Karel Segers: I’m here with Michael Sweeney. Michael is a union story analyst, and he’s read scripts for some of the most successful TV shows of recent years. Welcome, Michael. Could you introduce yourself and share a bit about your background?

Michael Sweeney: I’m from New Jersey, USA, and moved to Los Angeles to pursue screenwriting. Since graduating, I’ve worked with several production companies, including Netflix and 101 Studios, the team behind Yellowstone. Meanwhile, I’ve also launched my own website to help clients with their scripts, making them festival-ready, and I still do freelance work for other companies. So, busy, busy.

The Union Script Reader

Karel Segers: You call yourself a Union Analyst. What does that mean?

Michael Sweeney: The Screen Editors Guild created a category for story analysts, offering union protection similar to other groups. It’s odd that it’s not under the writing category, but since we’re technically editing and suggesting in the stories, we have our own classification. In other words, this ensures fair pay and work conditions for script readers, a niche part of the industry. It’s nice for them to know their jobs and work are protected by their own representatives.

Karel Segers: Tell us about your work as a script reader. How did you start out in this field?

Michael Sweeney: It’s all about who you know. After school, I stayed connected with a creative executive, kept pushing for work, and built relationships by constantly asking for meetings and opportunities. You just keep grilling, keep on asking people. You want to set up a meeting, go have lunch, have a chat. 

Remote Work in Hollywood

Karel Segers: Are you still working in physical offices, or has that changed since the pandemic?

Michael Sweeney: I mostly work remotely now. During my time with one company, they offered a main lobby space, but most people, including myself, chose to work from home. While remote work is convenient, it does make networking harder, requiring more effort to stay connected with industry contacts. One benefit of script reading is that it can be done remotely, so I stuck to working from home.

Karel Segers: Now, obviously, that is a different setup from previously. While it’s more convenient, wouldn’t you say it’s harder to make the connections that help you further in the industry?

Michael Sweeney: It is definitely a downside you have to work through. You have to be the driving force, constantly emailing, texting, and messaging on LinkedIn. You have to push almost double time under these conditions. Despite being shut in and feeling like a hermit, the need to connect and be collaborative compels you to reach out. 

Karel Segers: Yet, the work of the scrip reader remains the same: reading scripts and providing feedback. How does this process typically work, and how do scripts reach producers?

Michael Sweeney: It varies by company. Many have a no-solicitation policy, so scripts usually come from agents or managers. If a script stands out, I might look up the writer on LinkedIn to explore connections. It’s about who you know and using any connection to sell a script. If you know someone and have a script that fits the company’s niche, use that connection. Sometimes you find scripts from unrepresented writers that end up being great.

Karel Segers: How many scripts do you read, and how do you provide feedback?

Michael Sweeney: With Netflix, a script reader is paid by the hour, so you can take your time to be detailed. Other companies pay per script, so there’s an incentive to be quicker. I read 8–12 scripts a month, and feedback usually includes a synopsis and comments. Some companies prefer you to tailor your feedback, offering ways to improve the script rather than just passing or recommending it. So, the feedback format can vary by company, but it usually involves a dialogue with the assistant or person who submitted the script.

Karel Segers: Have you noticed changes in script quality over the years?

Michael Sweeney: There’s always a mix of good and bad scripts. However, I’ve found more scripts that resonate emotionally in recent years. One memorable script, Come Away, a dark story about grief, really moved me. Despite the constant flow of bad scripts, the emotionally impactful ones stand out more now. I’ll never forget the first script that really moved me. Over the last few years, I’ve read scripts that genuinely moved me, even made me shed a tear. It’s powerful when that happens, and I think there are more emotionally resonant scripts now.

Advice for Aspiring Screenwriters

Karel Segers: In terms of specific craft aspects, what are the things that jump out where you think, “If only writers would do this, it would be such an easy fix”?

Michael Sweeney: If only writers would pace themselves better. One of the biggest issues I see is poor pacing. Writers often over-embellish the action or clump all the character development into moments of calm, because they don’t know how to integrate character into action. A character’s choices should define them more than their words. Even in a high-speed car chase, a character’s decision can reveal much more than a lengthy monologue around a campfire.

Another thing is knowing your characters well. There’s that image of an iceberg, with more beneath the surface than above. As a writer, you need to know the entire iceberg, even though the audience only sees the tip. If you have a main character with three friends, ensure each friend has a distinct perspective. If their dialogue is interchangeable, consider cutting them. Every character should be essential and someone an actor would want to play, even in a small role.

When you write, ask yourself, “What would I lose without it?” If you can’t answer, then you need to develop it more or cut it. This applies to characters, locations, and any other elements. These are just some of the common issues I’ve seen in scripts this week alone.

Karel Segers: Have you seen anything good on the screen lately that you wish you had written?

Michael Sweeney: I haven’t seen much lately. I’ve been busy, which is fortunate. I’m currently watching the Star Wars animated show, The Bad Batch. The simplicity of how they make those shows is engaging. It might not win awards for writing, but it’s emotionally driven. All the animated Star Wars shows have been some of the best content they have. Despite rough animation in The Clone Wars, the storytelling is strong. I’m also anticipating Cobra Kai and Doctor Who returning. I’ve shifted from watching films to TV shows. I used to go to the movies frequently, but now, being busy, I don’t have the time. The main movie-going demographic is 16 to 26-year-olds…

Karel Segers: Michael, what screenwriting software do you use?

Michael Sweeney: I’ve used Final Draft since film school. It’s been reliable.

Karel Segers: We’ll talk about something else soon that might change the script format dramatically. Do you mind scene numbers or not?

Michael Sweeney: As a reader, my main concern is how easy the script is to read. I feel strongly about fonts; a script not in Courier New can be a headache. Scene numbers help reference specific scenes and make the script look more professional. But if a script doesn’t have scene numbers, I just use page numbers.

Karel Segers: How do you manage the analytical versus creative brain? I know more than one script reader who often struggles with this.

Michael Sweeney: I don’t have trouble switching between them. When reading someone else’s script, being analytical is like a day job. When writing my own script, I abandon the rules. Once the script is written, I use my analytical skills to revise. With clients, I warn them of pitfalls but don’t say anything is set in stone. I suggest improvements while understanding the audience’s expectations. That’s how I bridge the gap between analytical and creative.

