Screenwriting: Scenario Construction

Writers need to master their craft by studying and practicing screenwriting. One of the first books on screenwriting is The Photoplay Handbook of Scenario Construction. It was published in 1923, during the silent film era, a time before the term “screenwriter” was in use. The advice in this early screenwriting book still applies today:

“Our ultimate purpose, as a photo playwright, is to arouse the emotions of the audience–to make them weep, to grip their hearts with pity, to thrill them, to make them laugh, and fear; and shed tears of joy. We strive to achieve these things by leveraging the actions of the people we create. We make our characters struggle, suffer, and win and lose in their fight for happiness. Every act of every character may be regarded as an effect.”

Those words were accurate in 1923, and they remain so today.

Writing the Picture

Another great book about screenwriting is Screenwriting: Writing the Picture by Robin Russin and William Missouri Downs. It is a virtual screenwriting class for a fledgling screenwriter who wants to enroll in a college screenwriting program but can’t for whatever reason.

The college textbook begins with a professional perspective on how screenplays can be read and valued in the industry. It proceeds to chapters that deal with the character, theme, and story environment.

Then, there are six complete chapters on story structure, from historical approaches to how genre influences screenwriting form.

The book also devotes chapters to pitching, rewriting, and creating a career in television and playwriting as viable alternatives or adjuncts to writing for movies.

Top Screenwriting Program

Russin and Downs both received their Master of Fine Arts in screenwriting from UCLA. The university’s screenwriting program is considered one of the top programs in the country, boasting notable alumni such as Michael Webb, Michael Colleary, Jonathan Hensleigh, and Ed Solomon. Russin and Downs each won the Jack Nicholson Award for excellence in the field.

Russin wrote, produced, and directed for television, theater, and movies. Downs, an award-winning playwright, has sold feature screenplays and written as a freelance and staff writer on TV.

I spoke with both Russin and Downs about screenwriting and invited them to share their vast knowledge of the subject. I took copious notes while we kept ourselves pumped with drinks.

Talking with Robin Russin and William Missouri Downs

Both working writers and teachers, “Bill and I were frustrated by the many books out there that approached the process of writing from an ‘after the fact’ standpoint,” explains Russin. “They attempt to show how a script should be written by taking something finished and assuming that by critically dissecting it, a writer can then figure out how to create something new.”

Russin believes this approach is helpful and can be used to some extent. “It doesn’t really get at the core problems encountered by someone who is approaching the blank page, trying to get a handle on what and why and how they should be writing. There’s far too much ‘if you write it, they will come’ pie in the sky cheerleading, and far too little hardcore advice on how to make sure your script will not only be artistically successful but survive in the marketplace.”

Create Characters, Dialogue, Environment, and Structure

They wrote the book because of the numerous subpar screenwriting books available. “We wanted a book that concentrated on all techniques, not just one method of writing a screenplay. Our book covers just about anything you want to know about screenwriting,” explains Downs.

Russin agrees, “Probably the most valuable aspect of the book is that we go into much more specific detail than most in terms of how to create characters, dialogue, environment, and especially structure.”

The heart of our book is a six-chapter section devoted to explaining how the structure works on a deep level, rather than a superficial, put a plot point on this page approach. “Most books out there push a specific formula to be imposed on the screenplay. After years of both writing and teaching, Bill and I came to realize that in fact, no formula–even the hallowed three-act structure applies to every screenplay, or even to most of them,” explains Russin.

Familiar Movie Formulas

“These are straitjacketed approaches to a fluid, organic process, and so we wanted to come up with something that would free the writer to create in new and inventive ways. But we also included a very detailed description of the various familiar formulas, both because it’s important to know the terminology and expectations of producers who are familiar with those formulas and because our philosophy is that whatever gets the job done is the right approach.”

“The book is a graduate-level college textbook on screenwriting. It covers the whole spectrum. That is the book’s most valuable aspect,” concludes Downs.

Start Writing Screenplays

It’s up to you to decide whether to go to college and get your degree in screenwriting or start writing screenplays. Either way, you still need to write a script to be a screenwriter. The more you write, the better you will become as a screenwriter.