{"id":39,"date":"2025-07-08T22:19:46","date_gmt":"2025-07-08T22:19:46","guid":{"rendered":"https:\/\/pressbooks.palomar.edu\/candacerose\/chapter\/chapter-13-writing-your-first-draft\/"},"modified":"2025-08-05T21:07:08","modified_gmt":"2025-08-05T21:07:08","slug":"chapter-13-writing-your-first-draft","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palomar.edu\/candacerose\/chapter\/chapter-13-writing-your-first-draft\/","title":{"raw":"Chapter 13: Writing your first draft","rendered":"Chapter 13: Writing your first draft"},"content":{"raw":"

Screenwriting is rewriting, and rewriting and rewriting...it\u2019s an ongoing creative process that starts with you, the screenwriter, and eventually morphs into a creative collaboration between you, the producer, the director and an entire crew of talented people. Which is why screenwriting is so appealing. <\/p>

You\u2019ve conceived of your story idea, plotted it out, flushed out your characters and listened to them speak, and now you\u2019re ready to write. Technically, you\u2019ve been writing your screenplay this entire time, from the first conception of your idea to the moment you type FADE IN. <\/p>

Because you\u2019ve mapped out your story in your treatment, you now have the freedom to create. You can write your screenplay sequentially...or not. Meaning, you can jump around with your writing and develop the scenes that really inspire you first. This is a great way to keep your momentum going and to help you avoid the dreaded \u201cwriter\u2019s block,\u201d where you take more trips to the fridge than fresh paragraphs on the page. <\/p>

Tips for building your scenes<\/h2>

Structure<\/h3>

It\u2019s important to start your scene in a high-energy place, raise the stakes higher and higher and then cut before the energy starts to taper off or even burn out. This is the kind of momentum you want with each scene to keep the energy high from FADE IN to FADE OUT, regardless of the genre. <\/p>

For example, you could start your scene as the alarm clock goes off and your character gets out of bed, checks his cell phone, brushes his teeth, gets dressed for work and then grabs his keys to leave the house when he hears about a zombie outbreak on the TV news, then he puts his shoes on, grabs his coat and leaves - with a scene like this, you have to build the energy from nothing, and the next scene will have to pick up the momentum. <\/p>

Or, you could start your scene with screaming voices coming from the apartment next door, as your character, unfazed, hauls himself out of bed and brushes his teeth. When the blood curdling screams persist, and he opens his window to put an end to it, a zombie smashes through the screen and grabs his electric toothbrush. He slams the window, spewing zombie goo everywhere, snatches back his toothbrush and declares, \u201cI wasn\u2019t done with that.\u201d <\/p>

The second example starts with tension, keeps the stakes high and ends with a humours button that leaves the audience wondering, \u201cWhat will this character do next?\u201d<\/p>

Setups and payoffs<\/h3>

As mentioned in chapter 7, a good setup and payoff is a device that introduces a subtle character trait, line of dialogue, object, clue, or story point that later returns with an \u201cah-ha\u201d moment or reveal for the audience that has a significance to the storyline. It\u2019s a great tool to add mystery, suspense, humor, and intrigue to your screenplay. <\/p>

Exposition <\/h3>

Exposition is background information that the audience needs to know to make your story make sense. The challenge, of course, is to inform your audience without boring your audience. The solution is to disguise the information with action, tension, or humor. <\/p>

For example, continuing with the zombie story idea - let\u2019s say your character is driving through town on his way to work, explaining to his boss over his car phone why he\u2019s late. All the while, he\u2019s pegging zombies with his Prius, racking points like a high-speed video game. <\/p>

From the phone call, the audience gets all of the information needed to get oriented to this world - while being entertained at the same time, watching zombie parts spew across the road and windshield. <\/p>

Avoid the character\u2019s thoughts <\/h3>

As you\u2019re describing the action in your scenes, avoid words such as: he wonders, she thinks, they consider, etc. The audience won\u2019t be reading your script while watching your movie, so it\u2019s your job to convey your character\u2019s thoughts and feelings through action or through dialogue within the scene. <\/p>

Don\u2019t rely on the actors to figure out what you mean. Get creative and come up with unique ways to show what your character \u201cthinks\u201d about his lover. Have your character smell a rose that was set up earlier in the script to be his lover\u2019s favorite flower. Your character could look at a photo of his lover on his phone, listen to a favorite song, pass by the park bench where they first met and run his fingers across their carved initials. Movies are visual, so keep that in mind whenever you find yourself inside your character\u2019s head. <\/p>

Make it visual<\/h3>

Descriptions and actions read differently in a screenplay than in a novel, where the writer has the luxury of time. Screenplay descriptions and action are snappier, to the point, and in just a few words or sentences, a screenwriter can paint an entire picture. This skill can be developed over time, and one way to hone it, is to read lots of well-written screenplays. Learn from the masters, and soon you\u2019ll be thinking and writing visually as well. <\/p>

Another great method for visual writing, is to use metaphors and similes. Instead of describing your character as \u201cJasmine, a young woman, dressed in bell bottoms and platform shoes,\u201d describe her as, \u201cJasmine dresses like a disco queen, where flashy just isn\u2019t flashy enough.\u201d <\/p>

Button a scene <\/h3>

\u201cButtoning a scene\u201d is like the cliff hanger before a commercial break. After your quick trip to the fridge, you\u2019ll be sure to be back for more. This button is the funny line, action, question, at the end of the scene that creates a burst of energy that keeps us hooked. <\/p>