Taylor Sheridan Script Reader: A Unique Experience

Karel Segers: I’m jumping back now to your job as a reader. You have to keep your objectivity. I know you’ve worked for 101 Studios and got to read Taylor Sheridan’s work. You’ve said you’re not particularly the type of audience who would tune into his work because it’s tailored towards older people. How do you handle that? Do you remember what you said after reading those scripts? Which scripts did you read?

Michael Sweeney: I had the opportunity to read all 10 scripts of Mayor of Kingstown before it was released. I knew the whole story of season one before it came out. It was fun seeing the trailers and knowing the twists. Taylor Sheridan didn’t want intense comments because he knows what he’s doing. My notes were more like, “I lost this character here,” or “I am confused because of the back-and-forth cuts.” It was about giving the production team a sense of the story without heavy critique because Sheridan’s experience speaks for itself. Prolific writers can afford to have things that don’t make sense until later episodes. But if a new writer did the same, I might not be as generous.

Karel Segers: I realized after you told me about Mayor of Kingstown that the project was initially knocked back. It wasn’t until Sheridan made a name for himself that he could produce it. So, how does it feel to read material you know will go into production? That’s different, right?

Michael Sweeney: It definitely is. Knowing a project is green-lit changes your perspective. You think about the production’s validity, the sets needed, and you envision it coming to life. This privilege comes with being established. If I know certain actors are attached, I start reading with their voices and inflections in mind. This can shift the way I view the script. It can be unfair because a decent script might get discarded if it doesn’t hook the reader quickly. Reading for production companies can be demoralizing since many scripts get rejected, whereas working with clients can be more fulfilling.

Karel Segers: So, regarding Mayor of Kingstown, you didn’t know which actors were going to play the roles?

Michael Sweeney: Not initially. By the end, I heard Jeremy Renner was in talks to play the main role, and I thought it was perfect. Knowing the actors can enhance the reading experience, but for Mayor of Kingstown, it was about the writing and the twists.

Karel Segers: If this had been a rookie screenwriter, what would have been your script reader advice regarding the twist?

Michael Sweeney: The twist would need to pack an emotional punch, not just surprise. It has to move me in my gut. For instance, Hitchcock’s Psycho made viewers assume the story was about one character, only to shift unexpectedly. If done well, a twist like this can be compelling. For a rookie, the twist should hook the reader and make them want to see what happens next. Even if it’s a pilot, it needs to end in a way that compels the audience to return.

Karel Segers: What’s the best script you’ve ever read in terms of craft?

Michael Sweeney: That’s tough. I have two in mind. One is Michael Arndt’s Little Miss Sunshine. It’s a fantastic screenplay that translated well to film. Another is The Avengers script. I was surprised by how seamless and flowing the dialogue was, and how visually impactful the action lines were without being overly descriptive. Both scripts are completely different but stand out in terms of craft.

Karel Segers: What’s the biggest unproduced project you’ve ever read? Was that Mayor of Kingstown? Or was it something else?

Michael Sweeney: Well, unproduced or produced?

Karel Segers: When you read it, it was still unproduced. It may have been produced afterward.

Michael Sweeney: Right. Mayor of Kingstown is a big one. I also read a Sorkin script, The Trial of the Chicago 7, before it was produced. It was very long, even for Sorkin. I wondered if it could work as a film or maybe a TV series. Netflix picked it up, and when I watched it, I saw it was a self-contained story. This was early in my time at 101 Studios, and I was still learning. It was interesting to see how my perception changed and to realize, oh no, they were right all along. Aaron Sorkin knows what he’s doing.

The Future of Screenwriting: AI and Digital Platforms

Karel Segers: Absolutely. Now, the big questions. As a script reader, how do you see the future of screenwriting in the context of developments like AI and creativity?

Michael Sweeney: Thanks to the writers’ strike, there will always be pushback against AI. I experimented with feeding my ideas into AI and found the responses uninspired. AI can’t replicate the human voice. I’m wary of it but understand it will become a tool for writers. It’s essential to fight to ensure it stays a tool and not an employee. Beyond technology, there are many ways to break into screenwriting now, like podcasts, YouTube channels, and self-produced shorts. These platforms can bypass traditional Hollywood routes and later attract interest from big studios. For example, Critical Role, a Dungeons and Dragons YouTube channel, became a top-rated animated series on Amazon Prime. Thinking outside the box and leveraging digital platforms can strengthen you as a writer and lead to opportunities.

Karel Segers: Is the rise of streaming services changing the way we tell screen stories?

Michael Sweeney: Yes, for a few reasons. Technically, many pilots don’t have act breaks anymore because streaming doesn’t require them. This allows stories to flow without interruption. Streaming services also offer more inclusivity and variety. Each network used to have a specific style, like the glossy look of ABC shows or the sitcom style of CBS. Streaming provides so many options that it allows for more versatility and caters to various niches. This means different kinds of shows can coexist and thrive on the same platform, offering more content for viewers to enjoy.

Karel Segers: Almost at the end of this, Michael. What are you working on right now? Do you want to share that with us?

Michael Sweeney: I’d love to. I’m working on an hour-long adventure mystery pilot called OURS. The title stands for the Omnipresent Underground Repatriation Society, a secret group that stealthily returns artifacts to their rightful places. It’s inspired by the problematic elements in adventure films, like Indiana Jones, where cultural artifacts are taken and stored in museums. The story follows Annie Anderson, a security guard devoted to a billionaire named Ava Bowman, who personifies imperialism. Annie discovers the darker side of Ava and gets drawn into the society’s mission. Essentially, the show’s core theme is reclamation, both of cultural artifacts and personal identity.

Karel Segers: Who would you want to star in it, and where would it premiere?

Michael Sweeney: Dream casting for Ava would be Meryl Streep. For Annie, I’d prefer an unknown actress to give the character a fresh face. For Abigail Flynn, I’d love Tessa Thompson. As for the premiere, the Chinese Theatre would be amazing.

Karel Segers: Fingers crossed for you, Michael, and thanks so much for your time. 

Michael Sweeney: Absolutely. I appreciate it. If anyone’s interested in my script reader coverage services, the link is in the description. You can find me on Instagram @msweeney_scriptcoverage and the website is in the description as well.

Karel Segers: Thank you, Michael. I look forward to catching up again in the future.

Michael Sweeney: Thanks so much, Karel. All the best.

