Screenwriting : Take the Screenwriter's Idiot Test! I Dare You by Scott McConnell

Hey, Scott McConnell. The only one I didn't get was #5 ("I do not spend at least months working hard to develop my concept and characters"). I usually don't need that much time to develop my concept and characters.

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Hi Maurice, good you don't need 6 month to develop your story/characters/theme, etc. Do you get your concepts vetted before starting to plot them? Scott

I don't usually get my concepts vetted first, Scott McConnell. I share them with other creatives and industry pros who are close friends sometimes. I also like to test out a concept on myself first. If it excites me, it's unique and marketable, and it has a theme, I'll start outlining the script.

I wish at least one person among the thousands on this educational site would have the courage to define exactly what makes someone a professional. I've never seen a clear definition—just hype, aka hope rooted in fear, explaining why one cannot consider themselves a professional. It’s like buying a ticket to heaven, Nirvana, or wherever you believe your utopian journey should take you.

HI Charles good and fair question. I pro is someone who knows his job or at least tries to learn it and applies reason, intelligence, and hard work to his work. See this article re screenwriting pros. https://www.linkedin.com/posts/scottamcconnell_screenwriting-screenwrite...

I understand what you're saying, Charles. All the above questions show I'm doing things the "right" way. I've literally spent hundreds, if not thousands, of hours perfecting my craft, and I have a good script that's won or placed in 30+ contests. And still I've not had an industry professional request a read. Sometimes I really think it comes down to who you know, not how good your work is.

Thanks for your response, Scott McConnell. I’d like to share my thoughts and impressions on the subject. I wasn’t specific in my original message, mainly because I know this topic can be sensitive. Hypothetically speaking, let’s say I’m looking to hire a ‘screen-doctor.’ I’ve noticed that many individuals seem to claim this title for themselves. Before I pay someone, I need to feel confident in their ability — but more importantly, I need to trust they won’t lead me in the wrong direction without me realizing it.

You mentioned in your post, ‘or at least tries to learn it and applies reason, intelligence, and hard work to his work.’ But how would I really know this for sure? In my opinion, there’s no reliable way to determine this, and that raises questions. You also mentioned, ‘who knows the job.’ But again, how would I know that? It feels like I’m being asked to place blind faith in someone who may or may not have the experience they claim to.

This reminds me of the analogy of a celibate priest giving advice on family life — it’s hard to trust someone who doesn’t have the experience to back it up. There might be skilled individuals out there, but they seem hard to find. I came across one, and while they were listed as the main writer on IMDb, the film they worked on didn’t turn a profit, though something did come of it. These professionals are difficult to find and evaluate, and it’s frustrating.

Linda Federico-O'Murchu imho, you're absolutely correct. Once you master your craft, it's up to you how much you push.

Save the Cat is what got me on the right track and thousands of hours reading and studying.

Mark Deuce That's good. However, did it get you to what I would like to think is the final prize of having your film made and produced on a successful commercial level?

This is what I've noticed, Charles V Abela: The industry targeting hopeful, unknown screenwriters is making lots of money off the IDEA that we can make it to Hollywood, but this i's almost completely an illusion. We screenwriters are investing a ton of time, money, work and hope on almost impossible odds. We think we're working to break into an industry that needs us, we think it's a meritocracy, but in reality it seems more like a game of chance. I guess my objective at this point is to have such good work that, if lightning strikes and an industry insider asks to see it, I'll be ready.

My response to each:

1. I write Film or TV scripts without ever having read a script.

Personally, in my career in animation I have read hundreds of scripts. Whether I am storyboarding, character designing, animatic editor, director, or whatever else, reading the script is part of the job.

2. I have not read any books on how to write a script.

I've read a few. But most of my knowledge comes from experience as mentioned in my answer above.

3. I have never taken a class on scriptwriting.

I have never taken a class. I come from the 'School of Hard Knocks'.

4. I do not study nor follow script formatting standards.

Why would anyone not follow formatting standards? That's just inexcusable and unprofessional.

5. I do not spend at least months working hard to develop my concept and characters.

Months, definitely. Sometimes, years.

6. I don't do any research to help develop my stories.

Depends what your writing.

7. I have not spent hundreds if not thousands of hours learning my craft and improving my scripts.

That comes with time. You can't expect a new writer to have thousands of hours perfecting his craft, they just haven't had the time. I am an older writer, so yes, I have spent thousands of hours improving my writing.

8. I do not outline before I write.

I do. Some people don't. While I definitely recommend that you do outline first, I wouldn't hold it against you if you don't.

9. I do not do a spell check of my draft before I submit it, nor check its punctuation or formatting.

Same answer as number 4. It's unprofessional.

10. When I send a pitch letter to a manager or producer, I use a tag line not a logline or my logline has no hook.

I hate loglines and taglines. I use loglines because you have to. But you can't get a good idea of the vision in a longline. I wish producers and executives wouldn't make such a big deal of loglines.

11. I send a script to producers or industry professionals without them having requested it.

That's a 'No'. That's why they say, "We don't accept unsolicited scripts."

12. I have never had a professional script consultant/assessor/story expert vet my script before submitting it. (Cheap script analysis services or contests do NOT count.)

