How To Know If You Have A Strong Idea For A Script
A common question that I will get as a dramatic writer is how did you come up with that idea for your play—or how did you know that your idea would make for an interesting script?
So, for this post I wanted to help you understand…
how to pick the best idea for a script and
show you what to look for to know you have a good idea on your hands.
Key Tip: A good idea for a script is not about the quality of the idea or even the subject matter. It is about the quality of the dramatization of the idea.
In other words, does your idea present strong opportunities for conflict, journey of change and/or theatricality?
Conflict
I could do a whole workshop on conflict and I actually have plans to in the new year (so get on my email list to stay updated). But essentially when formulating your idea, you want to lean towards the elements that make for good conflict.
Conflict in simple words is a struggle between two or more people that can either be physical or a clashing of ideals/values.
Good ideas for dramatic scripts are usually those that are have multiple opportunities for characters’ wants/interests to be at odds with one another, which creates opportunities for action.
If you have ever watched one of my mini trainings on my Instagram Stories then you know that action is the heart beat of all dramatic writing.
You want to make sure that your idea creates a conflict that is so intense that it pushes your characters to consider what are they willing to do to get their needs met. What boundaries, values or lines in the sand are they willing to cross to reach their goal?
Journey of Change
The next element to consider when deciding if an idea is strong enough to turn into a script is the potential for change amongst your major characters as they embark on this journey.
You want to ask yourself how each character has the ability to change or evolve as the story unfolds. With each plot point that you get through on your story, how does the events of that plot point affect who your characters are and the decisions they will make later on in the story?
The idea you want to develop should present strong opportunities for a will-they-or won’t-they moment in the script, which will be the test of their evolution over the course of the story.
Theatricality
Lastly, a good idea suggests an element of theatricality. This point might be more relevant for playwrights than screenwriters, but I still think it’s worth it for screenwriters to consider.
When talking about theatricality I’m talking about those moments that push the audience to suspend their disbelief.
Those moments in a script where we know what we’re watching can’t happen in real life, but we kinda wish it could. So, we let ourselves buy into it for the purpose of getting something out of it.
So, for example in Hamlet, he is visited by his father’s ghost. In real life, depending on what you believe, ghosts aren’t real and they can’t talk to us. But if they could, this would be a huge, dramatic moment in our lives. So, we suspend our disbelief when Hamlet is visited by his father’s ghost because we want to know what is going to happen.
I just want to note that theatricality does not always have to revolve around ghosts, but the point is that you want to consider adding in moments that remind us that we are watching a dramatic work, but that also heighten our understanding of what is going on for a certain character in a given moment.
For a screenplay, theatricality would be when a character has a flashback, or a dream or when we see how a certain moment plays out for a character inside of their head. Those are all moments of theatricality.
Putting It All Together
So, the main point that I’d love to get across to everyone is that good ideas can be found anywhere and everywhere.
Every idea that you have is a good idea. But good ideas don’t really matter. Good scripts matter.
And what will turn a good idea into an amazing script lies in the writer’s ability to develop the idea and exploit it for all of its dramatic potential.
This is why someone “stealing” your idea shouldn’t threaten you. Because an idea is only as good as the script that comes after it.
No one cares about a good idea but a crappy script. They want great scripts, and you make great scripts through the development of your idea—which can be done by considering the main conflict, the journey of change for your major players and how you are thinking about theatricalizing your script.
Those elements are unique to you and is ultimately what will turn your good idea into a great script.
Want to turn your good idea into a great script?
Reach out and schedule a complementary 30-min consultation with Daysha to discuss your writing project and to learn more about opportunities to develop your writing through one-on-one coaching, group coaching and more. Click the button below to get started.
Daysha Veronica
Daysha is an award-winning playwright whose work centers on exploring the rich history and complexity of the African-American female condition. Her plays have been workshopped/performed at UC San Diego, UCLA, Meet Cute LA, Celebration Theatre, New York Theatre Workshop (in collaboration with UCLA), PlayGround and PlayGround-LA. She has been commissioned by PlayGround-LA twice, and was most recently selected for IAMA Theatre’s Under 30 Playwright’s Lab. She has received recognition/awards for her work from The Kennedy Center, Playwrights Foundation, Kentucky Women Writers Conference, UCLA, UC San Diego, University of Central Florida, Samuel French/Concord Theatricals and PlayGround-LA. You can learn more about her writing career here.