Karel Segers: Cheers.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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Given that “Yellowstone” is technically in competition with the enduringly popular “Sunday Night Football” telecast, the fact that the show pulls in more than 7 million viewers in Nielsen’s time-adjusted Live + Same Day ratings — perhaps even appealing to many of the same viewers — is a tremendous feat.

This confirms the key points in Part 1 of this article. I noted that Sheridan is immensely prolific, his work is increasingly popular, and his scripts maintain a high professional standard.

Let’s now look at his power, politics and – potential – progress. With an ever-expanding universe of serial drama, Sheridan has established himself as one of the most powerful screenwriters in the States. Should he put this to good use, he may be in a unique position to help change the politics of a troubled people, and contribute to some badly needed progress.

POWER – Yellowstone going all Lord Of The Rings

In the late nineties, Peter Jackson signed his $180m LOTR deal with New Line. He leveraged part of it to build a massive film infrastructure hub in his hometown of Wellington. In this way, he didn’t just achieve economy of scale; he also escaped the prying eyes of Hollywood.

Now, Taylor Sheridan is taking a leaf out of Jackson’s book. Only, where Jackson bought buildings and SFX machines, Sheridan now owns almost every horse on the screen.

WARNING: spoilers for 1883 and Yellowstone.

Soon after moving back to his native Texas, Sheridan clinched a $150m+ deal with Paramount. Next, with a group of investors, he bought the legendary “6666” ranch. Why would a filmmaker buy a horse and cattle ranch covering an area twice the size of Chicago, at a cost of around $350m? Perhaps because he’s obsessed with horses, and now his toys are tax-deductible…

Or perhaps, 6666 will become Sheridan’s studio lot. Right now, it already serves up western-style EXT-DAY shots, but I could see soundstages added to the mix as Jackson did with Stone Street Studios. And who says 6666 can’t also become a creative hotspot modelled after Jackson’s Park Road Post (or even Lucas’ Skywalker Ranch)? Texas has enough local talent to benefit from such facilities.

In this scenario, Sheridan would become a big player, and consolidate his influence not only as a creative but also as a business mogul. The next question is what he wants to do with all that power.

POLITICS – Making America United Again.

The heroism in 1883 may conjure the image of a red hot banner reading Make America Great Again. But Sheridan was no fan of #45. Instead, he shows us the positive human values at stake then. His perspective is nobler than the unbridled capitalism, opportunism and antagonism that is the brand of modern Republicans.

If it sounds romantic, it is not naive. Character actions in the Yellowstone universe are earned. You make a mistake and you do penance, before carrying on more wisely. In season 4, Beth and Rip reject Carter before ultimately taking him in; Lloyd attacks Walker, but not without reconciling. The Texans in 1883 first antagonise the immigrants, but then make the compassionate choice to help them out.

And while John Dutton in an early Yellowstone episode says “This is America, we don’t share land here”, I suspect that his mindset won’t survive the show. Second chances, compassion for the underdog, compromise and reconciliation are big themes here.

Sheridan doesn’t want to tell you how to think, but his stories are crystal clear about where he stands. He shows us people, a world, and a way of living that many can relate to, regardless of who you vote for. In this universe, the central characters (Kayce in Yellowstone, Mike in Mayor Of Kingstown, Brennan and The Duttons in 1883) model dignified and moral actions, offering an alternative to the cynicism and hatred in many of the critically acclaimed shows full of rich a-holes.

Just don’t harm the family – or you’re off to the train station.

In the words of fellow Texan Mathew McConaughey, Sheridan is an aggressive centrist. His concern for the flyover states was just as clear in his first film Hell Or High Water, as it is today in 1883, Yellowstone or Mayor Of Kingstown. He’ll make sure his stories are palatable for the audience they’re about, and not just to the intellectual elite. This differentiates his work from the likes of e.g. David Simon.

Similar to his central characters, Sheridan tries to build bridges instead of burning them.

PROGRESS – Making a difference

And you know what? It’s about time we try this route. Audiences are sick and tired of being lectured to. I love watching Clooney’s work, but what has it achieved? Same for Sorkin: watched by the privileged, worshipped by intellectuals. When has Sorkin ever portrayed ordinary people? Never. Because he doesn’t understand them. And while I enjoyed Don’t Look Up as a piece of entertainment, we all know the amount of change it will bring: exactly nothing.

All these Hollywood hotshots preach to the choir, and along the way blame ordinary folk for their voting choices. It’s interesting that the critics are happy to criticise Don’t Look Up, while at the same time ignoring the alternative right before their eyes.

Sheridan believes he’s being overlooked by the awards and critics because he breaks storytelling rules. I doubt this explains it (although he does break rules – successfully). The real reason: his writing is not fashionable. It lacks the sophistication, the clever and the cool of the Successions of this world. Sheridan has opted for melodrama and heart. Try finding that in the world of Logan Roy.

Of course, another explanation for the snubs may be Sheridan’s decision to physically distance himself from the screen production hubs. Perhaps people rather vote for faces they see in the corridors and the street, and for those hanging at the same parties. Of course, it doesn’t matter anyway, because these little statuettes are all about perception. Audiences don’t care for awards or critics. They’ll decide for themselves what’s on the screen next season.

And rather than holding him back, his Texas outpost may well become Sheridan’s superpower.

2022 And On – The Next Decade

With names such as Clark Johnson (The Wire, now also Mayor of Kingstown), Terence Winter (Boardwalk Empire, now Kansas City) and Tom Hanks leaking into the Sheridan universe, my guess is that the detractor pundits will soon capitulate.

With more shows added to his line-up, and A-listers to his pantheon, Taylor Sheridan’s name will only become more ubiquitous. And once the Paramount deal runs out, expect to see his work and name everywhere.

I wanted to explore if Sheridan is the most important and influential screenwriter today. Admittedly, he may not be there quite yet, but in terms of output and popularity, he has no match. And as his first decade as a writer is coming to an end, his productivity is only just getting to cruise speed. And the Thoroughbred Sheridan seems to be, there is a lot of mileage left.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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Today, Taylor Sheridan is the most important screenwriter alive. What other writer is in equal measure popular, prolific, powerful, professional and political? I know none. Particularly that last element usually kills all the other qualities. Let’s look at the detail.

