Writing and Selling Drama Screenplays Read online

  It may be drama features that win the most awards and kudos from critics, but in the current marketplace you’re unlikely to sell a drama screenplay in the way you would a genre script.

  Breaking down the nuts and bolts of what differentiates drama from genre, Writing and Selling Drama Screenplays will consider questions such as:

  • What is ‘emotional truth’?

  • What separates stereotypical and authentic characters?

  • What are the different types of drama feature screenplay?

  • How do we make these films, when there’s ‘no money’?

  • What are the distribution opportunities for dramas?

  Exploring the ways in which drama and authenticity work, it will empower screenwriters to make their own story and character choices, so they can write and also help to package, finance and even make their own drama features.

  Writing and Selling Drama Screenplays includes detailed case studies of produced dramas made on both shoestring and bigger budgets, and industry insights from their writers, directors and producers. It looks in-depth at Scottish BAFTA-winning Night People, the iconic coming out movie Beautiful Thing, the touching New Orleans drama Hours, starring the late Paul Walker, and the ambitious true story of Saving Mr Banks, based on the battle of wills between Mary Poppins author PL Travers and Walt Disney himself. It will also discuss films such as Brokeback Mountain, American Beauty, The King's Speech, Juno, Erin Brockovich, Changeling and Girl, Interrupted.

  Lucy V. Hay is a novelist, script editor and script reader. She is one of the founding organisers of the London Screenwriters’ Festival and Associate Producer of the dark Brit Thriller Deviation (2012), starring King of the Indies Danny Dyer and Hellboy 2’s Anna Walton. Lucy has read for a variety of production companies, funding initiatives and screen agencies as well as individual directors and producers with her Bang2write script consultancy. She owns the scriptwriting craft tips and networking site at www.bang2write.com and the online writers’ group on Facebook and Twitter, ‘Bang2writers’. She lives in Devon.

  For all the writers and filmmakers who were so generous with their time and insights in making this book possible, plus the Bang2writers who keep me on my toes!

  CONTENTS

  Preface

  WHAT DRAMA IS NOT (AND BEYOND)

  WRITING VERSUS SELLING

  TRUTH AND DARE

  THE PSYCHE AND CONFLICT

  COMMON WRITER AND DRAMA MISTAKES

  KNOW YOUR DRAMA NICHE

  BEATING THE ODDS

  TRUE BLUE

  NO ONE SIZE FITS ALL

  WHATEVER IT TAKES

  WRITING AND SELLING YOUR OWN SPEC DRAMA SCREENPLAY

  ADDENDUM

  Resources

  About Us

  Copyright

  PREFACE

  Bang2write and its accompanying social network is often cited online by others as being for those interested in genre writing, and certainly my articles on the differences between horror and thriller remain some of the most oft-hit on the site. But I’ve always had an affinity for drama. Though I’ve always enjoyed thrillers and horror, plus blockbusters and their ilk (and no doubt always will), it was actually drama that lit a fire under me in terms of storytelling. I did a media course as a teenager and one of our first assignments was to do a review of a non-Hollywood film (no doubt our lecturer’s attempt to challenge media imperialism… for me, it worked!). Back then there was no Netflix, Amazon Prime or YouTube; there was barely DVD. So I went to the local video store and my mate Dylan recommended Once Were Warriors (1994), a New Zealand drama about a family descended from Maoris whose story involved domestic violence, sexual abuse and bereavement after a suicide. I’ll be honest and say that, back then, as a young white girl in rural Devon, I was completely unaware of Maori people (never mind the fact that they’re often treated as outcasts despite being indigenous to New Zealand), so it was a huge eye-opener for me. Though I didn’t know the word ‘disenfranchisement’ then, I was struck by the themes of injustice and loss in the film, and it was like a million light bulbs went on in my head. For the first time, I realised movies could be challenging, as well as entertaining.

