Greenwriter

If you're like most first-time screenwriters our there, you've probably written a screenplay that rests close to home - that is, a screenplay that explores a story, character, setting, or all of the above that was heavily inspired by your own life (or most likely translated to screenplay form verbatim). And like many first-timers, you might think that it's exactly what Hollywood needs ... a glimpse of real life - your life.

Think again.

I'm here to tell you that Hollywood doesn't care about real life.

It's true ... and for pretty good reason, too. Hollywood doesn't care about real life because audiences don't care about real life; chances are they want to escape it and experience something new.

This is not to say abandon writing about what you've experienced - quite the contrary. Write about your experiences as a person, but don't hesitate to enhance and exaggerate where necessary. In other words, write for your readers; write to entertain; tell a story that large groups of people might be interested in watching; share your story in an engaging, entertaining way. 

It doesn't matter if it's about your life growing up on a gator farm in Mississippi, It simply has to be compelling.

And while your story might be compelling and entertaining to you (due to scenes pumped with personal nostalgia), it might not be to a stranger. Think about it this way: If you were to tell a complete stranger about your life (as presented in your screenplay), would they be entertained and compelled to learn more?

If not, you won't have much luck with producers. They won't tell you, but they're probably thinking, "Nothing personal, but your life story sucks."

Here are a few ways you can avoid sending out a screenplay that no one will find compelling.

Compelling Concept - number 16 of 25 Ways to Polish Your Screenplay for Producers

Create a concept that compels readers and listeners to find out more. If you can't do this much, you're not going to have much luck. 

Just a few common mistakes I've seen writers make over and over again include the lack of substantial conflict, the lack of direction from the protagonist (what are they after and why?), and the use of inside jokes. 

Read through your work again with an eye out for these common mistakes - addressing them before submitting can mean the difference between another screenplay too close to home and a deal with a producer.

ChristopherR2D2 is a script reader in Los Angeles whose experience includes reading for Gold Circle Films (the Fourth Kind), Josephson Entertainment (Bones), Penny Marshall (A League of Their Own), ScriptShark.com (A New York Times Company), and more.

He blogs about screenwriting at ScriptXRay.com.