1. POPULARITY – Taylor Sheridan is crazy popular.

   Taylor Sheridan has connected with an ever-widening audience. Sicario’s box office nearly tripled its $30m budget, Hell Or High Water did even better, and Wind River quadrupled it. Then, Yellowstone hit it really big, with nearly fifteen million Americans tuning in for its Season 4 premiere. It beat NFL and any other season premiere of the past 4 years. 1883, the latest offering at the time of writing, last week broke all records for cable premieres since 2015.

   Sheridan’s stories appeal to broad demographics, from the farmer to the white-collar worker, from the high school student to the single mother. In the US, he’s found a big audience in the flyover states – which are finally seen on screen – and with city dwellers dreaming of a Yellowstone lifestyle.

   The stories are simple, and the emotions are big. The writing is lean and full of melodrama. Yellowstone is not just another dysfunctional family soap; it is rich in theme, brimming with metaphors, and delivered in a sweeping visual style. Easy viewing.

2. PROLIFICNESS – Yes, that’s a word. I looked it up.

   Taylor Sheridan is insanely prolific. Last Sunday, fans in the US saw no less than 4 fresh TV hours drop from his hand. He has 3 shows running concurrently: Yellowstone, The Mayor of Kingstown and 1883. Every single episode of these has Sheridan credited as the sole writer. This is unheard of.

   To achieve this, Sheridan says he didn’t sleep for 7 months in the lead-up to the premiere screening of 1883. No wonder.

   Over the past 4 years, Sheridan has single-handedly written more than 50 hours of serial material. Before that, he garnered sole credit on four produced features, while his shared credits – Without Remorse and Those Who Wish Me Dead – enjoyed somewhat less critical acclaim. Let him ride alone…

1. PROFESSIONALISM – Taylor Sheridan’s scripts show a high standard.

Sheridan’s scripts shine in clarity and concision, as apparent from his superb 2012 Blacklist topper Hell Or High Water. Today, he no longer needs to impress, and nobody will mind if he breaks a rule or two. Yet, unlike some other established writers, his scripts still offer solid models for anyone trying to break in. Even if they’re only first drafts, as Sheridan has claimed.

Taylor Sheridan was never formally trained, and so he tries to avoid the mistakes in all the bad scripts he read as an actor. He starts his stories with absurdly simple plots, and he is allergic to exposition. Both are pretty good principles if you want to write for a broad audience.

Under Paramount’s phenomenal time pressure, the quality of the writing may have suffered. Still, the material is pretty strong, given that Sheridan is not relying on a 5-10-strong writers room like about every top-rated show. So, instead of comparing Yellowstone to Breaking Bad (although both pilots have more than a few similarities in their opening shots), perhaps compare it to El Camino.

His material is close to his heart, his stories are simple, raw and direct, and his direction shows minimal cinematic frills. And so is his writing: economical and straightforward. While the material has a masculine bias – he is a cowboy after all – he has created admirable female characters over the years.

About his ability to create compelling scenes, ScriptShadow wrote: “Scripts live or die on their scenes. So if you can come up with an operating procedure that ensures all your scenes are entertaining, you’re set. And Sheridan seems to have figured that mystery out.“

And before anyone points it out, I know. He doesn’t outline.

Next week on Taylor Sheridan: 4) POWER and 5) POLITICS

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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It makes sense to read 10 pages of a script, if the reader is out to find a writer. If your dream is to sell your script, there is no escaping the synopsis.

10 Pages Of Hell

Of course you hate that you have to leave out all the gripping details, but remember, every other screenwriter is in the same boat with you – except perhaps the A-listers.

The title of this piece may be misleading. Like most things in our industry, there is no clear consensus on the rules of the synopsis. So, let’s look at the different types of text you may need to deliver.

Development Synopsis v. Marketing Synopsis

Just like there are different types of logline, your synopsis may serve different purposes, each of which require their own approach.

During development, the synopsis helps to see the story clearly, and it communicates the direction of the script to your producer, manager or co-writer. Sometimes screenplay contests or funding programs also ask you to provide several types of synopsis along with the script.

Most of the time, your concern is just with the development synopsis. This version includes all important story elements, including the ending.

Once the film is complete and ready to go out, the development synopsis won’t cut it any longer. To reel in distribution gatekeepers, the producers and marketeers will need documents that resemble the synopsis, but that go by different names.

Siblings Of The Synopsis

Because different people label the types of summary differently, some confusion exists around what we call a logline, a synopsis, outline or treatment. It doesn’t matter what you call it, as long as you understand what to write.

Serial Summaries – The Show Bible

For serial material, the most common type of synopsis would be the series bible, summarising the episodes as part of the pitch document – sometimes also called the pitch bible or show bible.

One episode would typically fit in one or two paragraphs. In more extensive bibles, each episode synopsis could take up to a page.

Treatment Territory

Some people will call a 10-page summary still a synopsis, while others will call it a treatment or outline. I call anything over 4 pages a treatment.

A treatment may run from 10 to 50 pages, or even longer. James Cameron is known to write scriptments, running over 100 pages.

Sentence – Paragraph – Page

When you summarise a story in one sentence, people usually call it a logline, even if you don’t stick to the industry guidelines for loglines.

A logline typically holds only 20 to 30 words, although complex stories may require longer loglines. But when your logline blows out, it may end up being a paragraph synopsis, which can hold around 50 to 200 words.

For this article, I’m going to focus on what I believe is the most common type: the one-pager film synopsis that tells the entire story. You can write this type of document for a feature film, but it would work just as well for a TV episode.

The One-Pager Synopsis

When big international film markets were a thing, I often attended as a buyer. For each film, sales companies would hand out a single A4 on hard paper, with artwork on one side and a synopsis on the other.

A Single page

The synopsis would run for half a page or a full page. I’m sure they still do it this way, even if most business happens outside those big independent film markets.

500 Words – 12 point

Whether you write your synopsis in US Letter format or A4, I recommend sticking to 500 words or less, to keep it easily legible. You don’t want to be one of those writers squeezing 2,000 words on a single sheet.

To fit 500 words on a page, you need to keep your font around 10-12 point. The smaller the font, the more white space you can insert, but the harder it is to read.

It doesn’t matter which font you use, but don’t go for courier, and instead pick a proportional font like Arial, Times New Roman or Helvetica. Readability is key.

What To Include?

The rule is simple: include the most important story elements that can fit on a single page, while making sure that everything makes sense from a logical and emotional perspective.