  Fast-forward a few years and I was on my first work placement, as a script reader for a literary agent. The UK is known for hard-hitting, realistic, gritty drama and it reached a particular high point in the 1990s, so it’s not really surprising that, in the early noughties, there was a plethora of very worthy, low-budget drama screenplays in the spec pile (most of them feature-length, inspired by the likes of Loach, Leigh and Russell). Though this appears to have dropped off in recent years (especially in favour of science fiction and fantasy TV pilot screenplays for returning series, interestingly), I still read a lot of spec drama screenplays. I’d wager at least 30 per cent of Bang2write’s general submissions pile is drama, whether short film, feature, TV pilot or web series, as it seems spec screenwriters and filmmakers love to try to put ‘real life’ under the microscope. And why not? We all want to make sense of the world around us.

  Writers also frequently target low-budget drama as a handy ‘foot in the door’ to the industry. However, whilst they’re right that it gives their screenplays a greater likelihood of being produced (especially short-film drama screenplays), there appears to be a fundamental misunderstanding amongst many about just what a well-conceived drama screenplay entails. This may be due not only to the story or characters they choose, but also to arena, storytelling devices (like flashback), and dialogue. In the course of this book, then, I will break down what drama means to me as an avid consumer of such produced content and reader of (often ‘misfiring’!) drama screenplays. I will also look at the common mistakes of spec dramas, especially with reference to character, storytelling and structure. In addition, I will look at a number of produced dramas of varying types, including (but not limited to) short films, adaptations and star-led vehicles. I will also look at the concept of theme and message, as well as target audience and budget. Last of all, since I focused on filmmaking resources in my previous screenwriting book (and many will obviously cross over), I have created a very different resource for the back of this book. I hope you like it.

  Though produced dramas may win the most awards and kudos from critics, you’re unlikely to sell a drama feature screenplay as easily as you might a genre script, at least in the current marketplace. Breaking down the nuts and bolts of what differentiates drama from genre film, Writing and Selling Drama Screenplays will guide you to an understanding of how the best drama feature screenplays are NOT about abject misery or using stereotypical depictions of socio-ethnic groups to get their messages across. It will also open the lid on the struggles of screenwriters and producers in getting their own projects off the ground. As usual, there will be spoilers in abundance, including detailed case studies of produced dramas (and one currently unproduced), which will give you the truth – and nothing but the truth – on just how much of a labour of love it is to get your drama screenplay made and out there, in front of an audience. Think you’re wo/man enough to do it?

  Lucy V, September 2014

  WHAT DRAMA IS NOT

  (AND BEYOND)

  DRAMA VERSUS GENRE

  Many writers confess to being unsure what ‘drama’ really is. If you look online, you will often see the label used interchangeably with ‘genre’. On IMDb, most films appear to be tagged ‘drama’ and many writers will argue that drama is a genre in its own right. But forget how you personally feel about drama and what it is. What’s key here is how the industry perceives genre and drama:

  ‘Genre’ – think BIG stories; event-driven with high (typically life-or-death) stakes; stylised
storytelling; often highly commercial with large audience appeal

  and

  ‘Drama’ – think SMALL stories; individuals; relationships; private moments; tragedies; personal; emotional; typically niche audience

  Or in other words:

  • GENRE: horror, thriller, comedy, and all their subtypes and mash-ups; mostly star-led; so-called ‘plausibility’ secondary; epic arenas; special effects; explosions; often large casts of secondary and peripheral characters; often mammoth productions with large crews; very frequently high-budget, but also micro-budget productions with minimal characters and locations – though they will generally need to be large in scope, aka ‘high-concept’.

  • DRAMA: everything else! Character actors, rather than big stars (though there may be a few); plausibility a high priority; some larger than average arenas, but mostly smaller; generally minimal locations and characters; often small productions with small crews and low budgets (relatively speaking, even when seemingly ‘high-budget’).

