<![CDATA[I Write Thrillers, Comedies & Dramas.

What should you write when you don't know what to write?

The answer: Everything!

Forget about outlines, high-concept ideas and the latest hot genre trend everyone is telling you to write. Just write from your gut and see what happens on those 90-120 blank pages. If you do this I promise you something amazing will happen.

You will discover good story ideas, a few cool characters and, most important, your writing voice.

If you're nodding your head in agreement and want to give this a try, here is how to get started:

1) Title your script anything you want.
2) Don't think too much, just start writing a scene about anything. Do this fast, then repeat the process until you have around 70 scenes.
3) Do your best to make sure each scene logically follows the last one.
4) Try to have a lot of bad stuff happen in every scene to at least one of your characters, because "bad stuff" is where the drama lies.
5) Do your best not to solve any problems until you're close to finishing the draft.
6) Put every emotion you feel into this draft. Try being funny, angry, sad, scary, sexy and overly dramatic.
7) Throw in all sorts of real, as well as wild, over-the-top supporting characters to see what happens.
8) Get personal as often as you can in your scenes. Reveal part of yourself in the characters you create.
9) Make sure this writing exercise is fun. Only write as much as you feel like writing each day. No more, no less.

Once you have a completed draft DON'T SHOW ANYONE. This script is for your eyes only. As you read your "write from the gut" script over (give it a week before you do) you will notice something about your writing (and yourself) that you didn't notice before. Also, you should have a better idea on the kind of screenplay/s you would like to focus on writing in the future.

Good luck with the process. Keep on writing. Don't get discouraged. You can't get better at something without practice.

Cheers.

-TB

#1: Having a catchy title attracts more readers.

Not all titles are created equal, so experiment until you find something that you and others really dig.

#2: Not all of your great ideas are worth writing.

No reason to work six months to a year on something that nobody wants to read or see on the big screen. Test “great” ideas out on friends, strangers, and even a few industry folks before getting to work on your screenplay.

#3: Until your story has a decent ending in place, theme doesn’t matter (and shouldn't matter).

The more you rewrite your story, and get the nuts and bolts of your piece down on the page, it should become clear to you what your script is really about.

#4: During the first rewrite, second, third... it’s important to simplify the story as much as possible.

Simple is better. There are always characters you can combine and scenes you can cut to make the script easier to read.

#5: Challenge main characters constantly and put them through hell.

Forcing your characters into action reveals who they are to the audience.

#6: After another rewrite, make sure you still like your ending.

It’s important to make sure you really have the best ending for your story. Nine times out of ten, you'll make an adjustment for the better and want to go back to the beginning of your script and do another rewrite, with the new ending (and possibly theme) in mind.

#7: Don't worry about making everything perfect.

No such thing as a perfect script. But once you have a solid story foundation (beginning, middle and end) you can focus all of your rewriting energy on making your scenes and characters better.

#8: When you get writer’s block, work on another script so you never stop writing.

This is the only practical and drug-free cure to writer’s block I know.

#9: Always make sure the story you're writing is somehow personal to you.

If you can’t identify with a trait or two in each of your characters, add something that's inherently you to them, immediately.

#10: After about six or seven drafts (maybe earlier) share it with a few “secret” readers for some feedback.

If more than one reader mentions the same problem, always take it seriously and try to fix the problem.

#11: Go through each scene and experiment with different settings, character actions and ideas until you feel like you’ve created something an audience hasn’t really seen before.

Never rely on your first, second, or even third idea that comes to mind. These are the ideas that have been done before.

#12: It’s important to ask: Is my story raising the stakes?

You've heard this before, sure, but it's a big deal and worth saying again. You always want to make sure you've given the audience a reason to root for your hero – that includes antiheroes. If your hero fails, then what will happen to him and others around him? Know the answer to this question.

#13: Never solve a character's problem with a coincidence.

That's cheating. Readers are really not nice to writers who cheat.

#14: Watch as many current movies in the genre you're writing and pay attention to tone.

It puts the right words in your head when it’s time to do that “tone” rewrite pass.

#15 Write from the gut, not the head, as much as possible.

Screenplay writing shouldn't be a paint-by-numbers formula. If your script uses one of these formulas, chances are everyone will see your script as unoriginal or just okay, which isn't good enough.

#16 Readers, producers, agents and managers all have different tastes.

Once you have a solid screenplay (and you'll know when you do) not everyone is going to love it. Cat people and dog people don't always get along. Nothing wrong with that. Knowing this fact will help you deal with rejection better. It's only business.

#17 The learning never stops.

And if it ever does, you're toast!

Keep on writing and enjoy the ride. That's the only thing you can control.

Cheers!
TB

Before I write a new screenplay on spec, I like to think about the Johnny Cash biopic movie, "Walk the Line." There is a moment in this movie that is just so awesome, so powerful, I decided to post it on my site.

Here's the quick setup: JOHNNY CASH is broke, married and desperate. His dream is to play music. He gets a chance to play a song for well known producer SAM PHILLIPS. He starts playing one. But Sam stops him only a few verses in. Johnny is defensive at first, but Sam gives Johnny a reality check that will change his life forever.

SAM: We've already heard that song a hundred times. Just like that. Just like how you sing it.

JOHNNY: Well, you didn't let us bring it home.

SAM: Bring it home? All right, let's bring it home. If you was hit by a truck and you was lying out there in that gutter dying, and you had one time to sing one song. One song that people would remember before you're dirt. One song that would let God know how you felt about your time here on Earth. One song that would sum you up. You tellin' me that's the song you'd sing? That same Jimmy Davis tune we hear on the radio all day, about your peace within, and how it's real, and how you're gonna shout it? Or... would you sing somethin' different. Somethin' real. Somethin' you felt. Cause I'm telling you right now, that's the kind of song that truly saves people. It ain't got nothin' to do with believin' in God, Mr. Cash. It has to do with believin' in yourself.

JOHNNY: I got a couple of songs I wrote in the Air Force. You got anything against the Air Force?

SAM: No

JOHNNY: I do.

The rest is history.