5 Writer Hacks That Will Save Your Story

Screenwriting is an art, and it’s never easy. When we think it’s easy, we’re probably missing something. That’s not to say that it’s supposed to be hard just for hard’s sake (I mean…telling someone a story and actually making them feel something over the course of two hours or an entire season of TV is tricky business), but it is to say that we should be testing our material as much as possible. By “testing” I mean 1) to scrutinize yourself - we can’t lie to ourselves. 2) You MUST send the script out for notes, whether it’s your writing group or hiring a consultant and professional, you must get at least three sets of notes from three different sources. Storytelling is a bit of a game of problem-solving. Whether you’re stuck in Act Two, drowning in exposition, or struggling to make your dialogue pop, every writer faces moments when their script just isn’t working, we tear our hair out (if we have any left), and we genuinely consider throwing in the towel. That’s the #1 thing we CAN’T do - throw in the towel. This is hard work, and we have to be prepared to do that hard work. Instead of banging your head against the keyboard, try these five simple but powerful hacks that can rescue your screenplay and story from mediocrity - and maybe even turn it into something great.

1. Swap the Scene’s Setting for More Drama

Where a scene happens can completely change how it plays out. If a scene feels flat, try placing it somewhere unexpected. I’ve noticed a lot in the scripts I read for the ISA and through my Story Farm Consulting. We have a long scene of dialogue where the characters are just two talking heads, sitting on their couch, and just…talking for three pages. Get them up and moving around, or a breakup in a quiet bedroom can feel different from one in the middle of a crowded subway. A confession of love in a candlelit restaurant might be predictable, but what if it happens at a funeral? Changing the location forces characters to react in fresh ways, making scenes feel alive. It also gives other objects and potential interactions and moments that could spark some kind of new direction for the scene.

Example: One of my favorite anecdotes is from Barry Levinson, the writer of DINER and so many others. He gave an example of when he was taking an improv class and he was told by the instructor that he and his partner of 40 years were ending their marriage. That was all they had to go with - no script, no direction, other than to make it more interesting than just an argument (and of course to remember the old rule of “yes and…” in improv. So when he walked into the fake bedroom and saw his wife packing a suitcase, he asked her what she was doing. She said she was leaving him. As he walked across the room, he pleaded with her not to do this, not to leave him, we can work this out. And when he arrived to the spot next to her, he continued to plead with her…but as he did, he helped her fold her pack her suitcase. It was a brilliant, and terribly funny, approach to changing up the scene not only for physical and visual purposes, but also for meaning. Helping her pack is contradictory to what he was saying to her, and the actions technically mean more than his words.

2. Start a Scene Late, End It Early

One of the fastest ways to tighten your script is to cut out the fluff. We’ve heard this one so many times before, but it’s a cliche because it’s true. Skip the “hello” and “how are you?” at the start of a scene. Jump in at the last possible moment before the conflict kicks in. Likewise, once the main point of the scene is made, get out before it drags. The audience wants to participate in the meaning behind the scene - to assume things - but they’re also always a step or two ahead of us in the story, so getting into the basic back and forth of greetings and goodbyes (for example), is just unnecessary. More often than not, most dialogue isn’t necessary.

Example: Instead of showing a character parking, walking into a building, and greeting someone, start with them already mid-conversation in the office - this keeps the energy moving forward.

3. Make the Opponent Right (at Least a Little Bit)

Great villains, opponents, and rivals aren’t just obstacles - they’re people who believe they’re the hero of their own story. If your Opponent is one-dimensional, try giving them a valid point. This makes your hero’s journey harder and adds richness to your story.

Example: Think about The Dark Knight. The Joker is a pure agent of chaos, but his philosophy - that Gotham’s moral code is fragile and that people will betray their principles when pushed - proves to be partially true. When the city is thrown into panic, people do make selfish, fear-driven choices. His presence forces Batman to confront the limits of justice in a world that doesn’t play by the rules. If the Joker had been completely wrong, his conflict with Batman wouldn’t have been nearly as compelling.

4. Give Every Character a Distinct Rhythm

Dialogue isn’t just about what characters say - it’s about how they say it. If your characters all sound alike, assign each one a unique rhythm or pattern of speech. One might talk in long, flowing sentences, while another speaks in clipped, abrupt phrases. This trick makes dialogue more distinct and natural, and when it helps pinpoint a character’s personality and/or flaw, even better.

Example: Compare Jules and Vincent in Pulp Fiction. Jules speaks in monologues, using biblical references and grand statements. Vincent is more casual, mumbling and unsure. The contrast makes their conversations feel alive, and it’s so much more interesting to read it on the page. 

5. Give Every Scene a ‘Why Now?’

Ask yourself: why is this scene happening now and not five minutes earlier or later? If there’s no urgent reason, the scene might not need to exist at all. Every moment in a script should push the story forward. If it doesn’t, cut it or find a way to inject urgency and conflict.

Example: In Breaking Bad, every scene has a ticking clock - whether it’s the DEA closing in, Jesse spiraling out of control, or Walt hiding his secrets. If the scene isn’t time-sensitive, it’s usually cut. (Emphasis on “usually”, because not every single scene needs a true ticking clock, but every single scene DOES need a reason to exist, and we as writers need to not only know and understand why the scene exists, but that we need to write to the point of that scene.)

Final Takeaway:

If your script isn’t working, don’t panic (most of them don’t!). Every writer hits roadblocks. The key is knowing how to hack your way out of them. By flipping expectations, trimming the fat, and injecting urgency, you’ll not only save your script but make it stronger than ever.

Now, go try these hacks - and save that screenplay!

Max and The Story Farm offer all of his Substack content to ISA members for free, but a week or more after the original post was sent. If you would like to receive his most up to date Substack posts, as well as participate in a community of writers through his subscription and the Substack app, you can do so by going here: www.substack.com/@thestoryfarm