10 Screenwriting "Myths" that are Complete BS

Screenwriting Myths Carole Kirschner.jpg

Hi All,

“A screenplay is always built around the protagonist.”

“Formatting isn’t really important.”

“Aaron Sorkin writes scripts over 120 pages, so I can too…”

There are a lot of screenwriting ‘rules and rumors’ that are spread around Hollywood - some are useful, practical advice, but others are based completely on personal bias.

Here are 10 myths about screenwriting that you can feel free to ignore:

1. If you don’t live in LA you’ll never break in.

This has never been LESS true. Writers like Diablo Cody, George Lucas, Lynelle White, Michael Arndt and countless others did it - and that was before 2020 when the world turned upside down. At least for the foreseeable future, Writers Rooms are virtual and pitch meetings are done over Zoom, making it easier than ever to not be in LA and still propel your career (I even know some writers who landed reps this year that they still haven’t met in person). Sure, actually being in LA had its advantages, but you can 100% break into this industry from anywhere these days.

2. You need to get a rep before you’ll be successful.

Representation for writers is very much a “chicken or the egg” scenario. A lot of writers believe they won’t sell a script until they have an impressive rep behind them, but it’s hard to entice said, ‘impressive rep’ before you have some heat - like selling a script. Many writers I know had their first taste of success by partnering with a mid-sized or small producer. There are many hungry up-and-coming producers out there searching for a hot script that will launch their career and you don’t need to be repped to find them. Also, if you do end up teaming up with a producer and the relationship goes well - they might just introduce you to some great managers or agents.

3. Signing a release means signing your rights away.

Release forms aren’t some trick to steal your ideas. They are legal documents that are often necessary if you want to get your script read. That being said, if you are asked to sign a release, it’s never a bad idea to get someone (either a more experienced writer friend, or a rep) to review it before you sign.

4. A sellable screenplay is always built around the protagonist.

Sure, most films and TV shows are built around a main heroine (or hero). But it’s definitely not the only way to structure a blazing hot script. There are plenty of successful movies and shows that prove it’spossible to build a great story around an antagonist (There Will Be Blood, Amadeus, even the animated film Despicable Me), or a whole ensemble of characters (Knives Out, Spotlight, The Hours). As long as your script has drive, stakes, interesting characters, and is all-around undeniably great - it has a shot at being sellable.

5. Formatting DOESN’T really matter.

When a reader picks up your script they hope to read something that’s emotionally fulfilling, entertaining, and fresh. But they also want to see that you understand how to format a script properly. Sure, there are scripts out there, written by established pros, that don’t follow perfect formatting, but while you’re still proving yourself formatting definitely does matter. That being said…

6. Formatting must be PERFECT.

Don’t get consumed with your formatting being perfect. There are industry standards for formatting, sure, but not everyone thinks of formatting in the exact same way (I’m talking little things, like whether to put a period after EXT and INT). It must be professional, but  as long as your formatting is clean, clear, and as consistent as you can make it, you’ve done your job. 

7. If a company rejects my screenplay I can always revise and resubmit.

Most companies, reps, and producers will only look at a script once. So make sure your screenplay, pitch, and/or bible is as blazing hot as you can get it before it’s your turn at bat. Because you almost always only have one shot.

8. I’m going to sell my first screenplay for seven figures, and retire.

Budgets are getting tighter and Writers Rooms are getting smaller. The days of newbie writers selling spec scripts for millions of dollars are long gone. This career isn’t for writers looking to sell one great script, make some “bank” and get out. It’s for writers who want to write, and write, and write some more. There is still money to be made as a screenwriter - but it’s a profession - not the lottery. 

9. Aaron Sorkin breaks script and formatting rules all the time, so why can’t I?

Aaron Sorkin is part of a special (and very small) club of screenwriters who have spent years establishing themselves. Writers in this club can create scripts that are well over 120 pages, have endless first acts, and break all kinds of formatting rules. But, until you are a part of that club, focus on writing scripts that show you can create a blazing hot story (in under 120 pages) and that you know how to professionally format and structure a screenplay.

10.I will never write like Phoebe Waller-Bridge. 

This point is actually true. You will never write like Phoebe Waller-Bridge. But Phoebe will never write like you. Each writer has a unique voice that is unlike anyone else’s. Don’t waste time comparing and contrasting your talent - focus on your own journey and just keep writing and writing and writing!

What screenwriting “advice” do you think isn’t true? Let me know @CaroleKirsh!