Every script begins with the seed of an idea. In this microbudget toolkit for screenwriting, I’ll go over how I land on the right ideas, craft them around the available budget, execute on the writing process, and polish the scripts into solid foundations for hopefully good films.
This writing process requires a balance between two seperate parts of the brain: the wholly creative part and the pragmatic one. The creative process should be free-flowing and the pragmatic process should serve to make the creative work achievable.
Many scripts are started, but the objective here is to finish something that will be seen all the way through, with few limitations along the way. Scripts are great, but they’re meant to become films, otherwise we’d just right novels.
Hopefully this guide and framework will help you write a film and not just another script.
OVERALL SCREENWRITING TAKEAWAYS
Some overarching things to keep in mind as you go through the writing process:
- Look for interesting seeds – You may find your initial spark in a movie you like, an article or book you read, or a song or podcast you hear. I find it interesting to think analytically about everything I consume and let myself go down the “Why,” “What about,” or “What if” rabbit holes. This can lead to intrigue.
- Keep testing – It’s important to keep writing. I try and write down every single idea—stories, characters, lines of dialogue, etc. I keep these handy at all times. If you get struck by a good seed, follow the “Initial Testing” part of the screenwriting process below. Lather, rinse and repeat until you land on the right idea to expand into a full screenplay.
- Solve problems – Solve the problems presented in your idea’s seed, and you have a narrative. Solve the problems you create in crafting that narrative and you have a story.
- Avoid the research rabbit hole – This isn’t a hard and fast rule, but with microbudget limitations, research sometimes indicates your idea isn’t feasible to produce. It can also create a vortex that complicates the writing process if you’re not disciplined, organized and focused. If you’re writing for a microbudget, stick to what you know and what’s available.
- Know your limits – Acknowledge your own skills and abilities, and craft your story around them. This minimizes essential collaborators and other expenditures. My model for Counterintelligence was to write a movie that I could produce completely on my own with no extra help if need be.
TOOLS YOU’LL NEED
- Final Draft – As far as I’m aware this is the industry standard screenwriting software. It’s what I use and feel most efficient in. It also contains a host of production tools to assist in budgeting, scheduling and general organization (many of them covered in the resources for Episode 2). However, it comes at a price. So, an alternative…
- CeltX – I’ve been known to use CeltX, particularly for writing on the go with their smartphone app, which interfaces well with Final Draft. It is a web and mobile-based app and subscription service, and the basic level for scriptwriting is free. See other packages here.
- Evernote – I use this app religiously. The coolest feature is that you can create unique digital “notebooks” for each project you’re working on containing unlimited notes. I have a Counterintelligence notebook that was my organizational home-base for the production, and even writing. I used it to track script-notes from others and changes I needed to make along the way. Here’s a little more on my Evernote workflow.
YOUR RESOURCES
Though I didn’t cover the creative process heavily in the episode, I thought I’d include some helpful resources here to get your creative juices flowing. These are some places I go to get inspired by process, approach to structure, and craft.
PODCASTS
- The Q&A With Jeff Goldsmith – Goldsmith is a great interviewer and asks a lot of process-driven questions of filmmakers, including writers and writer-directors. If you’re a filmmaker and not listing, now’s the time to start.
- Off Camera With Sam Jones – Sam has built an outstanding catalogue of in-depth interviews, many of which are with high-level filmmakers. There’re a lot of inspiring interviews with actors who discuss the whys and hows behind certain projects. Whichever season is current is free in podcast form. Much of his back-catalogue is in video form on Netflix as well.
- BAFTA’s Screenwriter Lecture Series – This is a treasure trove of information and process from some of modern cinema’s most prolific and/or lauded screenwriters (Tony Gilroy, Hossein Amini, and Charlie Kaufman to name a few). They rarely update, and I marathoned most of them.
- Writing Excuses – If you hit a wall on structure, characterization, plot, or any other elements of screenplay construction, cruise their library and you’ll probably find an episode to address your hurtle. I’ve found it can jossle things loose very quickly—most episodes are between 20-30 minutes.
BOOKS
- Hero With A Thousand Faces – This is a well covered storytelling book, derived from the classical hero’s journey. It needs little introduction. If you’re unfamiliar, look into it.
- Independent Ed – I cannot recommend this book enough. It’s a how-to for microbudget filmmaking that will fill you with bravery. It comes from an actor/director who reached tall heights, then found himself in a stalemate that lead him into micro-budget filmmaking. There’s a great deal in here on how he structured his scripts accordingly. I covered it in depth here.
OTHER
- Masterclass – This is an amazing tool I wish existed years ago. With hours long one-on-one-like video courses taught by the top-brass (Martin Scorsese, David Mamet, Werner Herzog, Judd Apatow, and Ron Howard to name very few). There’s a 30-day trial that will likely sell you on a subscription.
- Script.To.Screen – This Instagram handle and associated YouTube account gives some great side-by-side comparisons between screenplays and live action scenes from films. They make for solid little moments of inspiration.
