5 Ridiculously Common Mistakes to Avoid
Every time we do Get Repped Now, we’re reminded of the common mistakes we all make — because we see them over and over and over. Sometimes (often) it’s because we’re inexperienced and/or don’t know any better; sometimes it’s due to ego and/or wishful thinking; and sometimes it’s just not taking the job (you do hope to do this as a job, right)? as seriously as one would, say, if one were in law school or training to be an aerialist. Many of us just think we know how to write, because we’ve written term papers or blog posts or whatever. So how hard can it be to write a screenplay?
So as a cautionary tale, here are five mistakes we see all too often. And by the way, no judgments: we here at CI have made all these gaffes and many more. NOT shooting yourself in the foot turns out to be harder than it seems…
1. Don’t send out material before it’s ready. Remember, you only get one chance to make a first impression. If you have an in with anyone real–producer, manager, etc.–make sure you use it wisely. Is your script as good as it can be? And, no, your mother’s opinion doesn’t count. Did you workshop it with your writers group? Did you get professional feedback? Did you invite over some actor friends for a table read? If the answer is yes and the feedback has been positive, great! Go ahead and send it. If the answer is no, roll up your sleeves and keeping working on it.
Once the door opens, remember: it stays open until you close it–generally by sending in a script that’s not ready. If you have to stall for six months, do so. Better to say something like: “Sorry it took a while, but I wanted it to be as good as possible so as not to waste your time.” Trust us, those words are music to a manager’s ears.
2. Should this idea be a movie? It actually happens quite a lot. We get in a script for coverage… and it’s clear this material would work best as a TV show… or a play… or a novel. But the writer has chosen to write it as a feature-length screenplay. So before you sit down and spend a year writing a script, determine if your idea is suited for a movie, a TV show, or neither.
Say you’ve created a whole new universe with complex mythology and a protagonist whose psychology runs deep, with an interesting ensemble bristling with story possibilities. Are you going to trying tell that story in a 100-minute movie? Hell no! TV show or a novel for sure. Yet we see many feature scripts that try to do just that. Folks, unless you’re adapting this type of thing from successful IP, this is likely not well-suited as a feature spec.
Or maybe you’ve written an idea focusing on four characters locked into a battle of wits during the course of an alcohol-fueled evening that takes place in just one or two locations. Well, contained is good, but that sounds like a drama; it may work best as a play.
On the other hand, if your TV pilot has a single protagonist on a high-stakes personal quest, and after 60 minutes, the bad guy is defeated and the story comes to a finite end? That’s not a show. It’s a movie. You just need 40 more pages.
3. Check your ego at the door. This industry will put up with a lot–from famous actors or directors. They behave like a$$holes? Oh well, it must be their genius. They’re unreliable, untalented, and unsociable? Oh well, they bring in the money.
You, however, are a writer. Worse, a writer trying to break in, and likely without connex. Your job is to take that ego and stomp on it.
Look, we all want to be praised. We all want to be told what geniusicles we are. Here is the reality for a writer–any writer–in this industry: you spend years writing scripts until you really develop your craft. Then when you hit upon that killer idea, 20 or so drafts later… then maybe your screenplay is in the zone. You send it out. You get lots of rejections. If you’re really lucky, somebody bites. It gets set up.
Then, if your luck holds, you’ll stay on the project (as opposed to being replaced). The producer will have notes. Once there’s a director, the director will have even more notes. If an actor of any sort of stature is cast, they will have notes of the “my character wouldn’t say it like that” and “I don’t feel comfortable doing that” variety.
If all goes well, you’ll be on draft 40-something and finally have a locked script. (Note: you probably still haven’t been paid yet.) Some of the notes you’ll get from your collaborators–yes, that term was chosen deliberately–will be very good. Others will be complete dog meat. It is your job to smile and make it work regardless. And you better make it work because your name will be on it. Can’t handle notes? Then get out of this business now because you won’t succeed.
4. You spent the last decade polishing your masterpiece. No! Just, no! Here is your job: two new pieces a year–minimum. And, yes, you still need to polish all of your work to shiny perfection and that usually means a couple of dozen drafts. How do you manage that? While one screenplay is out for notes, you start outlining your next. Resting on your laurels is simply not an option.
If you’re still rearranging the deck chairs on the same script you started in 2015–and you don’t have other irons in the fire–please start a new script.
5. You’ve got one of each. An action script, a drama, a horror, and a contemporary sci-fi script. Congrats! You’ve made yourself unsellable and thereby uninteresting to potential representation.
Why? Because in particular when you’re trying to break in, you have to pigeonhole yourself. Execs… and by extension, representatives… want to put writers in boxes. She’s the go-to action gal. He’s the horror dude. It’s mind-boggling how often writers will shoot themselves in the foot in exactly this way.
Every year we tell our GRN considers that they need a one-two punch (and, preferably, a one-two-three punch) of material just as polished as the script that got them the consider and in the same (or similar) genre. Yet, every year the same thing happens. Half of them will get in the room, the manager sparks to their material and is ready to work with them–until that crucial question: “what else have you got?”
If the answer is nothing, or: you have three other things, each wildly different from each other (because it demonstrates diversity!) then you’re dead meat. Now that doesn’t mean you need to have multiple projects all in the exact same genre. But they should be similar enough in some way–for example, a brazen voice, visual writing, or fast pacing–that a potential rep can see a clear marketing hook. And if you do have multiple scripts of the same genre? And they’re all polished to the same level as the sample that got you the meeting?
My friend, congrats–you just got signed.
Don’t say we didn’t warn you. Repeatedly.
Now go get ’em… and don’t do any of the above things!
Why Avoiding These Mistakes Matters
Writing a screenplay is about creating a story that feels alive. The smallest mistakes can make a big difference in how your script is received. By spotting and fixing them early, you save time and protect your credibility. Most importantly, you give your work the best possible chance to stand out when it reaches producers or managers.
How to Learn from Common Writing Mistakes
Every writer starts by making the same kinds of mistakes. They are not a sign of failure but a natural part of learning the craft. When you take the time to understand what went wrong, you gain valuable insight into how stories truly work. With each correction, you sharpen your skills and move closer to writing at a professional level.
Final Takeaway: Keep Growing, Keep Writing
Becoming a strong screenwriter is a journey that never really ends. You grow with every draft and every bit of feedback. Avoiding these mistakes is not about being flawless but about staying committed to improvement. Keep writing with purpose, and you will see your voice and confidence evolve with every script.
FAQs
- What are the biggest screenwriting mistakes new writers should avoid?
The biggest mistakes include sending scripts before they are ready, weak structure, unclear motivation, and ignoring feedback. Learning to rewrite and polish your script is what separates new writers from professionals.
- How can beginners learn to write a good screenplay?
Read produced scripts, study story structure, and write every day. Use simple templates, focus on what the audience sees, and plan your story before typing your first line.
- What are some practical screenwriting tips for beginners?
Write with consistency. Seek feedback early. Learn how to format properly. Keep scenes visual and make sure every moment drives the story forward. Steady effort always beats short bursts of inspiration.
- How can I fix common screenwriting mistakes in my script?
Spot slow pacing or unnatural dialogue. Remove scenes that do not serve the story. Revise with purpose and focus on what can be shown on screen. Each rewrite should make your story stronger.
- Why do screenwriters keep making the same common mistakes?
Many writers rush to finish or avoid tough feedback. Others simply have not studied enough strong examples. Screenwriting takes patience and practice. Growth comes from rewriting until the story feels true.