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Screenwriting Rules and How To Break Them
RULE #1 – WRITE WHAT YOU KNOW
One of the most common misconceptions about screenwriting is that as a writer you should “write what you know.”
On the surface, this is a smart idea. After all, writing what you know means you won’t get into trouble for your writing – and even your fiction will be grounded in truth.
As anyone who has lied can tell you, building on real myths is like building on sand.
Things may seem simple for a while, but soon some fiction piles up until you spend all your time trying to keep your story from falling apart.
Writing down what you know makes things easier. Instead of reinventing the wheel, you focus on what you know best, explain it to your audience, help them connect with it, and take them on a journey to connect with it.
But of course, if famous writers only wrote what they know, some of the great works of fiction would not exist.
I think it’s safe to say that George Lucas didn’t spend a lot of money reality a time “long ago, in a galaxy far, far away”. Neither JRR Tolkien nor Peter Jackson were ever taken by Gandalf.
You don’t have to be an undercover assassin or an FBI agent to sign up Silence of the Lambs. You don’t have to be crazy to write Goodfellas. And you don’t have to be a pet researcher to write Ace Ventura.
As writers, we know on some level that our job is to create. We are fiction makers… So how are you supposed to write what you know, when you’re thinking about a world you’ve never lived in, or a person whose life you’ve never shared?
The trick to writing what you know is not to write what you really know – it’s to write what you know from the heart.
George Lucas may not have known Darth Vadar—but he was deeply connected to the idea of power. It’s what makes the first films so powerful—and its absence is what makes later films so easily forgotten.
JRR Tolkien may not have lived at the center of the world, but he clearly understood the nature of addiction: the irresistible desire to wear a precious ring of power—even knowing that it approaches the dark lord. And the process of the end of the habit-and the destruction of the ring and the last habit, Gollum, also means the end of the age of magic, and the beginning of the age of man.
What a great writer does is not just write the absolute truth of what they know.
What a great writer does is translate what they know into fiction that tells the truth more powerfully than the actual truth ever could.
Rule #2: DO NOT USE FLASHBACKS
As any computer graphics teacher can tell you, constant repetition means a lot of trouble for young writers.
No matter how interesting their scripts may seem, the natural visuals always kill the drama of the story, distracting the writer and the audience from what is most important in the script: the present-day adventure of the main character.
For this reason, it has become a teaching among filmmakers, lighting designers, and film educators that decisions should be avoided at all costs.
Good advice. Except that sometimes flashbacks just work.
Can you imagine what would happen if the big screenwriters liked it Memento, Sophie’s Choiceor Blue Valentine were they sticking to the ban on bawling?
Their films would have lost some of their most powerful elements – and may not have been written at all.
While avoiding flashbacks is a good rule of thumb, the real question isn’t whether or not you should use flashbacks, but how they affect the drama of your story.
Deciding whether to use flashbacks in your photos isn’t just a rule.
It’s about developing a creative process, based on your goals for your project, the visual language you use, and the style of your story.
This means understanding visual problems, so you can make sure the visuals in your story are moving things forward, rather than holding back your film.
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