One of the biggest myths about screenwriting is that producers are looking for great writers. The reality is that they're more interested in fresh ideas and unique spins on old ideas. For a screenplay to hook a producer's attention, it needs to have the following elements: (1) a clearly defined demographic, (2) a storyline that is character-driven (as opposed to plot driven), (3) strong roles that actors will want to play, (4) adherence to three-act structure, (5) a sustainable conflict, and (6) dynamic visuals. While scripts with low budgets are more approachable for smaller studios, even major companies assess whether a plot justifies a high price tag, specifically insofar as recouping its investment at the box office and generating a profit.
Audiences have short attention spans; therefore, a story needs to hit the ground running. The first 10 pages of a script translate to the first 10 minutes of film. In that first 10 minutes, the screenwriter needs to identify whose point of view will prevail (usually the protagonist), the genre of the movie (comedy, drama, romance, thriller), what the core conflict is, and who or what represents the opposition. Although there are almost always subplots in a movie, these not only take a backseat to the core conflict but also work toward resolving it or creating obstacles. The genre must stay consistent from start to finish.
Unlike novels, short stories and poetry, screenwriting follows a precise set of rules regarding fonts, margins and placement of elements such as master scenes, dialogue, actions and transitions. To understand what screenplays look like, download free copies from websites such as Simply Scripts and Drew's Script-O-Rama. Type your screenplays in Courier 12 point font and have 1-inch margins on all sides. Master scenes and action lines are typed at the left margin, transitions are typed at the right margin, and dialogue blocks occupy the center third of the page. Screenplays embrace minimalism in descriptions, and writers should strive for as much white space on the page as possible.
For a protagonist to win the empathy of an audience, she must either be an ordinary person who has been thrust into an extraordinary situation or an individual with extraordinary talents who is forced to function in an ordinary setting. Her objective in the story must be predicated on reward, revenge, escape or a combination of these three, and the more strongly her actions are directed toward the good of others rather than solely her own interests, the more likable she will be. As for the story's villain, he needs to be introduced as early as possible and have motivations that are as strong and focused as the hero's.
The average length of a feature screenplay is 120 pages. If formatted correctly, this equals a two-hour film. Screenplays adhere to a three-act structure that is commonly described as: "Chase the hero up a tree, throw rocks at the tree, and set the tree on fire." Even in a comedy, the stakes must be escalated at every turn and force the protagonist to take bigger risks to achieve his quest. Any foreshadowing that's going to occur needs to be introduced within the first 15 minutes of the story. As for endings, audiences hate contrivances. If, for example, the hero is going to be miraculously saved by the cavalry at zero hour, the cavalry can't just happen to be passing through.