How Screenplays Actually Work
Exploring the confusing world of screenwriting, from concept to film
I've always been confused about screenplays.
Here's what bothers me: the same story, with the same characters and the same plot, could produce wildly different screenplays. A love story set during World War II could be told as a sweeping epic or an intimate character study. The dialogue could be sparse and poetic or rapid-fire and witty. So when someone sits down to write a screenplay, what exactly are they writing? The story itself, or one particular execution of that story?
And then there's the business side, which confuses me even more. If you're trying to sell your screenplay, which version do you sell? Wouldn't you want to pitch one version to a director known for gritty realism and another to someone who makes crowd-pleasing blockbusters? Do writers actually do that? And what stops a production company from hearing your pitch, loving the concept, and then just... writing it themselves?
I went looking for answers.
Writing: Story First, Then Execution
It turns out most screenwriters don't just dive into dialogue and scenes. They start with the bones of the thing—the core concept, the characters, the overall arc. Many write what's called a treatment first: a prose summary (usually 1-10 pages) that outlines the story without getting into screenplay format. Think of it as a detailed pitch document that covers the plot from beginning to end, introduces the main characters, and establishes the tone.
A treatment for Jurassic Park might read something like: "Dr. Alan Grant and Dr. Ellie Sattler are invited to a remote island where a billionaire has built a dinosaur theme park. When the park's systems fail, the dinosaurs escape, putting everyone's lives in danger. The story explores humanity's hubris in tampering with nature."
Only after the story is solid do most writers move to the actual screenplay—the dialogue, the scene descriptions, the INT. COFFEE SHOP - DAY formatting that makes screenplays look like screenplays.
Structure matters enormously here. Most screenwriters follow the three-act structure: Act 1 sets up the characters and conflict, Act 2 develops and escalates it, Act 3 resolves it. Think Star Wars: Luke learns about the Rebellion (setup), trains as a Jedi and joins the fight (confrontation), destroys the Death Star (resolution).
But there are other approaches. The Hero's Journey follows a cyclical path of departure, initiation, and return—The Lion King being a textbook example. Some films use nonlinear structures, like Pulp Fiction, presenting events out of order. Others are episodic, with loosely connected chapters, like Forrest Gump.
Selling: One Script, Many Pitches
Here's what surprised me: you sell one screenplay. Not multiple versions tailored to different buyers. You write one polished draft that represents your vision, and that's what you're selling.
The customization happens in the pitch, not the script itself. If you're meeting with a studio known for action films, you emphasize the thrilling sequences. For indie producers, you focus on the emotional depth and character arcs. Same screenplay, different emphasis.
This makes sense once you think about it. Writing multiple versions would be exhausting, and production companies expect to see what you actually wrote, not a shape-shifting pitch deck.
Protection: Why Ideas Can Still Get Stolen (But Usually Don't)
What about my fear of someone stealing the concept? It's not entirely unfounded.
Before pitching, writers typically register their screenplay with the U.S. Copyright Office or the Writers Guild of America to establish ownership. This creates a paper trail proving you wrote it and when. Major production companies generally follow ethical standards and legal agreements—they have too much to lose from theft allegations. But smaller entities might not be so scrupulous.
The real protection comes from representation. Most screenplays are sold through agents or managers who negotiate deals, ensure fair compensation, and navigate the legal complexities. They also provide access: most production companies don't accept unsolicited submissions. If you mail your screenplay to Universal, it's going in the trash unread—partly for legal reasons (they don't want to be accused of stealing ideas from the slush pile).
So how do you get noticed without representation? Screenplay competitions are one path. Networking. Film festivals. Building a track record that gets an agent's attention.
Optioning vs. Selling: The Difference Matters
I didn't know there were two different ways a screenplay could be "bought."
Optioning means a producer or studio pays for the exclusive right to develop your screenplay for a set period—usually 12 to 18 months. They're essentially renting the rights while they try to get the project off the ground. If they don't move forward, the rights revert to you.
Selling means they buy it outright. The screenplay becomes theirs. This typically includes rights to the characters, setting, and story elements, which means you can't use them elsewhere (though writers can negotiate to retain certain rights, like for sequels or spin-offs).
The contract details matter enormously here, which is another reason agents are valuable.
The Full Journey: Concept to Film
Putting it all together, here's how an idea becomes a movie:
Idea development: Brainstorm the concept, characters, and themes. Write a treatment to define the story structure.
Screenplay writing: Draft the script in industry-standard format. Revise until it's polished.
Representation: Find an agent or manager to pitch your work.
Pitching: Present the screenplay to producers, directors, or studios.
Option or sale: If successful, the screenplay is optioned or sold.
Pre-production: A team assembles—director, actors, crew. The script often gets revised again.
Production: Filming happens.
Post-production: Editing, sound design, visual effects.
Distribution: The finished film reaches theaters, streaming platforms, or festivals.
A Success Story
Whiplash started as a screenplay by Damien Chazelle. It gained recognition through film festivals, including Sundance. To prove the concept, Chazelle first turned it into a short film—a strategy that built momentum and attracted producers willing to fund the feature-length version.
The result: a critically acclaimed film that won three Academy Awards.
It's a reminder that the path from screenplay to screen isn't always direct. Sometimes you have to make the short film first. Sometimes you enter competitions. Sometimes you network for years. But the screenplay is where it starts—one polished draft that captures what you're trying to say.
I still find the whole system a bit opaque. But at least now I understand the basic mechanics: write the story first, then the screenplay. Sell one version, pitch it many ways. Protect your work before showing it around. And find someone who can open doors you can't open alone.