Lie #3: The more story rules I break, the more original and unique my story will be.

I’ve found a fascinating paradox when working with all kinds of newer screenwriters.

Writers assume they’re being original when they’re breaking story rules, however, all writers end up breaking screenwriting rules in the EXACT SAME WAY.

Every writer tries a nontraditional structure.

Every writer uses vague clues to make the audience interested in the plot, without actually telling them what’s going on.

Every writer writes a story where the protagonist doesn’t have a clear goal.

Every writer uses multiple timelines and flashbacks to make the script feel more interesting.

Every writer tries to write a story without an obvious antagonist.

When writers try to “break away from the stifling rules” what they end up doing every time is making amateur mistakes.

Writers love finding films that are “exceptions” to writing principles and point them out the second someone brings up a story rule.

I understand the motivation behind this sort of thing.

Writers want to create unique stories, and they believe that story rules create formulaic, copy-and-paste stories for mass audiences.

But this is simply not true.

Truth #3: Stories do not fail or succeed based on how "original" they are. Stories fail or succeed based on the writer’s ability to say something meaningful through the story.

Meaning and truth is what resonates with an audience. It swells their emotion, and makes them empathize with your characters.

Your story won’t become original by chasing originality. Your story will become impactful by you identifying the important, meaningful truths you have found in your life and placing them into your screenplay.

Audiences thirst for honesty, truth, and meaning as well as entertainment.

Shed your false belief that story frameworks are useless. 

Realize that, regardless of structural form, the core power and originality of a story sits inside the philosophical, ethical, and moral conflict that the characters must struggle through.

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