What makes a screenplay successful? This question has haunted many a writer since the dawn of motion pictures. No single genre, subject or storyline has so dominated the box office as to be dubbed a surefire winner. If one had, that’s all Hollywood would make. We’ve seen hits and flops from every kind of film imaginable. For every Spartacus, there’s a Cleopatra. For every Godfather, there’s a Billy Bathgate. For every Lawrence of Arabia, there’s an Ishtar. But that doesn’t mean there aren’t key elements producers look for in a script as bellwethers of success, because most understand that while you can make a so-so movie from a great script, you can’t make a great movie from a so-so script. It all starts with the material. As such, here are seven things your script should have, regardless of the scope and storyline.

Originality

Producers may want your material to fit a certain formula, style or genre, but that doesn’t mean they want derivative. Everyone is looking for the next great concept. Some unique take or spin on an idea that we haven’t seen yet. If you think every idea has been done already, just look at films from Guillermo del Toro, Wes Anderson or Christopher Nolan. Give your material a new angle or sui generis voice that feels fresh and new.

A Coherent Theme

Your screenplay should have a raison d’être. Craft a message that makes audiences think, that espouses a point of view, that leaves people talking long after the credits roll. Sadly, too many scripts exist only for entertainment or spectacle, but storytelling is man’s way of sharing ideas, and film is no different, so share one. What your hero learns on his journey – how he grows or changes – should, in essence, embody the script’s theme.

Three-Act Structure

The first quarter of a script is Act 1, culminating in the hero making a choice. The second and third quarters are Act 2, with rising action to a midpoint followed by falling action to a low point. The last quarter is Act 3, where the hero finds strength and forces a climax. If this seems too rigid, sorry, it works, and producers want to see it. Yes, some successful filmmakers may eschew traditional three-act structure, but their track record gives them leeway that up-and-comers don’t have. First, show you can play by the rules, then you can break them. And then maybe someday you can make them.

Conflict

The biggest way to suck the soul from a script is through a lack of dramatic tension. If the hero’s goal is to eat a banana and the antagonist’s goal is to eat an orange, there’s going to be zero conflict because they’re in two different movies. This may sound elementary, but all too often even pros make this mistake. If the hero’s goal is to eat a banana, the antagonist’s goal better be to stop them from eating it! The more conflict, the more interesting the hero’s journey will be.

Proper Formatting

Learn how a script should be formatted. Font type and size should be Courier 12, while margins should be one inch from the top and bottom, and 1.5 inches from the left side. Scene headings should generally be “INT.” or “EXT.” followed by the name of the locale and “DAY” or “NIGHT.” Character names should be capitalized the first time the character is introduced only. And a proper title page will include the author’s name and draft date. While software like Final Draft helps with much of this, there’s still plenty of room for error, so be sure to get it right. Read Syd Field’s Screenplay for more specifics on formatting.

The Right Length

Nothing makes a producer’s eyes go crossed more than a 145-page script with long blocks of action. Scripts should almost never be longer than 120 pages and should have plenty of white space on the page. In screenwriting, less is more. In fact, unless it’s an epic, 100 pages is usually a great length. If your script is running long, there are undoubtedly areas that can be trimmed or streamlined.

Mastery of Language

Quality of the writing is key. Producers know that the script will be read literally hundreds of times before it makes it to the screen – by crew, cast, executives, agents and everyone in between. A good story won’t save a poorly written script. A producer judges the writing in the first five pages, and if it’s bad, they won’t get to page six. Craft tight, punchy action lines that paint a visual and dialogue that feels true to your characters. Moreover, make sure spelling and grammar are on point.

While nothing guarantees that your screenplay will get the attention of a producer, employing these key elements will almost surely put you head and shoulders above many other writers out there.

BIO
Mark Heidelberger co-founded Beverly Hills-based Treasure Entertainment in 2000, serving as a film executive, producer and literary manager until 2011 before going freelance. Film and TV credits include Harsh Times, Comfort, Ninja Apocalypse, The Basement, Take the Night, Pray for Rain, Hallmark Channel’s You’ve Got a Friend and the soon-to-be-released Last Night on Earth. Often times, he performs ghostwriting services on screenplays in addition to his producing duties. He is a member of the Producers Guild of America. He holds a BA in Film Studies from UCSB and an MFA in Producing from UCLA’s School of Theater, Film, and Television.