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any tips for writing long scripts?

Nikki Malkavian Z-boy

Nikki Malkavian Z-boy

how do pro scriptwriters think and work when it comes to writing scripts for multi-sequel films or shows with long duration and many seasons? for example, in a show, they write fresh material every week or they have prepared all the episodes until the end of the project? same goes for movies that spawn many sequels. also, is there any website or something that can help with this problem? thanks. ;)
 
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Sometimes they plan in advance, for example in Joss Whedon's Buffy the Vampire Slayer, the character of Dawn (not seen until season five) is alluded to in season three. This is a great way to give your viewers reason to return and watch again, giving them clues throughout that they can piece together over time.

A lot of films are not created at a single point of time, the shared universes of Marvel and even Pixar films denote careful planning.

As for your problem, what is it exactly? From my point of view, were I to adapt a trilogy, I'd start off small, expand, then pay off over the course of three films.

Looking at Star Wars, in the first film (1977) we are given little knowledge of who or what is going on, it's a rather traditional storyline. In The Empire Strikes Back (1980) we are given an expanded view on the universe, mythos, and characters. I don't think...

SPOILER ALERT!!!

Darth Vader being Luke's father was an after thought.

Again, what do you need help with?
 
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i'm trying to develop a neo-noir universe (a mixture of sin city and the early, pre-Christian Bale batman films) but i don't know how to put my stories in a right order. the only thing i know is that i want it to last for a long time.
 
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Schedules, schemes and bloks to keep an overview.

Some writers put every scene (very condensed) on a post-it and put them on a wall or table.
This way they can keep an overview of storylines and play with the order to see what is does to the story.
 
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Sounds good. What sort of characters do you have? What's their story, and why are they in this city, did they move there voluntarily or forced? What sort of locations does this city have? What sort of city is it - inland, port, mountains...

Imagine you are writing a 12 part season. Again, look at Buffy (Joss Whedon is very good at this sort of thing). Assuming your first season could very well be the only season, you need to have enough small stories to compliment the main story arc. Unfortunately, when he wrote Firefly, it was cancelled, and so many plot points were left unaddressed.

Up until now I've had scripts, scenes, characters, stories, whatever floating around my desktop. I felt it was spreading too thin, so I'm combining them all into one cohesive unit, editing some more than others. Quantity over quality as they say.

When you mean 'right order' do you mean chronologically, within the universe, or how we as an audience will understand it, or see it on screen as a series of linear events. Pulp Fiction plays out in two ways, are you going for that sort of vibe?
 
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Nikki Malkavian Z-boy said:
how do pro scriptwriters think and work when it comes to writing scripts for multi-sequel films or shows with long duration and many seasons? for example, in a show, they write fresh material every week or they have prepared all the episodes until the end of the project? same goes for movies that spawn many sequels. also, is there any website or something that can help with this problem? thanks. ;)
Click to expand...
It's rare if not completely unprecedented for a TV series creator
prepare all the episodes until the end of the project. When the
pilot airs they don't know if the show will last six episodes, two
seasons, five seasons or ten seasons. Vince Giligan said he knew
how his show would end but didn't know if it would end after 10
episodes or 50. His lasted 62.

Until the 1980's it was rare that writer and/or producer of a movie
had sequels in mind. The sequels were made after the first movie
became a huge hit. Shane Black didn't prepare four stories when
he wrote "Lethal Weapon" on spec.
Nikki Malkavian Z-boy said:
the only thing i know is that i want it to last for a long time.
Click to expand...
That is a bizarre way to tell a story. You don't know what the story
is, you just want it long. I'm thinking if you don't have 50 or 60
or 100 episodes all in your head you should write what have and
make those episodes the very best you can. When your series is
picked up again and again and again you and your writing staff can
work out the details for episodes 100 and on.
 
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Digital_Bogie said:
Sounds good. What sort of characters do you have? What's their story, and why are they in this city, did they move there voluntarily or forced? What sort of locations does this city have? What sort of city is it - inland, port, mountains...

Imagine you are writing a 12 part season. Again, look at Buffy (Joss Whedon is very good at this sort of thing). Assuming your first season could very well be the only season, you need to have enough small stories to compliment the main story arc. Unfortunately, when he wrote Firefly, it was cancelled, and so many plot points were left unaddressed.

Up until now I've had scripts, scenes, characters, stories, whatever floating around my desktop. I felt it was spreading too thin, so I'm combining them all into one cohesive unit, editing some more than others. Quantity over quality as they say.

When you mean 'right order' do you mean chronologically, within the universe, or how we as an audience will understand it, or see it on screen as a series of linear events. Pulp Fiction plays out in two ways, are you going for that sort of vibe?
Click to expand...


i have named my city, created some characters and drew its map. the atmosphere is inspired by the early days of my fav rock band, Iron Maiden. i will even encapsulate Eddie, their mascot (i just hope i won't get sued). i also have scattered ideas, whether it is a scene or a long story, i just don't know how to connect them. i want it to be both normal as well as like pulp fiction, i wanna "play" with it and be creative. :D
 
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Nikki Malkavian Z-boy said:
i don't know yet, i'm having trouble putting the stories together. that was my query in the first place (how to write long scripts). :lol:
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Any reason you feel you need to put together the entire series? Even
before you write episode one?

You know now that most series start with the pilot and a rough out
like for five or six episodes. Even series that end up running 100 or
more episodes. Why not write your first episode now? Play. Be creative.
Get Episode One written.
 
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directorik said:
Any reason you feel you need to put together the entire series? Even
before you write episode one?

