How do you write a great film screenplay?

I don't think it's about "what kind of film you want to make", genre has to do with what kind of story you want to tell. It's true each genre has certain exceptions that need to filled. The foundation that all screenplays should be written in, is a "3 Act Structure". Format is very important. Wrong format makes the writer look like an amateur.

You should be fully grounded in 3-Act Play Structure, the basic, established foundation of screenwriting, and even better, to have read books on playwriting, and have been a member of a playwriting workshop, where you learn, develop, and are mentored. Understanding the difference between crafting play scenes and screenplay ones, i.e., being able to operate within a limited number of theater scenes, is the sole way to become skilled at selecting only scenes that are germane to your screenplay.

Before you choose your genre there should be some thought put into WHY you're writing the screenplay because that will inform what genre you choose. Then you can pick the genre that will feed your intention most effectively. The only time to change the common format is when you are writing an uncommon script and it is necessary to change the format, but changing the format just to be 'cool' or 'edgy' when the story doesn't call for it can work against the writer.

For a great screenplay it's most understand the subject in it.every character,place & situation make the storytelling better.

I developed a hack to understand film structure long ago. Take any existing film that is similar in some way to the film you're dreaming up and writing. Buy the DVD, watch the movie and read the titles to the chapters. Those titles are the structure in plain english, usually worded in such a way to perfectly sum up the "beats" in the overall narrative. Now when you're plotting your film, you have a loose reference of the way chunks of a similar movie connect and add up to the whole story. Try to write the back of your own (yet to be produced) movie's DVD as an exercise in summing up the scenes in such a way that the structure is clear. Now you have a house that stands. Have fun adding all the walls, stairs, windows and nooks.

An outline is personal preference. I don't feel it's a necessary step. It's not a waste of time. In my experience once the words hit the page, the story starts to grow beyond the outline. Don't be locked into any one idea, let your story talk to you.

Contrary to what was expressed, conflict has to be there, throughout. The First Act is the Condition of the Action, wherein everyone is fighting everyone, in separate battles, which, after a turning point (Climax One), further distill down to a Central Conflict between Protagonist and Antagonist (Act II) (The Cause of the Action). The Second Climax is a result of reducing this section into a point, after which there can only be a specific Resolution of the Action (Act III). The most distracting/disqualifying thing a writer can present is work with English usage and punctuation mistakes. Learn the difference between homonyms like your and you're, and there and their. Those word groupings illustrate the problem with Spell-Checkers.

A “perfect” screenplay is one that uses every line of dialogue to expose more of the character, set up for the upcoming plot, and/or plant a seed that will be used later within the story. Nothing is more engaging and beautiful than a screenplay that organically references itself to show thoughtfulness and subtlety. Not only that, real people seldom say precisely what they mean. Creating believable and natural dialogue is always challenging for new writers. Stretch yourself by reading the dialogue aloud or by having someone else read the dialogue to you so that you can hear it in someone else’s voice. We start by writing in our own voice, the next step is to learn how to channel the character.

Every phrase of action and dialogue must be mindful of, and incorporate, when necessary, ALL the elements of scriptwriting. Descriptions and speeches must therefore advance plot, differentiate character, develop character, establish conflict, and create suspense, i.e., lead one to anticipate consequences. Though you do not want to give those outcomes away, they cannot leap out of nowhere, either: USE FORESHADOWING. Connected with that, know that Character Differentiation negates having all your characters be subtle, angry, submissive, hypochondriacal, or whatever. You also want to avoid redundancies: if you use the word bandwagon, for ex., don't follow it closely with the word band; use a synonym, like ensemble.

Get in late, get out early. Don't waste time. Write action that points toward emotion. That allows the actor to understand the emotion of the scene, process it, and play it in their own truthful way. If a scene doesn't move the story forward, you don't need it.

I use my books I have written to help outline the script. I try to keep the screenplay to approximately 90–120 pages if possible.

The opening scenes of a screenplay play a crucial role in captivating industry professionals and producers. With the abundance of scripts they receive, a strong and attention-grabbing beginning is essential to stand out from the crowd. The first scenes set the tone, introduce the main characters, and establish the central conflict or premise of the story. A compelling and intriguing start not only piques the reader's curiosity but also signals the writer's storytelling prowess and ability to hook an audience from the very beginning. It is the doorway through which the reader decides whether to invest further in the script, making it an invaluable opportunity to make a lasting impression and set the stage for an unforgettable narrative.

Writing is rewriting. The first time you type the end, it's the beginning of the work that needs to be done. With each rewrite you'll better understand theme, character, and story. As you rewrite, your dialogue with become more natural, crisper, more real. Solve all your problems before you give your script to anyone.

I absolutely agree, screenwriting thrives on revision. Consider “Back to the Future”: early drafts had Marty using a refrigerator, not a DeLorean, for time travel—a choice refined for safety and flair. George McFly’s character arc, evolving from timid to confident, emphasizes consistent and resonating character development. Iconic lines like “Great Scott!” highlight the importance of authentic dialogue. The balance between tension and relief, like Marty’s “Johnny B. Goode” scene, demonstrates pacing prowess. Always polish, even down to the smallest detail, to make your script timeless. The journey of screenwriting is undeniably one of continual refinement!

It's a hyper-competitive market, as much work and many investors have exited L.A., for more favorable environs. Producers/agents are so slammed with emails, scripts, etc., and so focused on established, formulaic pieces, they won't even keep a promise to read a summary of a few lines; producers hesitate to look at an idea that an author presents, for their paranoia about getting sued by the writer who uses false claims that the idea was already used. A project with major distribution has to make three times its budget to earn profit, and the conventional sci-fi, action and crime films have started to tank, financially. So, limit your submission to a Letter of Query, and WRITE SOMETHING MEANINGFUL, and Do in-person networking.

When writing a great screenplay one should not rely on an article written by AI. While there may be areas of commerce where AI can be useful, effective storytelling is not one.

Employ a human writer who knows and understands what it is to be human. Having a human writer not only employs the human but it allows societal ideals to be continued, changed, adapted and displayed through a human perspective.

As a black screenwriter, more stories about the black experience need to be told. As a whole, African Americans are not monolithic, and the perception of mainstream media is that we are. Like every other ethnicity in the U.S., we have a lot if diverse ideas, thoughts, etc as well. Major studios & producers need to recognize this & not just throw $300 million to Tom Cruise, Harrison Ford, etc to make a film.

Write a story that's true to you. That moves you. It's hard to follow the market, so write for you. Nothing should be easy. Conflict drives the story forward, be it lovers or fighters, conflict drives the story forward. There are no coincidences. Make your hero work for their reward.