How to write a good horror screenplay

It’s Friday the 13th today and I thought it would be to watch a good horror movie to celebrate the day. Why don’t we start with the original slasher Friday the 13th by Sean Cunningham and written by Victor Miller.


One might ask, how do the writers scribe a good horror movies that would make a hit when released to theaters near you.

In you want the answer, the late screenwriter guru Syd Field gives us the standard recipe for a good movie screenplay : it’s a very simple blueprint.

The Hook.

Start with a bang. Step right into a suspense scene. (“Scream” opens with a terrifying sequence with Drew Barrymore on the phone with a killer)

The Flaw.

Introduce your hero. Give him a flaw. Before you can put your hero in jeopardy we must care for him. We must want our hero to succeed. So make him human. (In “Signs” Mel Gibson plays a priest who has lost his faith after his wife died)

The Fear. (or the Phobia) 

A variant of The Flaw. The hero has a fear. Maybe a fear of heights, or claustrophobia. (In “Jaws” Roy Scheider has a fear of water. At the end he has to conquer his fear by going out onto the ocean to kill the shark)

No Escape.

Have your hero at an isolated location where he can’t escape the horror. (Like the hotel in “The Shining”)


Tease the audience. Make them jump at scenes that appear scary — but turn out to be completely normal. (Like the cat jumping out of the closet) Give them some more foreplay before bringing in the real monster.

Evil Attacks.

A couple of times during the middle of the script show how evil the monster can be — as it attacks its victims.


The hero investigates, and finds out the truth behind the horror.


The final confrontation. The hero has to face both his fear and the monster. The hero uses his brain, rather than muscles, to outsmart the monster. (At the end of “The Village” the blind girl tricks the monster to fall into the hole in the ground)


Everything’s back to the way it was from the beginning — but the hero has changed for the better or for the worse. (At the end of “Signs” Mel Gibson puts on his clerical collar again — he got his faith back)

Evil Lurks.

We see evidence that the monster may return the future..(Almost all “Friday The 13’th”-movies end with Jason showing signs of returning for another sequel)

Good Luck And Happy Friday The 13th


Make your screenplay vertical (Sofiane’s Editorial)

Writing a screenplay is a craft that occasionally rise up to the level of an art, the late screenwriter legend Syd Field once said. I love writing screenplays. I have been doing this since 2003 when I first stumbled upon RoboCop script written by Edward Neuimeier and Michael Miner. Since then, I have been collecting scripts around the internet and start reading them. From horror scripts to TV Shows. And what came next in my mind, why don’t try to write my own screenplay.  But back in the day, (I’m speaking about several years ago), I was not quite experienced. I would tag myself as hobbyist, willing to dive into his own world, create his own set of colorful characters and have them tormented in a conflict which would ended up with a resolution (sort of they got married and have children, you know, the happy ending in fairly tales). To me a script was just like a book or a novel made to be adapted for TV. So started writing some early drafts as if I was writing a book. An opening page would take three pages or four. So I ended up having a long crammed paragraphs with lot of actions. No white space.

Here I realized I was making a mistake.

Simple. Easy to Read Title Page. Lot of White Space. No Compromise.

I will not dive too much into how to write a great screenplay but I’d like to focus on one particular aspect. How to make a screenplay vertical…

Remembering a quote from Charles Demmer on making the screenplay vertical :

“I once agreed to read a screenplay written by a novelist friend. The script’s first paragraph took over one page! When I tried to explain the rhetorical realities of screenwriting to him, he called me names I’d rather not repeat, accusing me of selling out to the literary imbeciles of Hollywood. His mistake was thinking that a screenplay is a literary document. It isn’t. It’s the blueprint for a movie. Put that word in caps: BLUEPRINT.”

You know this yourself. Remember your college days when you were cramming for an exam? What was easier to read, the long dense paragraph that took most of a book’s page — or the airy open text written in short paragraphs? The latter. This is because the eye could race down the page, in a kind of vertical reading style, rather than plodding across the page horizontally. For quick reading, for skimming, the page that invites vertical eye movement is far more friendly to the harried reader.

Now who is going to read your screenplay the first time around? A harried reader, believe me. Readers are over-worked and under-paid. Trust me, I’ve been one. They also get paid by the script. Does this invite a slow, careful reading? Of course not. Their job is to fill out a form about the story — called coverage — and the more quickly they can read a script, the happier they are. Screenplays that invite vertical reading are loved by readers. In contrast, text-dense scripts requiring horizontal reading start out with one or two strikes against them.

We in effect have directed the scene while at the same time opening it up vertically, adding white space, writing short paragraphs that are easily and quickly read.

Skilled screenwriters know that “white space” on the page is as important as correct format. In fact, a producer once showed me what he called “the white space test.” He picked up a random unread script from his desk. He held it out at arm’s length and flipped the pages. A dark cloud of heavy text density rushed by. “Too much writing,” he said. “Not enough white space.” He tossed the script, unread, into a box labeled “Return.”

Make sure your screenplay can be scanned and skimmed as easily as a blueprint. Open up your writing by using short paragraphs (I suggest five lines or less) and simple sentences, avoiding complex sentences and other wordy rhetorical devices. Keep it simple, stupid. Readers will love you for it — and when they love you, they pay more attention to your story.

Make your screenplays vertical. There’s no down side.


GAME OVER! Steven E. DeSouza’s directional debut (Sofiane’s Editorial)

For many folks fond of actions pictures of the 80s and 90s, Steven E. DeSouza has established a name within the industry  as the screenwriting wunderkind of the Reagan and Bush eras. if you ever watched  Die Hard, Beverly Hills Cop, 48 Hrs , the hands of Steve E. DeSouza were on them.


During that time-frame, as a bona fide TV maker penning scripts of my favorite shows like Knight Rider in the early 80s to The Flintstones Family in the mid 90s, Steven E. DeSouza has amassed lot of credits to do what other screenwriters would only dream of, becoming a movie director.  Continue reading “GAME OVER! Steven E. DeSouza’s directional debut (Sofiane’s Editorial)”

FadeIn. An Alternative to Final Draft

For the screenwriters out there, behold the best screenwriting software that will make Hollywood Juggernaut Final Draft to run for their money. Its name is FadeIn And guess what ? it’s a cheap alternative that costs you only $ 79.

As a freelance screenwriter, I have been writing spec scripts since summer 2003 when I got my hand on the hard copy of RoboCop. Since them, I started writing screenplays for my own enjoyment but sadly I never had a chance to complete them (writer’s block maybe). Back then, I used Word 2003 as my primary script processing software.



Later on, I stumbled on Final Draft 7.x —  a software that has been used by many renowned screenwriters in the industry. AVATAR and Titanic’s director James Cameron, compares his purchased copy of Final Draft as a Ferrari.  The only catch is I’m not as rich as James Cameron to acquire a licence of Final Draft that costs a whooping $ 250.

However, after hearing Seth Boston, a writer from GOTHAM TV Show, making a switch from Final Draft to FadeIn,  my initial thought was, “okay, let’s give it a try”.  The end result is just amazing, FadeIn is by far the best and the cheapest alternative to both Final Draft and Movie Magic Screenwriter 6. It offers all the tools you need to write, edits, lock and revise your drafts before submitting them for production.  FadeIn software sports a streamlined, super clean, User Interface, that let you focus on the content of your story.

A copy of FadeIn costs only $ 79 and it is available right on the official website.