When I started running the Raindance Film Festival in 1992, I had no formal training in reading or how to analyse screenplays. Over the next decade, I read and critiqued more than 2,500 scripts, including notable works like 51st State and Lock, Stock and Two Smoking Barrels. This hands-on experience gave me a deep understanding of the mistakes rookie screenwriters often make.
What stood out to me wasn’t the lack of good ideas — every script I read had potential. The real issue was the execution. Many scripts failed to translate their ideas into compelling stories, and only a handful ever made it to production. Reflecting on my experiences, I’ve created this crib sheet to help aspiring screenwriters avoid common pitfalls and improve their craft.
1. Not Understanding Filmmaking
A screenwriter’s primary role is to inspire the filmmaking team — from the director and actors to the set dressers. While you don’t need to master technical aspects like lenses or camera angles, having a general understanding of how films are made will improve your writing.
Professional screenwriters grasp the collaborative nature of filmmaking. They understand the needs of various departments and write scripts that inspire creativity across the board. To get started, consider attending a filmmaking crash course like Raindance’s Lo-To-No Budget Filmmaking weekend. This two-day workshop covers production basics on Day 1 and marketing and PR essentials on Day 2, giving you insights into the industry.
2. No Story
Many scripts I’ve read were filled with clever dialogue and exciting action sequences but lacked a cohesive story. These individual elements, while compelling on their own, didn’t connect to form a narrative arc.
Audiences go to the movies for stories, and understanding genre is key to delivering one. All stories are dramas, but “drama” alone is too broad. Successful writers use specific genres — like horror, romcom, thriller, sci-fi — to frame their narratives. Genre not only helps guide your storytelling but also makes it easier for marketing teams to promote your film.
Remember, your script must tell a story. Without one, even the most brilliant scenes will fall flat. I created the Screenwriters Foundation Certificate to guide and inspire storytellers.
3. No Main Character
Another common issue I encountered was the lack of a clear main character. A screenplay might include sharp dialogue and vivid descriptions, but by the end, I often couldn’t identify whose story was being told.
A foundational rule of storytelling is to tell the story from one character’s point of view. This character serves as the audience’s anchor, guiding them through the narrative. Develop a “character web” that shows how the main character interacts with others, creating rich, satisfying relationships.
4. No Specific Goal
Too often, new writers fail to create clear, measurable goals for their characters. For example, a script might be about someone wanting to leave London. While this is a goal, it’s too vague to drive a compelling story.
Specificity is crucial. Consider this revision: “It’s a story about a person who must leave London by noon tomorrow.” This goal introduces urgency and stakes, giving the audience a concrete endpoint to anticipate.
When crafting goals, make sure they are measurable and time-bound. This clarity helps keep your narrative focused and engaging.
5. No Inner Problem
Audiences don’t just watch movies for external conflicts; they want to see characters grow and change. Great storytellers give their protagonists both an external goal and an inner problem to solve.
Inner problems fall into two categories: psychological (issues that hurt the character themselves) and moral (issues that hurt others). The protagonist’s journey involves a series of revelations, culminating in a moment of self-realization that helps them achieve their external goal.
Finding material for inner problems requires self-reflection. By exploring your own flaws and challenges, you can create authentic, relatable characters. Writing can even become a tool for personal growth, helping you confront and overcome your own inner issues.
6. No Visual Quality
The best screenplays are inherently visual. As I read them, I can see the images leap off the page. This isn’t about overwriting descriptions but about crafting evocative “word pictures” that bring your story to life.
Developing a unique writing style is key. Focus on creating vivid imagery with minimal words. Avoid the temptation to over-explain or include unnecessary detail. Instead, trust your audience to fill in the blanks and let your story unfold visually.
7. Not Reading Screenplays
It still surprises me how many aspiring screenwriters haven’t read a single screenplay. This is akin to a violinist trying to master their instrument without studying musical scores.
Reading screenplays is essential. Study how successful writers structure their stories, build tension, and create memorable characters. Watch the movies based on these scripts, then return to the scripts to analyze how the written word translates to the screen.
The more scripts you read, the more you’ll understand the patterns and techniques that define great storytelling. Members of Raindance have access to more than a thousand scripts of movies that have been made: from classics to cyrrent award winners.
Fade Out
These seven points outline the most common issues I encountered when reading 2,500 screenplays. By addressing these mistakes, you can significantly improve your chances of success as a screenwriter.
Remember, writing a great script is only part of the equation. Selling your screenplay requires just as much skill and strategy. Never send your script unsolicited; instead, focus on making people ask for it.
If you’re serious about screenwriting, consider honing your skills through workshops or formal programs like the Raindance Screenwriting MA. And don’t forget to check out the Raindance Full-Time Film Degrees, which can help you turn your passion into a career.
I hope these insights help you on your journey as a screenwriter. Happy writing.
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Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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