  Of course, no definitive checklist exists for any story (and nor should it). What’s more, drama can basically be about pretty much anything, so it’s perhaps more advantageous at this juncture to pin down what drama definitely is NOT, namely:

  • ‘Big’ in scope. Stories are predominantly personal affairs, and even those dramas that unfold across a broad canvas, both geographically and temporally, are still ‘smaller’ than a large-budget action-adventure, thriller or horror that does the same. What’s more, even a produced drama with a budget of millions will still clock in at far less than its nearest genre counterpart.

  • Event-led. As drama stories are largely personal, the target audience for this kind of produced content is signing up to see the world view of a set of characters, namely their responses to the situations in the story and the effect on them and others. Resolution comes NOT from solving a problem or resolving an issue so much as ‘coming to terms’ with it. This means a writer has to render a metaphorical concept physically as image, which is why dramas are so damn difficult to write!

  Now let’s look at some produced dramas and consider what ‘makes’ them and why they may be popular.

  POPULAR PRODUCED DRAMAS ON IMDb

  As mentioned already, just about every produced film or show listed on IMDb is tagged ‘drama’ (which can add to scribes’ confusion). On this basis, then, I decided to do an advanced search for a ‘typical’ type of drama. I chose the word ‘biopic’, a biographical drama based on the life of someone who (usually!) really existed, either famous or not so famous, but generally noted for doing something remarkable and/or infamous in so-called ‘real life.’ Now, allowing for the (general) US bias of IMDb (meaning these are predominantly star-led dramas), and excluding television, TV movies and documentary, these were the top 20 most popular biopic searches on IMDb at the time of writing:

  1. Goodfellas (1990). IMDb Rating: 8.8. The story of Henry Hill, who worked his way up the mob hierarchy of 1950s Brooklyn. Adaptation (book).

  2. A Beautiful Mind (2001). IMDb Rating: 8.2. The story of brilliant mathematician and Nobel Prize winner John Nash. Adaptation (book).

  3. Alexander (2004). IMDb Rating: 5.5. Biopic of the ancient king of Macedonia, who conquered most of the known world.

  4. The King’s Speech (2010). IMDb Rating: 8.1. The story of King George VI, who had a stutter and needed speech therapy on taking the British throne.

  5. J Edgar (2011). IMDb Rating: 6.6. Powerful head of the FBI for 50 years, J Edgar Hoover looks back on his professional and personal life.

  6. 50 to 1 (2014). IMDb Rating: 7.9. Story of the 2009 Kentucky Derby winner, ‘Mine That Bird’, who triumphed against 50 to 1 odds.

  7. Ed Wood (1994). IMDb Rating: 7.9. Story of the legendary eccentric director, claimed to have made the worst movies ever. Adaptation (book).

  8. The Iron Lady (2011). IMDb Rating: 6.4. Biography of UK’s first and only female prime minister. Female screenwriter AND director.

  9. Man on the Moon (1999). IMDb Rating: 7.5. The life and times of eccentric comedian, entertainer and star of Taxi, Andy Kaufman.

  10. Serpico (1973). IMDb Rating: 7.8. The true story of an honest New York cop turned whistleblower on force corruption. Adaptation (book).

  11. The Express (2008). IMDb Rating: 7.3. Drama based on the life of college football hero Ernie Davis, the first African-American to win the Heisman Trophy. Adaptation (book).

  12. Stand and Deliver (1988). IMDb Rating: 7.4. The story of Jaime Escalante, a high-school teacher who successfully inspired his dropout-prone students to learn calculus.

  13. Sweet and Lowdown (1999). IMDb Rating: 7.3. In the 1930s, fictional jazz guitarist Emmet Ray idolises Django Reinhardt, faces gangsters and falls in love with a mute.

  14. Bird (1988). IMDb Rating: 7.2. The troubled life and career of the jazz musician, Charlie ‘Bird’ Parker.

  15. The Pride of the Yankees (1942). IMDb Rating: 7.8. The story of the life and career of the famed baseball player, Lou Gehrig, whose name is still synonymous with motor neurone disease in the USA.

  16. The Babe (1992). IMDb Rating: 5.8. Biography of the baseball player Babe Ruth, especially his relationships with others off the field.

