1. Screenwriting
A basis to screenplay formatting and theory.

2. Hollywood Screenplays
Most Hollywood screenplays have a common “Three Act Structure,” which is very rarely averted from. Also known as a story arc.
This is why so many big-budget movies have so many similarities.
This is why so many independent and foreign films are often less popular.

3. The Three Act Structure “What All Hollywood Screenplays Must Have”
According to Michael W. Dean,
author of $30 Film School,
and Adam Witmer

4. Act 1
A strong hero is introduced in the first 5 minutes. We must love him/her.
A problem is introduced in first 10 minutes. The hero must solve the problem.
Obstacles present themselves.
Hero must go on a quest or journey.
An unsuccessful struggle to solve the problem.
End of Act 1: The hero is failing.

5. Act 2
Something positive presents itself in the hero's life. Hero is happy.
Hero comes up with a new plan he/ she didn't think of before to solve problem once and for all.
Hero begins to get his/her life together, before another incident presents itself and ruins everything. All seems lost.
End of Act 2: Hero is failing miserably, and usually in danger of dying.

6. Act 3 Hero tries a new approach to the problem. It begins to work.
Some twist that the hero didn't anticipate presents itself and “the $#!+ hits the fan!”A trial by fire that gives the hero the strength and purity to finally solve the problem
A speech that sums up the story. Speech must contain catchy phrases that sum up the movie: “You want the truth? You can't handle the truth!”

7. Resolution
After the hero solves the problem, there are a few minutes of anti-climax to tie up loose ends and get you set up for a sequel.

8. Three Act Structure

9. The Rule of Rules Learn every rule.
Break rules only if you have a specific and thoughtful reason for breaking it.

10. Basics of Screenwriting

11. Formatting
Screenplays can be broken down into two main elements: action and dialogue.
Action is the scene description, character movement, and sounds as described in a screenplay. This is also where characters are introduced and described.
Dialogue is everything a character says.

12. Action
Action should be kept brief. Say only enough to get the point across. Film is a visual medium. Write only the essentials.
Action should generally be kept to three or less lines in a paragraph.
Characters are introduced and described in the action line. Character names are presented in all caps when introduced for the first time.

13. Dialogue
Dialogue is the main window into a character's psyche. Dialogue must be realistic and fit a character's personality.
Dialogue is aligned left with a constant indent under a centered character name in all caps.

14. Scene Heading (Slug Line)
The text in all CAPS at the beginning of a scene that briefly describes whether the scene takes place outside (EXT.) or inside (INT.), the location and time of day.
For example:
INT. JIMMY'S BEDROOM - NIGHT

15. Transitions
Transitions serve as a bridge between two scenes in a screenplay.
All screenplays start with FADE IN aligned left and end with FADE OUT aligned right.
At end of one scene, or change in location within a scene CUT TO:
If scene continues between pages, 1st page ends with (CONTINUED) aligned right, 2nd page starts with CONTINUED: aligned left.

16. Characters

17. What makes a character? Lajos Egri The Art of Dramatic Writing (1946)
Physiology
Sociology
Psychology

18. Physiology Sex Age Height and Weight Colors (Hair, Skin, Eyes) Posture
Appearance (Good-looking, Overweight, Neat)
Defects (Deformities, Birthmarks)
Heredity

19. Sociology Class (Lower, Middle, Upper)
Occupation (Career, Hours of Work, Income)
Education (Amount, Kind of Schools, Grades)
Home Life (Parents' Relationship, Habits, Marital Status)
Religion
Race, Nationality
Place in Community (Friends, Clubs, Sports)
Political Affiliations
Amusement, Hobbies

20. Psychology Sex Life, Moral Standards Personal Premise, Ambition
Frustrations, Disappointments
Temperament (Short-tempered, Easygoing)
Outlook on Life
Complexes (Obsessions, Inhibitions, Fears)
Extrovert, Introvert
Abilities
Qualities (Imagination, Judgment, Taste, Poise)

21. Objective
Everybody wants something. All characters have an objective they try throughout the film to achieve.
Keep characters true to their objectives.

22. Flaws
Nobody is perfect. When constructing characters be sure to include flaws as well as positive attributes. The flaws humanize the character and bring it down to the same level as the audience, this bridges the connection.

23. Screenwriting Theory

24. - The Art of Fiction, Henry James
“What is character but the determination of incident? And what is incident but the illumination of character?”
- The Art of Fiction, Henry James

25. Exposition (Backstory)
Exposition is revealed through dialogue, flashbacks, or voice-over.
Generally, a character's backstory is revealed in small increments, like puzzle pieces, throughout the film.

26. Theme
The moral or thesis of the film. The theme is what audiences are left to ponder at the end of the film.
Romeo and Julliet – Love is stronger than all forces, even death.

27. Say It vs. Show It
Film is a visual medium. Instead of having characters talk about an issue or event, try to show it.

28. Subtext What is implied, but not said.
Can be presented either in dialogue or body language.
Can be subtle or obvious.