[…] * There are no screenwriting ‘rules’ …read more […]

A rule is a double-edged sword. It can inhibit creativity by freezing the writer and making them second-guess themselves and their writing. On the other hand, constraint breeds creativity. I think we amateur writers fall so in love with a "rule breaker" like Tarantino or the brothers Nolan that we don't take the time to learn the rules before figuring out how to bend/break them in spectacular fashion. I guess it's up to each writer to decide. For instance, I adhere to the rules about no camera shots or use of "we see/hear." Because of that, I'm forced to find interesting ways of describing the action; but I realized that with a careful choice of words I could actually "influence" an eventual director's shot compositions or an actor's choices without telling them how to do their jobs. But at the end of the day, I believe that story trumps rules (mostly). I read the script for "Buried" in an hour, it was that exciting. The writer broke quite a few rules but it didn't matter -- the story had me. It's like falling in love; you ignore the "flaws."

That was a very helpful series!

Scott, I started reading this blog about 2 weeks ago. In that time I have learned more about screenwriting than I have in the last 2 years. This series was absolutely awesome and probably saved me 100 grand in therapy fees--being forced to follow rules stresses me the heck out. heh. I hate rules...but tools? I can do something with those. ;-) I cannot even put into words how thankful I am for the time you've put into this blog. It's like a good back that I can't put down.

Good to hear, RG. So much content in the archives. Browse through there at your leisure. And feel free to participate in any conversation we have on any post. Onward!

Adam, I tried to make that point up front in the series, so let me reiterate it: There is no right way to write. Some people may use formulas and write incredible scripts. Some people may subscribe to what they believe to be screenwriting 'rules' and be successful writers. As you say, constraints can breed creativity. What I tried to show in each of the posts the last 2 weeks is precisely that point. There are OTHER WAYS to do what these supposed 'rules' suggest, even more CREATIVE ways. The point is not to get hung up on stuff that in the end restricts a writer from finding his/her voice and exploring his/her creativity. Read scripts. Learn the craft. Be cognizant of conventional wisdom. But if your story COMPELS you to break out of the norm, you MUST heed that call. Re Buried: Great script that is an excellent case in point as the entire movie takes place inside a coffin. All hail Chris Sparling who had the guts to write it. You may read my interview with Chris here.

Thanks. Start a new month-long series on Monday I think folks will find both interesting and helpful.

this whole series makes me think of my old guitar teacher when I was sixteen. He made us learn how to play all sorts of scales all over the fretboard. If you played a wrong note that was bad. But I couldn't help but notice that when one played only notes inside the scale, the playing sounds predictable and confined, but when HE played, he'd play notes outside and he sounded amazing. Why I asked. His answer: Because first you have to know the rules inside and out, so that once you get up on stage you can put them all aside, and play from the heart. Thanks Scott. for this series, the memory, the reminder, and for reinforcing the notion that there's no set way to do it. The only way is just to do it. And do it again and again until I find my own way.

Thanks, Scott. I've been reading GITS for a few years now, i'm trying to succeed in Chile, way down south. You have become my main source for knowledge, a great teacher, made me feel part of a community. For all that, Muchas Gracias!!!

iheathen, thanks for that anecdote. Having played guitar myself for nearly 50 years, I can relate! And your final lines are as good a mantra as any re this subject: "There’s no set way. The only way is just to do it. And do it again and again until you find your own way."

Gaspar, great to hear from you, and believe it or not, I've worked with several writers from Chile, and MANY more from South America through Screenwriting Master Class. Tell you what: I'll keep plugging away here on the blog every day if you and the other GITS readers do the same thing. Onward!

Thanks. I've already read it. Full of insight like all of your interviews. I figured that was your overall thesis when the series began -- no wrong way to eat a Reese's, if you will. I must confess I've been remiss in keeping up with it, but only because I just finished the exploratory draft on a new spec... All thanks to your prescribed "diet": Read. Watch. Write. Repeat.

[…] der Blogosphäre trotzdem weiter Drehbuchregeln zum Besten gegeben werden, hat Myers nun zu einem umfangreichen Unterfangen ausgeholt, in dem er zunächst die Community seines Blogs zum Brainstorming über derlei Regeln […]

[…] So-Called Screenwriting Rules: 15 Part Series | Go Into The Story […]

[…] great quote comes from Scott Myers of Go Into The Story.  Recently wrote an amazing 15 part series detailing his views on the so-called screenwriting […]

Actually, most of the "rules" I was ever told about were by readers in L.A. / Hollywood. Not gurus or people paid to give coverage. It was the readers who noticed slugs without the time of day, or leaving out "continuous", or using an Oxford comma, or using 10 instead of ten when describing a character's age...readers. The gatekeepers.

Richard, thanks for that. And not surprising as many of the readers have learned to assess scripts via some training and lots of online 'osmosis' where these 'rules' exist. That's why I couched every one of the posts in this series noting that these supposed 'rules' don't exist as rules per se, but DO exist as a kind of conventional wisdom in Hollywood development circles. What I'm suggesting is this: Rather than accepting these 'rules' as law and, therefore, minimizing risks a writer feels s/he can take with their storytelling, understand there are these perceptions and conventional wisdom at work among the 'gatekeepers' and even studio execs. We need to be cognizant of them, but not coerced into formula by them. It's a nuanced perspective, I know, but an important distinction.