By: Sarah Chaisson-Warner
Whether it is a TV pilot, feature, short, or proof-of-concept, we know how hard it can be to get everything just right. As professional screenplay readers, having read hundreds and hundreds of scripts, we have become familiar with some of the most common mistakes writers make. But we aren’t here just to point out the problems - we pride ourselves on providing solutions, too, and empowering the writers we work with to write their best script yet.
Here are 10 common mistakes we see in screenplays along with a few suggestions for how you might fix them.
Plot Mistakes
(1) GIVING IT ALL AWAY
A common story device writers use is giving the audience a taste of the conflict’s outcome in the very first scene or sequence of scenes to draw them into the story. After all, it worked in “American Beauty” when Kevin Spacey’s character tells the audience in the first few minutes that he is dead. Too often, though, the “teaser” built into the first scene or sequence gives too much away, leaving the audience wondering why they should invest their time and emotional energy in the story if they already know the ending.
The early reveal in “American Beauty” works because Spacey tells you he’s dead, but provides no additional details, leaving the audience to wonder - how did he die? Who killed him, and why did they do it?
How to fix it: Ask yourself - what am I hoping to achieve by sharing these critical details with the audience this early? If the answer is simply - I want them to want to watch more - that’s not enough of a reason to utilize this approach. Similarly, ask yourself what mysteries still lie, waiting to be revealed to the audience (ie - why should the audience keep watching?)
Grounding yourself in these two questions can help you determine whether to use this approach or to perhaps try something different.
(2) LIMITED WORLD BUILDING
Readers actively want to engage with your script and immerse themselves in your story. One of the best ways to do this is by world-building, but writers don't give enough of a sense of the world the characters inhabit. World building is both an art and a science: too much description can slow down a script and too little can leave the reader less invested in the story.
World building isn’t specific to any particular genre (although clearly fantasy and sci-fi scripts rely on strong world-building to help set the context and tell the story) but scripts in all genres can benefit from this practice. Does your script take place in Buenos Aires in the 1920s or in an underground lair buried deep in a volcano or in present-day suburbia?
How to fix it: In building your world, incorporate not only the setting, but how the characters experience them as well – what do they see, hear, and smell in this world? Consider, too, the peculiarities of this world as they relate to the plot.
(3) WEAK OR COMPETING SUBPLOTS
Subconflicts are essential for creating a compelling story - they help to move the story forward and give depth and layers to the conflict and characters. But underdeveloped subconflicts can leave the script feeling unfocused, and subconflicts that are too developed distract from the central conflict.
How to fix it: To meet the subconflict challenge, ask yourself a few questions:
- How does the subconflict relate to the central conflict?
- Will the outcome of this subconflict – good or bad – also have an impact on the protagonist and their journey? (The answer should be yes!)
- What impact could this subconflict have on the central conflict and the protagonist (ie – what are the stakes of the subconflict and are they important enough to garner time and space in my script?)
(4) A SECOND ACT THAT FIZZLES
Your first act is killer - it introduces the main characters, the central conflict, and the stakes. Your third act wraps the plot up nicely by resolving the central conflict and any subconflicts, giving the audience a satisfying ending and just the right amount of denouement. But what about the second act? The second act is often where plot and pacing issues come to light, and a second act that fizzles, rather than sizzles, can tank your script.
How to fix it: Look at the second act as building towards the height of the bell curve. This is where the story should grow, climb, and amplify quickly. Consider using sticky notes to devise the important plot points that must occur before the resolution in the third act and place them on your bell curve. If your plot points are lacking, or there are too few of them, it might be time to reconsider and amp up your second act.
Character Mistakes
(5) NO ONE TO ROOT FOR
The audience needs a protagonist who they can root for (heck - sometimes writers can even create villains that are worthy of an empathetic moment from the audience too.) Rooting for the protagonist isn’t simply about cheering for the main character - it’s actually about creating an emotional connection between the protagonist and the audience. If the audience cares about the protagonist and is genuinely invested in their journey, they will root for them. But if that emotional connection is underdeveloped or simply not there, the audience quickly loses interest.