I haven't had any script consultants or story expert vet my scripts. Again, School of Hard Knocks, I have writing credits on several animated series, and on every single one of those, the Director and Producer have praised my scripts and said my scripts were the best of the series. So the only people that matter, the Producer and Director, love my work. The very nature of paying someone to find flaws means they will find flaws and critiques, because they were paid to do so. Imagine paying to have a script critiqued, and they just came back and said, "I love it! It's great." You would demand your money back wondering if they even read it. It's like any other supervisory position, they need to find problems to justify their job. Could it be useful? Yes, of course. It's not something I would do, but I can see it being helpful . I prefer to get people I trust to read my work. As long as they are honest, and don't worry about my feelings, they are usually very helpful.

Zee Risek Your comments are commendable. Obviously you’re not selling yourself as a screen doctor, but you do indeed have the pulse of the industry. My two cents’ worth of thoughts follow…

1. I write Film or TV scripts without ever having read a script.

Personally, in my career in animation I have read hundreds of scripts. Whether I am storyboarding, character designing, animatic editor, director, or whatever else, reading the script is part of the job.

Me: I have. Often though, they lead me to become even more skeptical.

2. I have not read any books on how to write a script.

I've read a few. But most of my knowledge comes from experience as mentioned in my answer above.

Me: Same

3. I have never taken a class on scriptwriting.

I have never taken a class. I come from the 'School of Hard Knocks'.

Me: Absolutely. Never saw you on the campus but I from the OLD School of Hard Knocks.

4. I do not study nor follow script formatting standards.

Why would anyone not follow formatting standards? That's just inexcusable and unprofessional.

Me: I do follow script formatting standards. So you puzzle me.

5. I do not spend at least months working hard to develop my concept and characters.

Months, definitely. Sometimes, years.

Me: Not me. The world is changing fast. Especially right now as we speak.

6. I don't do any research to help develop my stories.

Depends what your writing.

Me: I do research, but that depends on the subject matter.

7. I have not spent hundreds if not thousands of hours learning my craft and improving my scripts.

That comes with time. You can't expect a new writer to have thousands of hours perfecting his craft, they just haven't had the time. I am an older writer, so yes, I have spent thousands of hours improving my writing.

Me: I agree.

8. I do not outline before I write.

I do. Some people don't. While I definitely recommend that you do outline first, I wouldn't hold it against you if you don't.

Me: I do now. Not when I started.

9. I do not do a spell check of my draft before I submit it, nor check its punctuation or formatting.

Same answer as number 4. It's unprofessional.

Me: Puzzled as to why wouldn’t. Its okay, perhaps and perhaps only, for kids on their mobile.

10. When I send a pitch letter to a manager or producer, I use a tag line not a logline or my logline has no hook.

I hate loglines and taglines. I use loglines because you have to. But you can't get a good idea of the vision in a longline. I wish producers and executives wouldn't make such a big deal of loglines.

Me: I love loglines. It helps one develop a disciplined feeling. Especially for somebody like me who tends to waffle.

11. I send a script to producers or industry professionals without them having requested it.

That's a 'No'. That's why they say, "We don't accept unsolicited scripts."

Me: If the Producer or Director looks at a shit put on his desk but he knows he can polish and turn it into gold, then one is forgiven and handsomely rewarded for not asking permission. This is absolute crap from a business point of view. You can wait for the next 20 years for some kind person to open the gate for you… But Managers are important … so as a last resort, I do.

12. I have never had a professional script consultant/assessor/story expert vet my script before submitting it. (Cheap script analysis services or contests do NOT count.)

Me: Now I agree. In my first year though, I have used one person on two occasions.. I was lucky, and I felt I got the expected benefit.

I haven't had any script consultants or story expert vet my scripts. Again, School of Hard Knocks, I have writing credits on several animated series, and on every single one of those, the Director and Producer have praised my scripts and said my scripts were the best of the series. So the only people that matter, the Producer and Director, love my work. The very nature of paying someone to find flaws means they will find flaws and critiques, because they were paid to do so. Imagine paying to have a script critiqued, and they just came back and said, "I love it! It's great." You would demand your money back wondering if they even read it. It's like any other supervisory position, they need to find problems to justify their job. Could it be useful? Yes, of course. It's not something I would do, but I can see it being helpful . I prefer to get people I trust to read my work. As long as they are honest, and don't worry about my feelings, they are usually very helpful.

Me: I don’t believe on pats on the back. Or papers on the wall leaving a blank mark.

1. No 2. No 3. No 4. No 5. No 6. No 7.No Maybe 4.000 hours the last 10 years 8. No 9. No 10. No 11.. Some times, depends 12. No

   PS: you've hit the hammer on the nail Linda. But it's also a lot of building a group of contacts that can be worthfull to each other.. For me that mostly is Facebook, but it can be any social platform possibly related to film

Your comment Linda Federico-O'Murchu is spot on. "The industry targeting hopeful, unknown screenwriters is making lots of money off the IDEA that we can make it to Hollywood, but this i's almost completely an illusion."

I love the list and find it relevant. Your presumption that there are established standards is laughable.

Scott, I answered "no" to all twelve of those questions...and since my second start on this screenwriting/TV-writing journey began in 2016, I answered #12 just last summer.

Great post!

I answered yes to question 3, because I learned by directing no-budget projects rather than going to film school. I also answered no to question 12 because I prefer to receive comments from multiple peers rather than one consultant.