The point of a synopsis is to give as much information as possible, while keeping it a joy to read. Don’t deliberately leave out information, and certainly don’t omit the ending.

The ending

Until your screen story is ready to be viewed, you don’t really need to tease it. So even if you have only half a page available, you still need to include the final act. Not including it may suggest that it is not all that great…

The only instance I can think of where you leave out the ending, is where your document also contains a longer synopsis that includes the ending.

Main Characters

Depending on how many characters feed into your plot, you may or may not mention them all. What matters most is that your main character’s story makes sense.

If you struggle to include all the story beats, start by leaving out subplots and supporting characters. If you have a dual protagonist story, and you can’t keep a logical flow for both without going over the 500 word mark … well, you’ll have to figure it out.

The Theme

I don’t remember ever reading a good synopsis that explicitly states the movie’s theme. Typically, in great movies, the theme is clear from the story itself.

How To Write The Synopsis

Just like any other work you produce, your synopsis must follow the ‘3 C’s: it should be clear, concise and colourful, in that order. By colourful I mean it should be fun to read.

Format & Style of the Synopsis

Beginners’ synopses often include generic phrases such as “Jack encounters some major obstacles before he succeeds in his task.” These are a waste of space as they apply to every story. You must be specific and only share information that is unique to yours.

Leave out any act or sequence headings; you don’t have the space for those, and readers don’t care. Just tell the story. You can use paragraphs to show the act or sequence structure without explicitly referencing it.

Adjectives make prose more colourful, but in screen stories we focus on action instead. Adjectives also bulk up the word count, without adding any vital story info.

It is often said that the synopsis should evoke a tone that is not too distant from the genre of your film or series. Keep it lighthearted if this is the intended tone of your script; make it read deeply dramatic if this is the vibe you go for.

Rules and Techniques

It is tempting to get distracted by rules and guidelines around synopses. If you believe that a rule holds the reader back from enjoying greater satisfaction and becoming more invested, it is your duty to break it.

Don’t forget that there is only one goal: to get the reader excited about your story and convince them of your writing skills. A poorly written synopsis doesn’t bode well. Having said this —

The synopsis is written in the present tense, just like the logline or the action/description in your script.

To land on the perfect word count, I start from a longer version, and keep trimming down to the required word count. In this way, I can control what I cut, and keep only the most important story elements.

Synopsis Structure

Allocate roughly the same proportionate space to each structural element. In other words, your first act will take up a quarter to a third of the word count, the second act will take up half, and the final act, whatever is remaining.

Similarly, if you wrote your script in sequences, you might start a new sentence for each sequence in the synopsis. Readers love it when they can follow the dramatic flow of your piece on the page.

Whatever cliffhangers you (intend to) have in the script, they need to come out here on the page as well.

Keep it in sync

Writing the one-page synopsis is essentially a crash-test for your story. You will realise what works, and what needs more work. As you do this, you may decide on fundamental changes that affect not only the script, but even your logline. Make sure you keep all those documents in sync.

Once you have the perfect synopsis, update your logline. Conversely, if the logline captures your story more lively, update the synopsis. In short, keep your development documents in sync, and once you hit final draft, update them all.

Homework

Once you have a few synopses under your belt, the pain will ease. Heck, you may even enjoy writing them! I believe that the best practice is to write synopses for screenplays that are not yours.

In the Immersion Screenwriting course, you’re encouraged to write a synopsis for each of 7 curated scripts. Students who took the course have reported that their synopsis writing skills skyrocketed by the end.

What is your favourite movie? Why not write a synopsis for it today?

Enjoy!

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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The film shows the descent of a young black male into the underworld of what appears to be a happy, liberal white family.

It’s like Eyes Wide Shut meets Meet The Parents. 

Did those references just confuse you?

A Dangerous Blend

This type of extreme genre mix is typically a recipe for disaster. But Get Out raked in nearly a quarter billion dollars in its first quarter at the BO.

It even made it into the all-time Top 20 for R-rated films.

So what made the movie so incredibly successful?

You can read it as a piece of racial propaganda, or even as a statement that whites are inferior:

            JEREMY
Cause, with your frame, your 
genetic make-up? If you pushed
your body, I mean really trained,
you’d be a beast.

Of course, in the quote above the speaker lacks authority, and his statement is part of the prejudice.

Because of the various points of view, and the topical nature of the theme, this movie provides an incredibly fertile base for heated debate. And that’s probably one of the elements that have fueled word of mouth.

But that’s not what I wanted to talk about.

At The End Of The Day…

What I found even more interesting as a filmmaker, is the story behind Get Out’s ending.

The production had wrapped, and the film followed the original screenplay. Then test screenings showed that audiences loved the movie, yet hated the ending.

It was not a matter of making a few edits. The studio requested an entirely new ending.

Trust me, this is not typically something a filmmaker is dying to do. After all, the original ending had remained consistent with everything preceding it, and the events play out closely to what you would expect would realistically happen in the real world.

The original ending was honest and true.

The new ending is the fairy tale.

It reflects what the audiences hope would happen in a better world, or perhaps in the future.

A Diamond Patch

To put it bluntly, Jordan Peele was asked to patch an ending to his movie that – on the surface – went straight against the very narrative he had built.

He may have had no choice, because the test screenings showed that the film could have easily flopped. Steven Spielberg is rumoured to claim that the most important part of a movie is its ending as it determines how people feel when they leave the theatre – and what they’ll say about it to others.

As a first-time filmmaker, it is not inconceivable that Peele’s contract with the studio stipulated that he had to make reasonable efforts to change the script, in case audience tests indicated the need.

To my taste, this is an example of the studio – or perhaps the tests – getting it right.

Three of my all-time favourite movies – Touch Of Evil, Close Encounters Of The Third Kind and Blade Runner – have had re-releases that were closer to the director’s (initial) intentions.

None of these I enjoyed better than the original studio versions.

Studios step in all the time. These stories don’t always make it into the mainstream, though. In Hollywood, only a handful of directors enjoys final cut privilege.

Of course, the studios don’t always get it right. When they do, it is important to acknowledge this, and to study the differences between the original and the release versions.

Importantly, in the case of Get Out, the release ending may not be what was intended, ultimately it is still Jordan Peele’s.

5 Reasons Why Get Out Is A Classic

I love Get Out for many reasons. In some ways, I found it structurally similar to another fairly recent horror favourite: The Invitation. With that film, the parallels go all the way down to the animal-hit-on-the-road scene, which functions as a harbinger warning.