How to fix it: Consider interviewing your protagonist to learn more about them. What makes them special? Which of their characteristics might audiences connect with and why? What flaws do they have, and how might those resonate with the audience? Remember - establishing “likeability” isn’t the same as creating a true, emotional connection to the protagonist. Some characters are inherently unlikeable in their words and actions (think Don Draper in “Mad Men”) but the emotional connection is strong due to his flaws, journey, and universal themes.)
(6) THE CONVENIENT SIDE-KICK
A convenient side-kick is often the tell-tale sign of an underdeveloped story. Convenient side-kicks often offer convenient solutions to inconvenient problems in what are often unsurprising ways. (The protagonist is cornered by the villain! What will they do? Oh look, here comes the side-kick with just the thing the protagonist needs to persevere!) Relegating an important character to side-kick status also means losing an opportunity to invest in a critical on-screen relationship, and the opportunity to create a more meaningful plot.
How to fix it: Invest more heavily in developing the characters and storylines of the person or people closest to your protagonist. Why are they invested in the protagonist and their goals? What is their self-interest and how does their self-interest relate to the protagonists’ goals? What potential pitfalls might their relationship encounter as they go on the hero’s journey?
(7) A HO-HUM VILLAIN
At times, writers can become so focused on developing their protagonist, that they either overlook the villain or they create an overly-simplistic antagonist without much that distinguishes them from a run-of-the-mill bad guy. A complex, interesting antagonist is necessary for creating conflict - the harder it is to defeat the antagonist, the more rewarding the victory is for the protagonist.
How to fix it: Ask yourself the same questions you asked when creating your protagonist? What does your villain want? What is in their way? What will happen if they fail? What is your villain’s fatal flaw, and what redeeming qualities might your villain have? How do they together create a more complex character?
Standards & Practices Mistakes
(8) OVERUSING CAPS
CAPS can be helpful in the action content of a script, allowing the reader to hone in on critical details. But overusing them, or using them inconsistently, can interrupt the flow of the read and create unnecessary visual speedbumps.
How to fix it: A good rule to follow is to only put two things in CAPS - sounds and props that will be seen again in the script. For example, “The wind WHISTLES loudly through the forest” and “She noticed a peculiar WAND in the window of the shop.”
(9) DIRECTING FROM THE PAGE
While it may be tempting to include camera direction in your script (after all, you’ve pictured in your head how your script would look on the screen more than anyone else!) camera direction isn’t necessary at this phase of scriptwriting.
Similarly, writers often think it's necessary to include copious detail about how the main characters look to help the reader picture them. While some description is helpful, significantly more detail like extensive costuming is not.
How to fix it: Eliminate any camera directions currently written into your script. For costume and make-up, only include these details if they are critical to the plot. For example, if a character has a tattoo that is used to later identify them in a police line-up scene.
(10) RELYING ON YOUR FRIENDS AND FAMILY
No shade meant towards your friends and family - we bet they’re fantastic people. But relying solely on them (even if they are writers too) to read and offer feedback on your script likely won’t be enough to put your script over the edge.
Professional readers are trained to look for both the opportunities and challenges in your script. They seek out the weak spots, provide input on how you might address those weak spots, and support you in your writing journey. Similarly, professional readers can also help put your script into the larger context - how might your script fare in a crowded industry, particularly its marketability? How does the script compare to other stories in a similar genre, and what makes it unique?
How to fix it: Consider purchasing professional coverage. Our screenplay readers will create tailored coverage to suit your individual needs. Whether you’re looking for condensed or comprehensive feedback for your Feature, TV Pilot, or Short, we’ve got you covered, helping you to write your very best screenplay.
Shore Scripts offers a variety of coverage options – everything from a two-page report on your first 10 pages to a more comprehensive 8-page report of your entire script.
