Chapter 1: The Importance of Visualization

One of the most rewarding aspects of maintaining this blog is the opportunity to engage with fellow screenwriters working in Hollywood and beyond. Recently, I had the pleasure of hosting a Q&A session with John Swetnam for my Master Screenwriting class. John has made headlines this year by selling two spec scripts: "Evidence," which is set to hit theaters in 2012, and "Category Six." [You can also check out my earlier interview with John here.]

John is remarkably insightful, and during our discussion, he shared a key piece of advice that highlights his understanding of the industry:

"I generate numerous ideas, but I subject them to a stringent evaluation process. For anyone aiming to write for studios, this is essential. You need to assess how your idea fits within the market. Be brutally honest: how do you envision your script as a film opening on 3,000 screens this Friday? What does that scenario look like? How would a studio market it? Is it a film that can compete with something like Twilight on its opening weekend? This is crucial to consider. Often, the issue is that many writers develop scripts based on concepts that are unlikely to be produced. It all begins with the idea. While it doesn’t have to be a high-concept notion, it should be something you can envision playing at your local cinema. I think about the poster, the trailer, the casting—everything. I can picture the poster in my mind, visualize the trailer, and succinctly pitch the idea. If I can see the movie in my mind, then the rest becomes manageable."

Imagine the film—that’s the ultimate test for any concept you create. However, it’s essential that this vision is grounded in reality. As John points out, you must rigorously dissect your idea into its marketable components: actors, posters, trailers, elevator pitches, and the image of it competing with films like Breaking Dawn Part 1 and The Muppets across the hall.

Can you genuinely picture your movie achieving all these benchmarks?

Let's refine that question: Can you truly envision your film hitting every single target?

Do you see the characters in your story as roles that well-known actors would be eager to take on, with dialogue they’d want to embody?

Can you visualize the poster—complete with the title, actors, background imagery, color scheme, and tagline—and see it fitting among other advertisements in your local newspaper's entertainment section?

Can you imagine the trailer—its voice-over, key scenes, tone, and overall aesthetic—and picture it as the second preview before films playing across the country this weekend?

Finally, can you realistically picture your movie being screened on 3,000 screens, with audiences filling theaters nationwide, motivated enough by your concept to leave their homes, purchase tickets, and enjoy popcorn and sodas while watching your film? Can you envision such excitement for your project?

If you can indeed picture your movie meeting all these criteria, you likely have a story worth pursuing. If not, it may be wise to explore alternative ideas or angles that could enhance its marketability.

It’s important to note that John said, "If you're trying to write studio movies." All of this advice primarily applies to crafting a concept that aligns with the marketing and sales strategies of major studios.

However, if your project is an independent feature, you might have more flexibility in the type of story you wish to tell. Yet, even in that space, it’s beneficial to visualize the film. Will it resonate at festivals like Sundance?

Ultimately, your narrative must be rooted in a compelling story concept. Terry Rossio (notable for his work on Aladdin, The Mask of Zorro, Shrek, and Pirates of the Caribbean) emphasizes this point:

"Many aspiring screenwriters fail to invest enough time in selecting their concept. This is the most common error I observe in spec scripts. Writers often lose the race before it begins, wasting months or even years trying to elevate a film idea that never had a chance of becoming a reality."

A great way to assess whether your story idea is strong is to follow John Swetnam's lead: visualize the movie.

The Business of Screenwriting is a weekly series of Go Into The Story posts based on my journey as an outsider in Hollywood, where I successfully sold a spec script and transitioned into a screenwriting career. Along the way, I've made some wise choices, some decent decisions, and a few regrettable ones. I hope you find value in the lessons I share here.

[Originally published December 2011]

For more articles on The Business of Screenwriting, click here.

Chapter 2: Practical Insights from Industry Experts

In the video "Breaking In: The Business of Screenwriting," industry professionals discuss essential strategies for navigating the screenwriting landscape, providing valuable insights for aspiring writers.

In "Can you make a living at this? - The Screenwriting Show (episode 9)," the hosts explore the realities of making a sustainable career in screenwriting, answering common questions faced by newcomers.