To name a movie an instant classic however, I need more than one point of excellence. In addition to a rock-solid single POV, I would point to the following:

1. It Transcends Horror – There is a term in the industry for films that offer something beyond pure genre, and therefore appeal to an audience larger than just the fans: elevated genre. Although it is a murky concept, this film certainly falls under that banner. I have heard of viewers who took their parents to see the movie. Unless your parents are horror buffs, I reckon this phenomenon doesn’t happen too often.
2. Incredible Mastery Of Tone – The hardest thing with genre blends, is to keep the tone in check. Scenes that play in one genre don’t always gel with the other. Even when you believe the script is fairly consistent in tone, the real challenges occur on set, and ultimately in the edit. How can a horror movie be scary if you have ample comic relief? And how can a truly dark movie be uplifting? I have a theory that comedy is not a genre but a tonal scale, applied to any genre. Remember Life Is Beautiful? And despite its upbeat ending, the discerning viewer will still leave Get Out with mixed emotions.
3. A Kickass Mid Point – I often say that once you have found your mid point, you have your story. Here, the MP has two important beats: First Andre yells “Get out!”, and minutes later Chris discovers the evidence of what is going on at the Armitage’s. After a first half that was more about building tension and figuring things out, the second half has tremendous momentum, sheer unbearable suspense, and razor-sharp focus.
4. Real Characters And Amazing Performances – No room for stock-horror cliché characters. Chris’ experience evokes that of millions of Americans, and the behaviour of the whites in Get Out reflects the omnipresence and the complexity of the issue. In terms of performance, nobody who has seen the film will ever forget the chilling performance by Betty Gabriel, when her character Grandma/Georgina goes up to Chris and apologises:

               GEORGINA
   I owe you an apology. I shouldn’t
   be touching things that don’t
   belong to me.

5. The End – See above. I cannot overstate how difficult it is to get a movie’s ending right. (For Little Miss Sunshine, I believe Michael Arndt wrote ten different versions, and they shot four.)

If you are a screenwriter, read the Get Out script and compare with the final film. If you’re a filmmaker, study the movie, its theme and its tone.

If you’re neither, just watch and enjoy.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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The draft I read could be summarised in a one sentence logline. Based on that logline, I predicted the film would fail.

I am not the only one who makes snap decisions based on the logline alone. In fact, EVERY busy film executive does this – every day. And everyone I know in the film industry works incredibly hard to make a living. They have absolutely no time to waste.

Within this context, loglines are the only tool that allows you to make decisions quickly, and efficiently.

Many writers think they can write loglines. The truth is that only a very few understand this very specific skill. If more writers did, there wouldn’t be so many flawed concepts floating around. I’m not talking about execution now, merely premise.

I have been studying loglines for a long time now, and five years ago I decided to launch Logline It. Since then, it has grown into the leading website and a community dedicated to the promotion of effective loglines. Today, we have over 4,000 loglines on the site, and over 20,000 reviews to learn from.

Thanks to this site, many writers have perfected their loglining skills, and are now able to judge early on whether they have a story idea that could fly.

A properly written logline allows you to make a reliable snap judgment on the prospects of a project. This is one reason why the logline is the most powerful instrument to gauge the quality of a screen story.

1. A Snap Decision Tool

The logline is the smallest recognised industry format that allows gatekeepers to make snap decisions. Based on it, they may either eliminate a concept from their list, or allow it to jump to the next level (usually the synopsis).

For this reason, loglines are the most common summary in trade publications at the most important annual film markets: Berlin, Cannes, Sundance, Toronto, AFM.

2. Loglines Test Uniqueness

A properly written logline describes a screen story uniquely. Using three key story elements, it triangulates a film so effectively, it will differentiate your project from every other film made, or story told.

Using the power triangle of main character, inciting incident and story goal, you lay the basis of the logline – and that of your film’s 3-act structure.

3. It Shows Inherent Structure

Following the right logline format, you will give the reader an exact idea of the key information that will be conveyed in your story’s first act, and a promise of what may be expected in act two.

Most writers who don’t understand this, capture only about the first ten minutes of their story. They’re not to blame; most teachers don’t understand the function of a logline, and teach a format that is way too loose.

4. Loglines Express The Writer’s Vision

Until you understand your story thoroughly, it is impossible to write a logline that does service to it. For this reason, it often takes weeks, sometimes months before a writer is happy with their logline.

By the time the script is finished, the writer MUST be capable of conveying the essence of his/her story in one sentence.

5. Loglines Are A Guide Through Development

Robert McKee talks about the Controlling Idea, and John Truby discusses the Premise Line, but neither are particularly useful when you have to create them yourself.

These gentlemen provide us with extremely vague guidelines, and their examples fail completely and utterly in capturing consistently what is unique about the films they describe. While some of their examples hit the mark, others don’t. This proves that their approach is not systematic, not reliable – and therefore useless for the working writer.

I’m proud that I have developed a format that is used by every professional writer who has studied with me. Some use it as a basis to build their own version, but they all stick to the foundation I teach, because it is so simple and at the same time effective.

A properly written logline not only helps you capture the essence of your story, it guides you through the writing process. It helps you make tough decisions during development, and ultimately keeps you on track.

If you don’t already master this skill, it’s about time you get to it.

Test your own logline during the Logline It fifth anniversary event!
More details here.

Happy Loglining!

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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Is it good? Is it great? Or is it useless? Should I show it to anyone? To whom? Is it ready to sell?

I have found that as someone’s experience grows, often so does their insecurity about the state of their scripts. Many newbies are overeager to market undercooked scripts.

Why?

They don’t know their own abilities. They don’t understand what constitutes a great script, and they hope someone else will tell them.

If you feel this strong intuitive urge to get validation from a producer or agent, you’ve got to ignore it. Do more work yourself: read great scripts, keep writing, and over time you’ll separate the wheat from the chaff.

True intuition is built upon experience.

What Does Your Screenplay Need To Achieve?

Whether you are ready to sell your script – or not – has a lot to do with your intended objectives. If you need to make a living from your work, perhaps you have no choice. Cashflow forces you to get it into the market. Sometimes even premature scripts sell. (Seen any superhero comic book adaptations, lately?).