As you\u2019re wrapping up your scene, ask yourself, \u201cWho\u2019s the most important person in this scene?\u201d Give that character the last line of dialogue or the last bit of action, so they stand out and make the greatest impact. <\/p>


<\/p><\/div>","rendered":"

\n

Screenwriting is rewriting, and rewriting and rewriting…it\u2019s an ongoing creative process that starts with you, the screenwriter, and eventually morphs into a creative collaboration between you, the producer, the director and an entire crew of talented people. Which is why screenwriting is so appealing. <\/p>\n

\n

You\u2019ve conceived of your story idea, plotted it out, flushed out your characters and listened to them speak, and now you\u2019re ready to write. Technically, you\u2019ve been writing your screenplay this entire time, from the first conception of your idea to the moment you type FADE IN. <\/p>\n

\n

Because you\u2019ve mapped out your story in your treatment, you now have the freedom to create. You can write your screenplay sequentially…or not. Meaning, you can jump around with your writing and develop the scenes that really inspire you first. This is a great way to keep your momentum going and to help you avoid the dreaded \u201cwriter\u2019s block,\u201d where you take more trips to the fridge than fresh paragraphs on the page. <\/p>\n

\n

Tips for building your scenes<\/a><\/h2>\n

Structure<\/a><\/h3>\n

It\u2019s important to start your scene in a high-energy place, raise the stakes higher and higher and then cut before the energy starts to taper off or even burn out. This is the kind of momentum you want with each scene to keep the energy high from FADE IN to FADE OUT, regardless of the genre. <\/p>\n

\n

For example, you could start your scene as the alarm clock goes off and your character gets out of bed, checks his cell phone, brushes his teeth, gets dressed for work and then grabs his keys to leave the house when he hears about a zombie outbreak on the TV news, then he puts his shoes on, grabs his coat and leaves – with a scene like this, you have to build the energy from nothing, and the next scene will have to pick up the momentum. <\/p>\n

\n

Or, you could start your scene with screaming voices coming from the apartment next door, as your character, unfazed, hauls himself out of bed and brushes his teeth. When the blood curdling screams persist, and he opens his window to put an end to it, a zombie smashes through the screen and grabs his electric toothbrush. He slams the window, spewing zombie goo everywhere, snatches back his toothbrush and declares, \u201cI wasn\u2019t done with that.\u201d <\/p>\n

\n

The second example starts with tension, keeps the stakes high and ends with a humours button that leaves the audience wondering, \u201cWhat will this character do next?\u201d<\/p>\n

Setups and payoffs<\/a><\/h3>\n

As mentioned in chapter 7, a good setup and payoff is a device that introduces a subtle character trait, line of dialogue, object, clue, or story point that later returns with an \u201cah-ha\u201d moment or reveal for the audience that has a significance to the storyline. It\u2019s a great tool to add mystery, suspense, humor, and intrigue to your screenplay. <\/p>\n

Exposition <\/a><\/h3>\n

Exposition is background information that the audience needs to know to make your story make sense. The challenge, of course, is to inform your audience without boring your audience. The solution is to disguise the information with action, tension, or humor. <\/p>\n

\n

For example, continuing with the zombie story idea – let\u2019s say your character is driving through town on his way to work, explaining to his boss over his car phone why he\u2019s late. All the while, he\u2019s pegging zombies with his Prius, racking points like a high-speed video game. <\/p>\n

\n

From the phone call, the audience gets all of the information needed to get oriented to this world – while being entertained at the same time, watching zombie parts spew across the road and windshield. <\/p>\n

Avoid the character\u2019s thoughts <\/a><\/h3>\n

As you\u2019re describing the action in your scenes, avoid words such as: he wonders, she thinks, they consider, etc. The audience won\u2019t be reading your script while watching your movie, so it\u2019s your job to convey your character\u2019s thoughts and feelings through action or through dialogue within the scene. <\/p>\n

\n

Don\u2019t rely on the actors to figure out what you mean. Get creative and come up with unique ways to show what your character \u201cthinks\u201d about his lover. Have your character smell a rose that was set up earlier in the script to be his lover\u2019s favorite flower. Your character could look at a photo of his lover on his phone, listen to a favorite song, pass by the park bench where they first met and run his fingers across their carved initials. Movies are visual, so keep that in mind whenever you find yourself inside your character\u2019s head. <\/p>\n

\n

Make it visual<\/a><\/h3>\n

Descriptions and actions read differently in a screenplay than in a novel, where the writer has the luxury of time. Screenplay descriptions and action are snappier, to the point, and in just a few words or sentences, a screenwriter can paint an entire picture. This skill can be developed over time, and one way to hone it, is to read lots of well-written screenplays. Learn from the masters, and soon you\u2019ll be thinking and writing visually as well. <\/p>\n

\n

Another great method for visual writing, is to use metaphors and similes. Instead of describing your character as \u201cJasmine, a young woman, dressed in bell bottoms and platform shoes,\u201d describe her as, \u201cJasmine dresses like a disco queen, where flashy just isn\u2019t flashy enough.\u201d <\/p>\n

Button a scene <\/a><\/h3>\n

\u201cButtoning a scene\u201d is like the cliff hanger before a commercial break. After your quick trip to the fridge, you\u2019ll be sure to be back for more. This button is the funny line, action, question, at the end of the scene that creates a burst of energy that keeps us hooked. <\/p>\n

\n

As you\u2019re wrapping up your scene, ask yourself, \u201cWho\u2019s the most important person in this scene?\u201d Give that character the last line of dialogue or the last bit of action, so they stand out and make the greatest impact. <\/p>\n

\n


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