You know now that most series start with the pilot and a rough out
like for five or six episodes. Even series that end up running 100 or
more episodes. Why not write your first episode now? Play. Be creative.
Get Episode One written.
Click to expand...


hmmmm, as i said in the beginning, i'm also taking into account the idea of my universe being a film with sequels. what would you suggest? series or multi-sequeled films? which one would be easier for an amateur like me? also one question that doesn't fit here: let's say my scripts are ready. what about making my films with a software instead of going through the trouble of finding actors, equipment, producers and stuff?

again, thank you for your advices. :)
 
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Directorik has given you excellent advice. Whether a series or set of sequels, you need to plan your 'hooks'. For a series, every episode has three story lines: the series story, the season story and the episode story. For a sequel set (trilogy), the hook is what carries us into the next story. However, each episode or feature has to tell its own complete story. Though with some television episodes, the major plot is so large, it warrants a "to be continued", that really annoys audiences if you try that with a feature.

As such, you should always have three story lines in your script: tie-in, central, and unfinished. The central story is always complete. That's your feature. Below is how I often visualize it, though the actual placement in the script can vary. This uses a three act model approach.


Code: 
Feature:
A1a ... A1b ... A2a ... A2b ... A3a ... A3b ... 
                     B1a ... B1b ... B2a ... B2b ...        
C3a ... C3b ...  

Sequel Territory:
B3a ... B3b ...
E1a ... E1b ... E2a ... E2b ... E3a ... E3b ... 
                    D1a ... D1b ... D2a ... D2b ...   

Prequel Territory:
F1a ... F1b ... F2a ... F2b ... F3a ... F3b ... 
                    C1a ... C1b ... C2a ... C2b ...
For reference
1a - Set Up (introduce the characters and situation)
1b - Introduce a New Situation and a Complication
2a - Formulate a Plan of Action to Succeed (character throws self in headlong)
2b - More Complications and Higher Stakes (usually a major setback)
3a - Final Push to Succeed with it looking unlikely (suspenseful moment, climax)
3b - Resolution and the Ever After
 
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FantasySciFi said:
Directorik has given you excellent advice. Whether a series or set of sequels, you need to plan your 'hooks'. For a series, every episode has three story lines: the series story, the season story and the episode story. For a sequel set (trilogy), the hook is what carries us into the next story. However, each episode or feature has to tell its own complete story. Though with some television episodes, the major plot is so large, it warrants a "to be continued", that really annoys audiences if you try that with a feature.

As such, you should always have three story lines in your script: tie-in, central, and unfinished. The central story is always complete. That's your feature. Below is how I often visualize it, though the actual placement in the script can vary. This uses a three act model approach.


Code: 
Feature:
A1a ... A1b ... A2a ... A2b ... A3a ... A3b ... 
                     B1a ... B1b ... B2a ... B2b ...        
C3a ... C3b ...  

Sequel Territory:
B3a ... B3b ...
E1a ... E1b ... E2a ... E2b ... E3a ... E3b ... 
                    D1a ... D1b ... D2a ... D2b ...   

Prequel Territory:
F1a ... F1b ... F2a ... F2b ... F3a ... F3b ... 
                    C1a ... C1b ... C2a ... C2b ...
For reference
1a - Set Up (introduce the characters and situation)
1b - Introduce a New Situation and a Complication
2a - Formulate a Plan of Action to Succeed (character throws self in headlong)
2b - More Complications and Higher Stakes (usually a major setback)
3a - Final Push to Succeed with it looking unlikely (suspenseful moment, climax)
3b - Resolution and the Ever After
Click to expand...


cool, much obliged! :yes:
 
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Nikki Malkavian Z-boy said:
hmmmm, as i said in the beginning, i'm also taking into account the idea of my universe being a film with sequels.
Click to expand...
I know that. I'm asking why you don't start writing. A film with sequels
starts with the first film. I see you're resisting writing that first one.
That's cool. You can wait and not write until you're ready.

Nikki Malkavian Z-boy said:
what would you suggest? series or multi-sequeled films? which one would be easier for an amateur like me?
Click to expand...
I suggest you write the first of what ever YOU want to write. There is
no reason you can't do a series AND a multi-sequeled film. But it all
starts with the first script. If you are going for easier my suggestion
is you write ONE script - finish it and then think of where you want
to go with it. So how about writing ONE 40 page script that will just
touch the surface of the story you want to tell. After all you don't even
have a story yet. You have a city name and some characters. And that
is not a story. You want it long - you gotta start writing.



Nikki Malkavian Z-boy said:
let's say my scripts are ready. what about making my films with a software instead of going through the trouble of finding actors, equipment, producers and stuff?
Click to expand...
Don't get ahead of yourself. Write a script first. THEN think about what
is the best method of production.
 
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directorik said:
I know that. I'm asking why you don't start writing. A film with sequels
starts with the first film. I see you're resisting writing that first one.
That's cool. You can wait and not write until you're ready.


I suggest you write the first of what ever YOU want to write. There is
no reason you can't do a series AND a multi-sequeled film. But it all
starts with the first script. If you are going for easier my suggestion
is you write ONE script - finish it and then think of where you want
to go with it. So how about writing ONE 40 page script that will just
touch the surface of the story you want to tell. After all you don't even
have a story yet. You have a city name and some characters. And that
is not a story. You want it long - you gotta start writing.




Don't get ahead of yourself. Write a script first. THEN think about what
is the best method of production.
Click to expand...


ok, you have a point for the last one.

i have many small stories but i don't know how to link them so they can make sense. will it be messed up like in pulp fiction? or mixed and parallel (but connected) like in sin city? also, i would love to "break" the "beginning-middle-end rule", IF possible. what do you think? :)
 
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