- My Blogpost –
SCREENWRITING OVERVIEW
The most important thing to remember is that guidelines and timelines are massively helpful. Don’t be afraid of them.
It’s also important to feel free, particularly early on. Don’t get bogged down by the details in your first draft. In my experience analysis-paralysis leads to writer’s block, and the next thing you know you’ve spent four years on an untennable script.
One final note before introducing the process—one that might piss some people off but I firmly believe it: screenwriting is as difficult as you make it. I find it helpful to remind myself that the script is just the beginning. The film will change enormously by the end of post-production.
Don’t pressure yourself into the notion that you must write the greatest script of all time. The greatness of your script arises in revisions, and even then, a great script doesn’t ensure a great film. The important thing is to finish.
SCREENWRITING PROCESS
The below is a breakdown of the process and milestones I used to write Counterintelligence, as outlined in the podcast. Upon reflection, my most successful bouts of screenwriting have included at least some of these practices.
You can absolutely feel free to use this formula, or adapt it as you see fit!
1: INITIAL TEST
- Write a little bit – Have an idea? Just start writing. Give yourself a chunk of time to free-write; I typically prefer starting with a dialogue scene and, to quote Paul Thomas Anderson, “just get the characters talking to each other.” Once you’re done, read over it. If satisfied, save it and set it aside.
- Marinate – it’s a lot harder than it seems, but very worthwhile. I like to set that little “test scene” aside for up to a week. If it’s still sitting with me and I can’t stop thinking about it by the end of those five to seven days, I’ll return to it. If it fades, I move on. For me, this helps gauge commitment to the material. You must be fascinated by your subject(s) to commit to this level of exploration.
- If it sticks – Having obsessed over it, I’ll try either writing the scene before or after. Occasionally I’ll try both. If that flows freely, you’re on the right track to advance.
- If it doesn’t stick – No worries. This just means it’s not this story’s time. You’ll always have it to come back to and it may end up fitting somewhere else. On Counterintelligence, there was a point in the writing where I felt a bit stuck, then remembered I’d free-written some dialogue between two unrelated characters months prior to starting Counterintelligence. Adding that in would completely refresh the story and add a whole new angle, so I did and it’s one of my favorite scenes. You never know where your short experiments will end up
2: VOMIT DRAFT
It’s a crude term, but I didn’t invent it. You’ll be fine. It refers to the first draft of a written piece that the author “vomits” out, or writes continuously with little care for structure or intense scrutiny. Keep writing until a full piece is done. To achieve this…
- Make a plan – Pages per-day guidelines work best for me, but you can set different goals that instill confidence. For Counterintelligence I set out to write 10 pages per-day, aiming for a 90 page first draft.
- Execute – Once you’ve landed on your goal and guidelines, postpone social events, go off the radar, and just hit those daily/weekly/monthly milestones until it’s done. If you write more than your goal in a given sitting, great! Don’t excuse yourself the next day. Finish it!
- Print – When I’m finished with a draft, I like to print it out. Editing is easier for me on paper. You may be different. In any case, it’s time to hunker down and revise. Congrats!
3: REVISIONS
My Instagram post from revising Counterintelligence:
You’ve found the bones of a story and characters in your first draft. Now it’s time to tighten and polish. This may take multiple drafts, so I like to set goals here too.
Oil painting is a helpful analogy: a piece often begins with a sketch, then a base layer of paint. After that, you continue adding brush strokes and texture to different areas, painting them over repeatedly until the final look emerges.
For me, a revised draft every four weeks works.
I break my revisions into two categories as well: Story and Production.
Story revisions are the passes wherein I focus solely on the quality of storytelling, structure, characters, etc.
Production revisions focus mainly on logistics. I go over the script a few times, making changes based on the budget I presume will be available. The things in question include, but are not limited to:
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- Props – Can your presumed budget afford the quantity and quality of props required to tell your story properly. If not, consider pairing them down or restructuring. Pro-tip: write in mostly props you or someone you know have to save money.
- Locations – Fewer locations are always better on a low budget. More locations add logistical considerations like travel and accessibility problems. This can take focus away from you or your director, particularly on tight timelines. Try and concentrate your low/micro-budget script to as few locations as possible.
- Number of characters – More characters equal more rates and more to manage. Much like locations, reducing the number of overall variables to concern oneself with in production is key to executing a low/micro-budget film. If a character isn’t necessary, see if they can be scrapped while maintaining your written vision. Another solution is to merge characters where you can.
Here is how I addressed these and other production considerations in the writing process:
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- Locations – I paired them down to 15; the vast majority of the film took place in my own apartment, with a single office space coming in second. I know my apartment extremely well and access was always freely allowed with no fees. It also ensured the film mostly take place at a central hub, allowing for onset focus and cash savings. Almost like filming live theater.
- Characters – I kept them to 12 in Counterintelligence; two leads were onset nearly every day. Everyone else were single-day or hourly players, and we were able to maximize their screen time in single locations with little movement, therefor maximizing focus on performances.