  17. Dark Victory (1939). IMDb Rating: 7.6. Cancer story about a young society ‘it girl’ diagnosed with an inoperable brain tumour. Adaptation (play).

  18. Till the Clouds Roll By (1946). IMDb Rating: 6.5. Biopic of the Broadway pioneer Jerome Kern, featuring many of his most famous songs.

  19. Modigliani (2004). IMDb Rating: 7.4. The story of painter and sculptor Modigliani’s bitter rivalry with Pablo Picasso, and his tragic romance with Jeanne Hebuterne.

  20. Knute Rockne All American (1940). IMDb Rating: 6.9. The story of legendary Notre Dame football player and coach Knute Rockne.

  What I find interesting about this list:

  • The age of the movies. I was expecting to see mostly new movies turn up as the most searched for with the keyword ‘biopic’ and was really surprised to see only one film – 50 to 1 – coming up from 2014, not to mention a movie nearly 25 years old in the top spot, i.e. Goodfellas. Of course, Scorsese is an icon, but he has also made several dramas since Goodfellas, so it’s really interesting that this was his most popular on the day of my search. I was also intrigued by the number of produced biopics from the thirties and forties, not to mention the complete lack of ones from the fifties and sixties, with only one turning up from the 1970s.

  • The subject matter of the biopics. I was unsurprised to see kings, politicians, FBI head honchos and the like dominating the list: target audiences are always interested in powerful people and what they’re like ‘behind closed doors’. Similarly, I figured I would see a number of famous people, like comedians, film directors or sports stars. What did surprise me, however, was the number of dramas about musicians and artists and the relative lack of stories about illness, particularly cancer stories (just one in the top 20 in Dark Victory), especially since cancer stories are so prevalent in the spec pile. I was also very surprised at the lack of crime stories here, since crime is also a popular subject matter for spec drama screenplays, especially British ones.

  • Adaptation. All the films are adaptations in the sense that the stories are about real people (if not the protagonists, then the secondary characters, though this was difficult to check in the case of some of the older movies). However, a large number of them aren’t adapted directly from books (fiction or non-fiction) or plays, which I found surprising.

  • Age, race and gender. As ever, the majority of protagonists are white males, though some are older than the 25–40-year-old protagonists generally expected in genre films. There are some female protagonists, and if people of colour figure in the list it’s usually as sports players or, in one case, a teacher. Several of the true stories here talk about either the ‘troubled’ or ‘eccentric’ lives of the main characters. Last of all, and somewhat inevitably, the vast majority of screenwriters and directors ar
e male – though, intriguingly, 50 to 1, which deals with the traditionally ‘masculine’ sport of horse racing, has not one but two female co-screenwriters.

  Whilst not a magic bullet or even a recommended way of making concrete market decisions, IMDb can perform a useful function for both writers and filmmakers in showing various trends and flagging up the potential interests of audiences. In my experience, many writers use IMDb in a very sporadic way: they may check titles or dream-cast stars in lead roles in their screenplays. Yet knowing what has gone before (if anything) in the arena of your chosen drama idea is crucial research for the spec screenwriter, as is knowing how previous works have approached the subject matter, so you can differentiate yours (so it’s not a story that has essentially ‘already been told’). Now, obviously, writers should not write solely for the market; that’s madness, especially when a spec drama screenplay SHOULD be both personal and passionate in terms of subject, story and characters. However, doing one’s research can help inform one’s approach to a story – or even stop a writer from wasting his or her time writing a complete duffer! What’s not to like?

  CASE STUDIES IN THIS BOOK

  The word most commonly seen in relation to ‘drama’ online is ‘depressing’, but I will venture to argue later in this book that this is where many writers’ misunderstanding of drama screenplays begins. For now, I posit the notion once more: ‘real’ drama is NOT about abject misery, dying and/or losing all hope. Instead, I believe drama is about STRUGGLE. No human being leads a charmed life; we will ALL struggle in the course of our lives, so it’s not difficult to see what is appealing about watching characters doing the same on screen.