Suppose you’re not 100% happy with the story, but your writing style is supreme. If you need work urgently, your script may become the writing sample that will get you other work. So you go and sell. Story ready or not.

In all other cases, if you can afford to wait, then do so while you perfect story and script.

No Such Thing As The Honest Truth?

Each has their own opinion about when a script is done.

If you ask a script consultant, they may argue that your script needs more development. It is in their interest to keep taking money from you. Never ask a consultant who is desperate for clients. Instead, go to the busiest consultant you can afford.

Better even, affiliate yourself with an industry professional who can read scripts.

In fairness, not many can. And those who can, are often too busy. Find someone you can trust. This could be a producer, a director or an actor.

Your English teacher friend is not the person to ask. You may turn to them for a proofread on typos, spelling and grammar, but don’t expect them to understand the intricacies of a screenplay.

Everyone has an opinion. Not everyone has a clue.

Ready To Sell Your Script? Here Are The Signs

1. Your mom/partner/best friend loves it

   Non-professional readers will read a script like a novel, without understanding the nature of drama and tension. Their feedback is hardly vital.
   There is a good reason to have your fans at home read your work, though: to keep your confidence up. They should support you, and encourage you to rock on when times are tough.

2. Your gut tells you it’s ready to sell
   

   It may be more reliable than your mom, but it’s surely not the #1 indicator to go by. Your gut instinct will give you a clue as to whether you have a gem or a dud. But don’t bet the house on it. Your intuition will get better over the years.

3. Your friend/manager/agent/producer is excited
   

   No industry friends (yet)? Get networking! If you’re lucky enough to work with a manager, it’s easy. They will give you useful feedback, and tell you when they are confident the script will generate results.

4. It’s a really fast read.
   

   The quickest reads are typically the best. I have found that really bad scripts can take up to a day to read, partially because it takes time to decipher, but also because of reader procrastination.

5. Feedback is about taste, not technique.

   If most of the feedback comes down to a matter of the reader’s taste rather than specific craft-based notes, it doesn’t necessarily mean they’re being unprofessional. Everyone has a subjective opinion, even pros. And everyone will try to give you some advice, even if they’ve run out of objective notes. Could this mean it is time to sell, and send your script into the world? Possibly…

6. You are shortlisted in a big screenwriting contest

   There are many contests, and thousands of writers enter every year. Fortunately you don’t need to worry about most of them, as only a few are truly relevant.
   The best will introduce winners to agents and producers, and some real players do keep an eye on the award lists.  So, winning an important contest is a big deal. Keep entering every year, and make sure your results keep improving.

7. Everyone talks about it.

   You are very lucky when you find people become aware about your script, and talk about it. When I hear industry folk bring up my clients’ projects in conversation, it’s mostly a good sign.

There are probably tons of things about your script you can still improve. If you didn’t read any screenwriting books until this point – Good! You didn’t need them – this may be the time to check a few things that matter to readers. Look at the ebb and flow of your tension in the story. Weigh up the balance of description vs. dialogue. Check, double-check and triple-check grammar, spelling and punctuation.

These are the areas most beginning writers can improve the most without professional help. Use apps, take online  classes. Become the very best.

You Make The Call

When you feel that the law of diminishing returns is taking its toll, it may be time to consider the 7 points above. And remember: you will never get unequivocal proof that your script is market-ready… until it is sold.

Until then, it’s merely a decision.

And that decision is yours.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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I have worked in the creative industries for over 30 years now, and I can tell a wannabe from a pro, mostly. In some cases, the origin of their story ideas hints at what type you’re dealing with.

Let’s look at three ways of acquiring ideas; in a next post I’ll show you how to quickly assess them on their validity and merit.

The shower lightbulb

This is one of the most common, but at the same time most dangerous happenings to the creative: You come up with this amazing story idea in an instant, and know it must be made.

Whether it hits you in the shower, in your dream or in the car; in that single moment, you are super inspired. You see and feel the movie, right there projected against your mental screen.

The experience won’t go away easily, and you may chase the story idea for a long time… Sometimes even years.

This is also how amateurs work (or don’t work).

I like to argue that if you can come up with story ideas just like that, without effort, there is a fair chance that you find more and better ideas if you consciously create the circumstances for this to happen, frequently.

Here is where we dive into the Ideas Cave.

The Ideas Cave

This is the place you go to brainstorm; your private, creative space where everything is possible. With minimal effort, you generate tons of rough story ideas, for later review. It’s about allowing everything, and not criticising anything.

I’d trust a cave idea a million times over its shower sibling. We love the shower idea, because it is given to us unexpectedly, and we didn’t have to pay with our time. But because we didn’t have to spend time or effort doesn’t necessarily make it better.

You go into the cave with a mission. You’re after a million story ideas, not just one. And you’re not just after great ideas; any idea will do. Because right now you won’t know whether these story ideas are any good. That’s going to be your next step.

Now, how to unleash your inner creative in the cave?

Each writer finds their own best way of generating ideas. In essence, this is similar to overcoming writer’s block. Some people start from character, story actions, or story events. Others just write stuff down, and see what happens.

In any case, when you think you’ve brainstormed enough, you’ve probably only just scratched the surface.

Over the years, I have found that those students who are working on projects consistently, are also the ones who have a regimen of brainstorming ideas frequently.

Why don’t you resolve to make time for this, every day.

Even if you sit down for only 15 minutes per day, that’s 90 hours over the year.

Inherited Treasures

Perhaps you’re lucky enough that someone has given you a writing assignment. Or you’ve optioned that novel you read and loved so much.

You didn’t come up with the story idea, but you have the honour (or duty) of developing it into a successful script. You are taking the story off someone else’s hands, and you are making it yours.

If adaptation is your thing, perhaps you should make time every day to look for story ideas to adopt and adapt.

Looking at the high proportion of adapted screenplays that make it to the box office, this seems to be a great approach to look for your story treasures.

All that glitters is not gold, though.

Story Ideas That Suck

You wouldn’t be the first writer to find out, week, months, even years into development, that the treasure was a fake. The concept doesn’t work. The story idea is dead.

The key is to identify this as early as possible. Not during your brainstorming process, but soon after.

I can hear you ask “How can you tell what works and what doesn’t“?

The answer is: you don’t.

However, I know a very effective process to eliminate ideas that mostly likely won’t work, and improve the ones that are almost perfect.