- Technical demands – I wrote for a lean crew, fast shoots, quick post, and minimal visual effects. In crafting a story I knew I could shoot alone if need be, a few extra players would be beneficial. Combined with location reduction we were able to move insanely fast. Visual effects were also kept to a minimum and only included additions I could comfortably implement myself with little friction. I’m not a skilled VFX practitioner. I know my limits and wrote to them instead of around them.
- Short timeline – Counterintelligence takes place in 48 hours. This means few costume changes.
- Based in the modern day – Setting out to make a microbudget period or sci-fi piece isn’t impossible, but at a $12k budget I couldn’t imagine it adding anything more than unnecessary headaches.
You will likely reach a point where you’ve painted over the same spots so many times that you’ve run out of objectivity. If you’re telling the right story, you’re too in love to point out anymore faults. Whether it’s draft three or seven, it’s time for outside eyes.
4: BRAINTRUST
My ShoHawk co-founder Mike wrote a great article about the most famous braintrust in the world. To my knowledge they invented the term, but it essentially refers to a group of people who are tasked with picking a piece of work apart until it’s bulletproof.
Everyone you bring aboard to a project should become a part of the braintrust. With every new addition, valued perspectives are introduced. This is how films evolve throughout their making and it’s really beautiful to behold.
In the scripting phase though, a braintrust helps to make your script as solid as possible, giving your project a firm foundation upon which you can build those other elements.
My braintrust includes Rachel and Marc, who I introduced in the episode, and a few other folks. I have a very specific process for working with them:
- Bundling reads – I have each person read a different draft, mainly to avoid having a single reader to review the script more than once. Their objectivity is of utmost importance, as that’s the thing I, the author, lack. Bundling also allows for fresh perspectives as each draft evolves and improves.
- Bundling notes – If I have multiple people reading one draft, I wait to implement any changes until I’ve received each of their complete notes. This allows me to search for and prioritize commonalities, and ensure consistency of approach in each draft. Isolating the act of revising to a single pass per-draft also saves a lot of time, as opposed to scattershot changes here and there, which can often devolve into disorganization and an inconsistent draft.
- Ask a lot of questions – Never let a note be a note. Always dig into a reader’s reasoning for their objection or critique. Dig as deep as possible and you’ll typically unearth your script’s most significant holes. This is why I typically like to hear the criticisms in conversation and write them down myself, as opposed to receiving a reader’s list of notes. Digging deep can also reveal relationships between multiple notes that can be fixed by tweaking an overall theme, character, or plot device. Sometimes two seperate things don’t work because they’re under a flawed umbrella. Fix the umbrella, and you’ll fix the two things under it.
- Characters – Use your braintrust to feel out how relatable and/or authentic your characters are. Your readers are human beings. Use their humanity to enhance your script’s humanity. An example would be how I used Rachel’s notes to ensure my female characters were multidimensional and relatable.
- Pacing – Are your readers getting unnecessarily lost? Is information unfolding in solid beats? Are they interested, getting bored, or left wanting more?
- The minutia – Dig for things the readers perceive to be inconsequential little knit-picks. Often these don’t mean a whole lot, but sometimes they mean more to you than your reader would assume. This is where you find inconsistencies in your script.
- Listen to yourself – Pay attention to your level of commitment to certain ideas. Ask yourself why you’re rejecting specific notes, especially if you’re repeatedly getting the same ones. You have to be as open as possible to having it wrong. What works in your head may not work to someone else, so scrutinize your own motivations throughout the process.
- Be vulnerable – You will get from the braintrust what you put in. It can be hard to put your “baby” in someone else’s hands and wait for them to tell you it has an ugly nose. Doing so with openness requires some inner strength and vulnerability. Remember that a person critiquing your ideas isn’t critiquing your humanity. If you’ve chosen your braintrust correctly, they should be people you trust implicitly, who you know have the best interests of you and your work in mind.
WHAT I MISSED (STUFF TO LOOK OUT FOR)
The only thing I really missed in the writing process was passed over in pre-production: Table reads can be extremely beneficial, especially with a script that’s as dialogue-heavy as Counterintelligence. They was brought up to me several times and I dismissed them, mostly for financial reasons.
Hindsight being twenty-twenty, I should have done at least one half-day of table reads to really iron out the kinks and further develop the characters’ voices around the actors. I see the benefit now and would do them in the future on a film of this kind. I can’t recommend it enough.
HOW I FIXED IT
One reason I didn’t do table reads was that I’d always intended the onset environment to be an open space. I wanted actors to have some improvisational freedom, and to pick apart lines or segments that might not have been working.
And, for the most part, that’s how the sets were. I’ve never been particularly married to all my dialogue. If something is crucial I’ll stick to it, but I’m always open to better interpretations, so long as they’re improvements on the script.
That said, it would not have hurt to have both table reads, and this open approach to onset dynamics.
Thanks for reading this installment in the guide! Next, advance to the budgeting segment 🙂