How to

C'mon you filthy cunts, you aught to know something.

>become well read enough/discerning enough that you can tell the good from the bad
>work your way into writers circles and look into their work
>once you stumble upon something good steal the work and kill the writer claiming it as your own

Alternatively you could just cultivate your talent and with some little hard work write your own without looking for some advice from the hacks on here who are going to offer you nothing constructive.

Look at existing scripts you like and write yours in a similar fashion

>>8382217
I have hardly read any scripts, where I do I even start

>>8382227
The Greeks, you fag.

Give every character, even the smaller characters a goal.

>X just ate a horrible burrito and is trying to make it to the bathroom before he shit's himself.
>Y is missing reports form X and needs them by 12:30 otherwise Y's boss might fire him.
>It's 12:12.

Congrats! we now have conflict. Giving every character personal goals makes it easy for conflicts such as that to arise.

Also, set up the larger conflict within the first 10mins or so. Otherwise the audience will get restless. Less then that if it's a short one act play. Remember the larger conflict and the characters personal goals are two different things. In Die Hard, John McClane's personal goal is to fix his marriage not to stop thieves.

Finally, don't bring out guns in act 3 that you didn't mention in act 1. Every action should result in a domino effect. Even if you want to be shocking. You can still be shocking without using lazy writing techniques. The Red Wedding in GoT was still incredibly shocking even though the characters where giving several warnings.

These are just basic script writing rules of thumb. You can go against them if you want, but I wouldn't try it until you know why these rules exist and why you're going against them.

Don't aim for linguistic flourishes like you would in prose, at all. Minimal descriptions of setting and appearance. Stage directions should be mostly actions. With plays you can get away with blocks of dialogue, with screenplays they usually recommend only about 3 lines of dialogue max followed by action or another speaker.

Fountain-mode in emacs