THE PRICELESS PROCESS
Yes. If you are struggling and want a secret weapon that will both accelerate your learning and elevate your work…
This is the way.
Is it perfect?
No. They don’t make them like that.
Will it guarantee me success?
No. That’s entirely on you - but it can definitely help if employed as intended.
Is it easy?
No! Nothing about screenwriting is easy! But, this method is much easier and more reliable than any other I’ve come across and it’s much, MUCH easier and more productive than writing by the seat of your pants.
DEVELOPMENT: THE STORY FORGE
Never, EVER start writing until you’ve fully developed your concept and proven - with a wide array of “stress tests” and hundreds of high-yield questions - that your concept is actually capable of spawning an artistically AND commercially viable film or show. Anything else is a recipe for disaster and will both frustrate you and waste your time, effort, and likey money.
DRAFT 1: ONE SENTENCE - THE DEVELOPMENTAL LOGLINE aka THE “BUILDLINE”
Can you almost instantly communicate the essence of this concept? YOU NEED TO.
Does the writer understand the importance of market positioning and, specifically, of your chosen GENRE? Can this idea draw an audience and make a return on the required investment in time, effort, and… MONEY? Does this concept have a differentiating HOOK that will help it stand out from a crowd of other, similar concepts? Find out and address these concerns as early in the process as possible or suffer the consequences!
DRAFT 2: FIVE+FIVE SENTENCES - THE MAJOR (INTERNAL AND EXTERNAL) STORY TURNS
Typically, the focus at this stage is on the dynamic, external events of the story. As early as possible, start mapping out the Protagonist’s arc and engineering your Protagonist’s internal, personal transformation as well. Remember: the external events are merely a metaphor for the internal journey which unfolds at the same pace as the external, elevating and accelerating at all the same story milestones. Your Protag has one job: to be transformed by the events of your story. Can you articulate this transformation in a meaningful way that moves your audience? Do not proceed until you can!
DRAFT 3: SEVENTEEN SENTENCES - THE WIREFRAME
This is a very detailed look at all the major events of the story, all the transition points, reversals, and escalation points. When this stage is completed, you have an actual story on your hands.
DRAFT 4: FORTY SENTENCES - THE OUTLINE
This next stage organically builds on the previous, exposing gaps and cracks to be addressed before moving on to a full treatment. You start adding '“color” and perhaps even an occasional line of dialogue. Here, the work begins its transformation from a series of bullet points, into an actual story.
DRAFT 5: TEN PAGES - THE TREATMENT
Now, you take your 40 sentences and expand them out to 40 paragraphs. That should expand it to anywhere from 8-15 pages in total. And, THIS is what you will drop into whatever screenwriting software you prefer to use as the foundation for your first full draft.
DRAFT 6: MUD DRAFT - THE FIRST FULL DRAFT
Junk. Rubbish. Crap. Garbage. It will be ALL of these things - and that is perfectly normal. Do NOT attempt to avoid this inevitability. It will be full of holes and cracks and will barely make any sense. This should be written in one, non-stop process without deviation, without editing, and without any thoughts about “quality”. The goal here is simply to “get it down.” To get it out of you as efficiently as possible - like you are exorcising a demon.
This is the first opportunity to closely analyze and implement the ESCALATION/REVERSAL pattern and to include one every 12-15 pages.
DRAFT 7: COAL DRAFT 1
Here, the focus is on correcting all of the most obvious problems. This pass is focused on the reader's ability to comprehend your story the way you intended it. Anything that is an obstacle to basic comprehension is addressed. Nothing fancy. Just plug the obvious holes, then share it for high-quality feedback from trusted sources, or take another break. You will need more perspective before moving on.
DRAFT 8: COAL DRAFT 2
Drafts 8 and 9 happen very close together for me when I’m working with a client. Now I’m getting granular. I reassess every choice. Every line, every single word, but I move quickly.
Once this edit is complete, and the writer has addressed every note and made all the changes they feel are required based on those notes, I go directly back in and look again because I’m now very deep in the story and I’m capable of seeing it even more clearly. The deeper we go, the more options for improvements emerge. Once the heavy lifting of draft 8 is complete, I can typically see a much more polished and complete version of the story on the page and it shows me the way forward. For every correction and improvement executed in draft 8, another more relevant one appears.
Character, theme, internal logic, pace, and the color and voice of the piece begin to assert themselves, and… it is very, very exciting to watch the story the writer dreamed of coming to life!
DRAFT 9: COAL DRAFT 3
This draft is built immediately upon the foundation of Draft 8. We go even further, now. Even more granular. Now that the logic of the story is becoming really strong, we can start to trim out every single detail that is not required. The story becomes a lithe, lean, and muscular narrative that readers are glued to. Nothing takes them out of the story. Everything draws them further in.
We get very critical of the Pagecraft. We hunt down all the “widow words,” and “orphans” and kill every line of dialogue possible. The imagery is crystal clear and vibrant, the description is crystal clear, muscular and poetic. The action is non-stop, accelerating, and intensifying with every scene. The story is now a runaway train heading for an inevitable and magnetic conclusion.
Once again, the script is sent out for high-quality feedback from sources you can count on to be brutally honest. It’s ready to test in smaller, regional contests - but only those that guarantee feedback/coverage. Nothing else is worthwhile, and we do not yet submit to the “big show” festivals or fellowships. We are not ready for that as you often only have one chance to succeed on those bigger stages. These smaller festivals and contests will reveal enough useful information without risking much.
DRAFT 10: DIAMOND DRAFT 1
Now, the most difficult and most tedious work begins. Every word is reevaluated - again. Every scene heading/slugline. Every line of dialogue. Every scene, every character, every transition. EVERYTHING. Every NOUN and VERB are scrutinized and reevaluated ruthlessly.
We determine the purpose of every scene and make certain it delivers only what is required and nothing more. What can be cut? Is anything missing? Do we truly have an arresting and impactful arc for our protagonist? Are the themes working and fully on display? Does this thing actually elicit the specific emotional response that we want it to? IS THERE AN AUDIENCE AND A MARKET FOR THIS PRODUCT?
We send it out for more feedback. This time, we should be ready for the “big show” contests and fellowships. Perhaps we submit to platforms like SPEC SCOUT and THE BLACK LIST or to a working professional story analyst. We need the feedback to be brutal and effective.
DRAFT 11: DIAMOND DRAFT 2
Here is where the process will begin to lose momentum. If the previous steps have been executed successfully and without bias, you’re likely near the end of the line as far as what you can do with it. If you haven’t been able to gain any interest in regards to getting optioned or offered work, set it aside and begin again. Perhaps in the future, you can dig it back out and revive it, but for now, you have done all you can do. There’s no point in beating a dead horse, no matter how beautiful you think it is.
