> How about you? Have you pondered what you think about in terms of your own screenwriting theories? One of the things I love about the discussions in the comments here is that they provide the impetus to think through and articulate our own theories on screenwriting. Thank you for providing this forum, Scott. Likewise, I find that one of the greatest benefits for me of writer's groups and online peer review workshops is that the act of analyzing and critiquing someone else's work forces me to put ideas and concepts into words and think through what I really mean.

For the past three years I've been teaching part-time on the Creative Writing MA at Edinburgh Napier University in Scotland. That has definitely made me reflect on approaches to screenwriting, which is my principle medium for telling stories. Three things have come to the forefront of my thinking as a consequence - all decisions to be taken before starting a new project: purpose, tone and narrative position. Narrative position - deciding how the story is going to be told. Omniscient third person, which is [arguably] the default for a lot of screenplays? Close third person focalised on one character [i.e. that character must be in ever scene, so we see everything from their point of view]? A first person narrative [such as a story told largely in flashback, with a framing device like a voiceover]? Or some other variant? Tone: how do I as writer want the audience to respond emotionally to the narrative? How do I achieve and maintain that tone? And how do I vary that at a plot and character level to provide depth and richness to the overall narrative, without creating tonal lurching? And, most crucially of all... Purpose. What is this story for? Beyond meeting a brief or getting me noticed/paid, just what is it trying to say? What is it trying to change, to challenge? Purpose needs to be applied to every character, every sequence, every scene, every line of dialogue, every description of action too. But before you write FADE IN, I believe you have to have a purpose for your project. Your mileage may vary!

I think I'm just starting to develop some kind of screenwriting theory now. Learning that an idea is not a story, that the needs of the characters trump the needs of the plot, and you'd better know the end before you start!

David, that is precisely the type of reflection I meant in my OP. I have to think there would be value for writers [at least some of them] in considering how and what they think about screenwriting theory, their approach, their take. Perhaps an interesting way to do that is to ask: What would I say if I had to present a seminar? Teach a class? Give a speech? Basically if we were forced to organize our thoughts into a form whereby we could communicate it to someone else. Your three points are really critical. I'm struck especially by the last one. I'm reminded of an interview I did with Dustin Lance Black (Milk) in which he said much the same thing, basically answer the question, 'Why am I writing this script? What is its meaning to me and potentially to others? What am I trying to say?' I often post about the importance of a writer finding an emotional resonance with a story, to make sure they have passion for what they are writing, and your point elevates that question to ask why we resonate with it, what is the reason to write the story. Good stuff and thanks!

I'm revisiting the COYOQ posts, and here's the core of my philosophy of screenwriting: 1. Serve the audience. By that I mean screenwriting is an outward-focused medium. By that I do not mean necessarily making the film easy or comfortable for your audience, or meeting their every expectations. But be aware that the audience is your partner in a collaborative medium (and, in the case of a spec script, your first audience is the reader, followed closely with luck by the producer). 2. Serve the story. Tell the best, most interesting story you possibly can in the most effective way for that story. Trying to figure out if flashbacks or voiceover are right for your script?--Serve this specific story. Who is the right protagonist / what's the right genre / what's the right ending?--Serve the story. Worried about "the rules"?--Be interesting/serve the story. 3. The keys to good storytelling: a. Be honest. b. Play to the top of your intelligence.--Del Close c. Find the love in the scene.--Michael Shurtleff This philosophy is predicated on the idea that, at the level of tactics, there is not "one right way" to write. And likewise, it applies equally well to writing high or low budget, a spec or a commission, an original film or an adaptation, irrespective of genre, etc. If I had to present a seminar / teach a class / give a speech on screenwriting, these points would be the heart of it.