins p. 30. Copyright registration: Required before filing suit; registration before infringement needed for attorney‑fees/statuary damages. WGA registration: Proof of authorship, not a legal requirement. Legal releases: Often waive rights to compensation for ideas submitted. --- 🔄 Key Processes Developing a Spec Script Research & concept → Outline (beat sheet or sequence chart) → Write logline & title → Draft full script → Polish dialogue → Format in master‑scene style → Pitch to agents/producers. Commissioned Assignment Workflow Receive brief/rights → Outline per studio’s structural expectations → Draft → Internal notes → Rewrites (page‑one rewrite if premise solid, polish for dialogue) → Final draft → Credit arbitration (≥ 50 % change). Syd Field Structural Beat Sheet Inciting Incident → Pinch I → Plot Point I → Pinch II → Midpoint → Pinch III → Plot Point II → Climax → Resolution. Script Submission & Legal Safeguard Register with WGA (optional) → Submit through agent/manager → Sign studio’s release form → If unsolicited, expect no reading; rely on implied‑contract arguments only if breach occurs. --- 🔍 Key Comparisons Spec script vs. Commissioned screenplay Spec: Writer initiates, sells; risk‑high, high‑reward. Commissioned: Studio initiates, provides concept/rights; lower risk, often collaborative. Three‑Act vs. Four‑Act vs. Eight‑Sequence 3‑Act: Simple 30/60/30 minute split. 4‑Act: Adds “Complicating Action” for modern pacing; each act 25 %. 8‑Seq: Breaks film into eight self‑contained mini‑movies; useful for detailed outlining. Outer vs. Inner Motivation Outer: Physical goal (e.g., rescue the hostages). Inner: Psychological need (e.g., prove self‑worth). Page‑One Rewrite vs. Polish Page‑One: Overhaul when premise/characters are solid but whole draft fails. Polish: Minor fixes—dialogue, jokes, pacing. --- ⚠️ Common Misunderstandings “Ideas are copyrighted.” Only the specific expression (dialogue, scenes) is protected; plot outlines are free to use. Any rewrite earns credit. Credit only if ≥ 50 % of the script is substantially changed. All TV writers are staff. Most start as freelancers with spec scripts; staff positions require prior credits. Spec scripts must be completely original. They can adapt existing works if rights are cleared. Four‑act = four equal minutes. Timing varies; the key is functional beats, not strict minute counts. --- 🧠 Mental Models / Intuition Story Spine (5‑element model): Problem (inciting incident) → Goal (what the hero thinks will fix it) → Path (journey) → Conflict (antagonist/obstacle) → Stakes (what’s at risk). Hero’s Journey as a Map: Call → Refusal → Mentor → Trials → Crisis → Reward → Return → Transformation. Master‑Scene Skeleton: Slug → Action → Character → Dialogue → (optional) Parenthetical → Transition – think of it as “header → description → speech”. --- 🚩 Exceptions & Edge Cases Credit Threshold: A writer can receive credit with < 50 % if the Writers Guild arbitration rules deem the contribution “significant.” “Open” Assignment: Writer may be approached but can still pitch alternative concepts; not exclusive. Implied Contract: Even without a formal contract, courts may award compensation if the writer’s submission was solicited under circumstances that suggest a contract. Page‑One Rewrite Trigger: Only when the core premise/characters are sound but the script is otherwise unusable. --- 📍 When to Use Which Spec vs. Commissioned: Use spec when you have a strong, marketable idea and no studio attachment; choose commission when a studio already owns the property or wants a guaranteed writer. Structural Model Choice: Three‑Act for classic, straightforward stories. Four‑Act for contemporary, tension‑driven scripts. Eight‑Sequence for complex, genre‑heavy films needing tight pacing. Rewrite Type: Page‑One when the script’s skeleton is solid but the draft is “unreadable.” Polish for minor tone or dialogue issues. Copyright Protection: Register with the Library of Congress before any potential infringement if you plan to enforce rights; use WGA registration for proof of authorship in disputes. --- 👀 Patterns to Recognize Pinch‑Point Placement: p. 45 and p. 75, each preceding the midpoint and Plot Point II. Sequence Mini‑Acts: Every 10‑15 min block mirrors a three‑act mini‑structure (Setup → Conflict → Mini‑Resolution). Motivation Reveal: Outer goal appears in early action; inner desire surfaces through dialogue later. Credit Language: “Substantially changed” language appears in contracts and WGA guidelines—look for percentages. --- 🗂️ Exam Traps Confusing Outer/Inner Motivation – Test items may swap them; remember outer = what they want, inner = why they want it. Assuming Any Rewrite Gives Credit – Only ≥ 50 % change qualifies (unless arbitration decides otherwise). Believing Copyright Covers Plot – Only the expression (specific wording, scenes) is protected; ideas are free. Mixing Up Act Boundaries – A question may give page numbers that don’t align with the three‑act model; verify using the standard 120‑page benchmark. Misidentifying Spec Scripts – They can be adaptations; the key is that they are written without a prior commission. ---