Billy Wilder's Ten Screenwriting Tips, by Saviour Pirotta

Billy Wilder is one of my all time heroes. An Austrian by birth, he fled the Nazis first to Paris and then to Hollywood where he quickly established himself as a talented screenwriter, film producer and director. He might be forgotten by many today but his films live on among film afficionados. They include The Lost Weekend, Stalag 17, Some Like It Hot, Emil and the Detectives and one of my absolute favourites, Sunset Boulevard.  The last line in Some Like it Hot is widely considered to be the best comedic end line in cinematic history. When Jack Lemon in drag tells a besotted Joe E. Brown, 'I can't marry you, I'm a man,' the reply is 'Nobody's perfect.'

Wilder always claimed that 80% of a film's success is down to the script, and he spent a lot of time honing the writing, usually in collaboration with his father. In interviews with author Cameron Crowe for Crowe's book, Conversations with Wilder, he listed his ten tips for writing a great screenplay. They work just as well for writing in any genre with a narrative, so here they are:

1. THE AUDIENCE IS FICKLE

By this, Wilder meant that audiences' tastes change very quickly. So don't waste your time chasing trends. Write what you want and feel you can most commit to.

2.  GRAB THEM BY THE THROAT AND NEVER LET THEM GO

Start your story with an eye-popping scene. You have the rest of the book to fill in the 'building up'.

3.  DEVELOP A CLEAN LINE OF ACTION FOR YOUR CHARACTERS

Establish the character's objective and their plan for achieving it. The readers must feel that they are in on the ride. 

4.  KNOW WHERE YOU'RE GOING

This really means where the story is going. It doesn't matter how you plan the character's journey, in a notebook, in a writing programme or on notecards, make sure the characters stick to it and don't wander off.

5. THE MORE SUBTLE YOU ARE AT HIDING YOUR PLOT POINTS, THE BETTER YOU ARE AS A WRITER.

Some people say there are only seven stories that keep being retold over and over again. The hero's journey to redeem himself, the pact with the devil etc. The audience knows this and want you to stick to the script. But they want to forget they know it while reading. Be original in how you deliver the plot points.

6. IF YOU HAVE A PROBLEM WITH THE THIRD ACT, THE REAL PROBLEM IS IN THE FIRST ACT.

I think this is one of Wilder's best tips. The third act features the resolution to the story. If it feels contrived, it's because the foundations laid in act 1, and also 2, weren't solid enough. I try and solve this problem with careful planning and, if I'm writing with planning, I correct during the second edit.

7. LET THE AUDIENCE ADD TWO AND TWO. THEY'LL LOVE YOU FOR IT.

Let your readers anticipate at least some part of what's going to happen. They'll enjoy it because it makes them feel a part of the story.

8. IN DOING VOICE-OVERS, BE CAREFUL NOT TO DESCRIBE WHAT THE AUDIENCE ALREADY SEES. ADD TO WHAT THEY'RE SEEING.

For me, this applies mostly to picture books. Don't describe what's in the illustrations. Add things the readers cannot see - sounds, smells, feelings.

9. THE EVENT THAT TAKES PLACE IN THE SECOND ACT TRIGGERS THE ENDING

The beginning of the book sets the objective and the journey but something HUGE must happen in the second act that triggers the way the ending happens. 

10.  GIVE THEM THE ENDING, THEN DON'T HANG AROUND

The ending must deliver a punch. A grand finale. Once it's done, that's it. Don't add anything else and dilute the action.

I've used these tips in most of my books, although not always all together, in fact hardly ever all ten in the same book. I hope I've explained them clearly and that you find them of some use...nd now I'm ready for my close up, Mr. DeMille.