photo via Go Into the Story
It’s an open secret that you only have a few pages to convince experienced readers that your script is worth reading.
What you might not know is that you can make mistakes on the very first page that prejudice readers, long before you establish the relationships and conflicts that set your story apart.
Opening with a ton of description or a fifty-gallon drum-full of information in the dialogue are red flags; readers look for better storytelling than that.
What makes a perfect first page?
- An unusual opening image. Have you seen your opening somewhere before? Then it needs a spin.
- Get the action underway. Don’t start with talking. Start with doing. It doesn’t have to be a big chase scene, or contain an explosion or a car crash. But doing is more interesting than a conversation.
- Skip elaborate descriptions. Large blocks of text on the first page look very tedious to readers who have no investment in your story yet. Cut every non-vital word and break up large paragraphs into smaller blocks.
- Proofread it again. No format, spelling or grammar mistakes on the first page. Please.
- Make your first line of dialogue pop. Impress readers right away with your understanding of how subtext works.
A clean-looking, action-oriented and original first page is a big, beautiful banner emblazoned WELCOME TO MY STORY!
Next week, the Screenreader will talk about loglines and how to make them ridiculously easy.
-ANNIE LABARBA @annelabarba
nywift
Related Posts
Meet the New NYWIFT Member: Richardine Bartee
Here’s the scoop! We’re excited to welcome our new NYWIFT member, Richardine Bartee. Richardine is a journalist, publicist, music supervisor, and founder of the multi-tiered business and magazines GRUNGECAKE and GRUNGECAKE AFRICA. The first digital issue of GRUNGECAKE AFRICA is launching in July 2024. She’s been a member of the Recording Academy since 2015. Connecting with people is very important to her. She started writing about artists in journalism and media and wants to take that further by telling people’s stories through television and film. Read our full interview to learn more about her career journey and her advice for starting new projects.
READ MOREMeet the New NYWIFT Member: Nicole West
Welcome to the NYWIFT community, Nicole West! Nicole is a visual effects technical director who has spent her career blending technology with art. She has a great love for the performing arts and is on a creative journey with storytelling. Read our full interview with Nicole below to learn more about her experience working in visual effects, her advice for successful collaborations, and her insights about technology and art.
READ MORENYWIFT @ Tribeca: In Conversation with Kait Plum
Kait Plum is a force to be reckoned with in the world of film editing, with a decade of experience and a knack for finding the emotional core of any project. Her journey to success is marked by notable achievements, from winning awards for her work in documentary filmmaking to making waves in the comedy genre with her latest project, Bad Shabbos.
READ MOREMeet the New NYWIFT Member: Colleen Hughes
Welcome to NYWIFT, Colleen Hughes! As an intimacy director and coordinator, Colleen brings a trauma-informed and human-first approach to scenes of simulated sex, nudity, and hyperexposure. Through her collaboration with trusted colleagues, she is at the vanguard of a movement to bring increased agency and transparency to the entertainment industry. She has collaborated with artists from around the globe, including Maya Hawke on the official music video for “Thérèse,” with over 5 million views on YouTube (also available on Apple Music); Samantha Shay at Tanztheater Wuppertal Pina Bausch in Germany; and immersive work with Virgin Atlantic’s cruise line in the Mediterranean, and Punchdrunk’s Sleep No More in NYC. Colleen is part of a team of thought leaders in the field of consent and intimacy work. As Director of Core Training at Intimacy Directors and Coordinators (IDC), Colleen led the development of the company’s groundbreaking Consent-Forward Artist training program. She is currently working on a book entitled A Volunteer from the Audience: Consent Work in Interactive Performance that examines the role of agency in immersive performance.
READ MORE