This secret I will reveal to you in a next post.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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This film should not have been made. Even with its impressive cast, at the time of writing it only grossed about $40m, which is barely what you would expect the production budget to be.

Why Spotlight Should Not Have Been Mad

Let’s look at all the reasons you should not write a film like this:

1. The topic is a no-no.

   It deals with child abuse. Nobody wants to hear about this when they sit down at night to relax. Give me a story about a superhero (like Birdman!).

2. It’s been milked in the news

   We’ve heard enough about priests abusing children in the news. After all, that’s where it belongs. In cinemas, we need escapism.

3. It was a long time ago

   We have more pressing matters today, things we can do something about. Let’s not waste our time on the past.

4. It’s about journalists 

   Who is interested in journalists? They’re not cool. Bad hero material. All they do is talk and write. Totally un-cinematic.

5. There is no clear protagonist 

   Who is the main character in this movie? Good luck figuring that out. It’s easier to care about one character than a whole bunch of ’em.

6. There is no real jeopardy

   Unlike the victims of child abuse, the journalists are never in danger. They’ve got a tough time finding the truth, but hey, my job is tough, too!

7. Boston is not sexy 

   Boston? Really? Why not a photogenic city like New York or L.A.? And haven’t we seen enough of Boston’s darkness in the stories of Dennis Lehane?

Of course Spotlight won Best Picture.
And Best Original Screenplay.
So the arguments above are moot.

One of my writer contacts recently emailed me, saying

What has brought a middle-aged man like myself into the whole writing game is my disappointment  with the ideas presented in so many of the Hollywood or Australian films made films we often waste our time watching. Some of these are critically acclaimed and yet – what do we get at the end – an empty pop-corn bucket and  we are 2 hours older….

Spotlight proves that – yes – you can pick a topic you really care about, and pretty much break every ‘rule’ in the book.

(Except perhaps the one about active characters – with tremendous willpower…)

-Karel Segers

[convertkit]

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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We live in the age of noise. Everyone is trying to get your attention. TV commercials, banners on your favourite website, YouTube ads, in-app advertising on your phone.

The same is happening in the writersphere. Screenwriters are spamming producers; service companies are spamming writers.

Getting someone’s genuine attention has become a tremendous challenge. My default mode is to keep the noise outside, and I suspect the same from you. In order to get access, you will need to come through a door of trust.

Back To Common Sense

If you’re desperate, and you want money from your writing now, you will be susceptible to scammers. They will promise you an agent, to get your script in front of this or that producer, etc. The sobering news is that nobody is going to open the gate of screenwriting heaven for you tomorrow, for money. Why not? Because there is no gate to screenwriting heaven. And if you still believe in it, you’ll have to die first.

To die, in this context means: doing the hard work.

Before answering the calls to adventure from unreliable mentors, think about it critically yourself, first. There are gatekeepers, alright, and you need to know who they are. Once you have identified them, you need to network your way through to them. You may do this in the real world, or online.

Online And Offline

Most will agree that the best networking is still done offline. Unfortunately, you may not have many opportunities to meet your target gatekeepers in the real world. If you don’t live in a metropolitan area – let alone Los Angeles – you are not going to casually bump into the Hollywood decision makers.

The great thing is that online, you can.

Years ago, when Toy Story 3 was about to be released, a friend texted me: “Do you know Lee Unkrich just tweeted you?”. Indeed, the director of the most highly anticipated movie at that time had responded to one of my tweets. It could have been the beginning of a conversation… (After all, if I had been an animator, I would have had a link to my portfolio website right on my twitter page.)

So let’s see what else is possible online.

The Google Truth

Say so-and-so has read your work, and they like it. Before they enter into a collaborative arrangement with you, They’ll want to know more.  What do people do when they want to know more about you? They google you. Depending on how many others share the same name, they will find a LinkedIn profile, YouTube video, or Amazon book. In the worst case scenario, the search may lead to some unflattering Facebook photos a friend tagged you in.

Not if you have a portfolio website.

In that case, almost certainly your site will be the first result (unless of course Justin Bieber is their namesake). Your website is the only place online where you fully control how you want to be seen. And if you are the right person to work with for people googling you, this will be clear from your site.

Your website is the first, and most important place to market yourself.

My two most exciting jobs of the past decade both came to me through the website (and it wasn’t even a portfolio website). One was the offer to work on a high-profile feature film. The other, to travel and lecture in Europe. How cool is that?? Both opportunities have opened up subsequent business that continues to this day.

Where Is Your Portfolio Website?

Today, when I google ‘screenwriter website’, on the first page I find the names of Caitlin McCarthy and William Nicholson. Neither I must admit I have ever heard of (although Nicholson co-wrote Gladiator).

But now I have.

If you look for a writer by googling “[their name] screenwriter website”, in 99% of the cases, the right person will be listed first.

Try “Emily Blake Screenwriter website”, and the first listing will be Bambookillers. That’s Emily’s blog. In fact, it’s also her portfolio website, as it lists the screenplays she completed, and those in development. Her last post dates back from 2014, but the website strategy is so powerful that it still lists her site first in Google.

Build Your Portfolio Website, And …

If you build it, they may not come.

If you don’t build it, they most certainly will not come, no matter how loud you scream.

For me, setting up WordPress sites is a hobby that got out of control. Out of the 55+ domain names I own, a few dozen are hosting sites that I built. It all started with this site, followed by Logline It, and The Story Series,  (which is moving from an offline course now online).

Over the past year, I helped a few writers build their portfolio website.

Leon is a lawyer retiree, who committed himself to screenwriting only a few years back. His site now lists eight screenplays, both original and adapted. If anything, it shows Leon is dedicated, and he works fast. If I were looking for a screenwriter today, these are critical qualities.

The other writer is Lachlan, who is an internationally celebrated playwright. He doesn’t really need the site, because right now he is busy enough as it is. But Lachlan knows that in our industry, things can change at the drop of a hat. At that point, he will have an impressive portfolio online, and Google will honour the seniority of his website, as well as his frequent blog updates, by giving him a prominent ranking.

A good quality website is a potential honeypot for writing gigs right now, while you are saving marketing collateral for the future. It is a no-brainer.

If you don’t already have that portfolio website, consider building it this week. It doesn’t require rocket science, and you can afford it.

In truth, you can’t afford not to have it.

-Karel Segers

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I am hosting a free webinar for writers who would like
to set up their own professional WordPress portfolio website:

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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