![whats a screenwriter whats a screenwriter](http://1.bp.blogspot.com/-TG7GqKNP0cs/VV9iNnvRrxI/AAAAAAAAEeg/gjycxNJ0xMQ/s1600/Hero%2Bdefinition.jpg)
The truth is, there is no protagonist vs. Where’s the protagonist against an antagonist conflict in the scene in Whiplash in which Andrew and Nicole chat and eat pizza on a first date? Or the scene near the beginning of Nightcrawler in which Louis happens to pass by a car wreck and pulls over? Why is this when the majority of these same writers have attended screenwriting seminars and courses, and read the top books cover to cover? The reason is because much of the advice given on scenes focuses on a “conflict between a protagonist and an antagonist” or “one character wanting something and the other trying to stop them”, but this misses the point. Writers are constantly being told stakes-related cliches like “Make every line of dialogue count” and “If a scene can be taken out and the story still makes sense, take it out”, and yet still thousands of scripts are registered every year at the WGA containing scenes with absolutely zero stakes.
#Whats a screenwriter full
This often results in scenes full of inconsequential conversations. Having been in the script consultancy business for some time, if I had to name the single most significant factor as to why a spec screenplay does or doesn’t get picked up, there’s one in my opinion that towers head and shoulders above the rest… a lack of stakes in each and every scene.Įven if a spec script has stakes in the overall concept, they then often fail to follow through and contain something at stake for the characters in each scene.