Breaking the Screenwriting Rules - Get Out by Jordan Peele
Who knew there would be so many rules to screenwriting?! Now, I understand that formatting matters… especially for the technical aspects of production - I see you Line Producers, don’t worry! 🤗
No, I’m not talking about that. What we’re spotlighting is the clump of peculiar, persnickety screenwriting rules being thrown around online and in groups these days that are causing budding writers to scratch their heads and wonder “Wait, why can’t I do that?”
It’s like, somewhere along the way, preference and quality became entangled and now there’s a battalion of finger-waggers pointing at screenplays and proclaiming, “But you can’t do that!”
So today, we are bringing a nice shiny needle to this bothersome bubble of screenwriting rules. And just to give it that extra little jab, we’ll be using one particular screenplay as our example. And this example just happens to be the WGA’s number-one Screenplay of the 21st Century: Get Out by Jordan Peele.
But First: Where Did These Screenwriting Rules Come From?
Now, we know these pseudo-screenwriting rules didn’t materialize out of thick air. But, where-oh-where could they have come from? Well, the answer is pretty simple: Through the rise of screenwriting and story structure lessons, such as Syd Field’s 1979 classic best-seller Screenplay. With the publication of this seminal work, a simple step-by-step formula was introduced. And with these guidelines, the rules quickly followed.
Sam Wasson has a pretty intriguing theory about the impact these guides have had on screenwriters from his book The Big Goodbye:
“Syd Field presented the dos and don’ts of traditional story structure with arresting simplicity, and if, in the wake of his insights, Hollywood screenwriters, in greater numbers than ever before, willfully eschewed the innovative for the formulaic, they weren’t entirely to blame; writers had to sell, and Field, unintentionally, had written a buying manual for nervous executives looking to cover their asses.”
Although it is a little salty, I do think that there is quite a lot of truth in this sentiment. These story structure and screenwriting guideline books have helped countless, seriously, countless (I’m not counting them) screenwriters generate ideas, break their stories and sell their projects.
However, these guides also helped create a false concept of what a script should be, and with it, came box-ticking exercises that eventually led to The Rules!
But enough backstory, let’s start breaking some rules, shall we?
Screenwriting Rule #1 - We See/ We Hear
This rule! Can we finally agree to put this rule to bed once and for all? We see and we hear people across the industry constantly spouting the screenwriting rule that you shouldn’t address the reader by using phrases such as “We see…” or “we hear…”
But here’s the thing: this isn’t a question of right or wrong. Instead, it’s a creative choice that some writers adopt in their work, and some don’t. Plain and simple.
And if anybody tries to tell you differently, then just point to Get Out as an example:
Oh, Mister Peele! Three “We’s” in one paragraph. You unconscionable rascal! 😉
Screenwriting Rule #2 - Typos
Now, wait a tick… Hold on… Of course, typos are bad. Of course!
As screenwriters, we are professional, meticulous, and attentive. We strive to deliver the highest quality of projects. However, every once and a while, despite one hundred and two proofreading sessions, a typo might just slip through the cracks.
The myth however is that a typo can derail a screenplay's chances of getting optioned or picked up. And THAT is simply not the case.
True decision-makers might take note of a typo or grammar error, but their interest is in the bigger picture. Does the story pull them in? Does the voice capture their attention? Are they frustrated that they have to stop reading the script because they have a meeting in 5 minutes? This is what they are looking for.
And if you look at Jordan Peele’s Oscar-winning screenplay, what do we find on page 1? A typo! On page one:
In the very first piece of dialogue, no less. But guess what: it doesn’t matter.
Because a screenplay is an invitation to collaborate. And the immediate strengths of the ominous opening scene far outweighed any nitpicky issues regarding the misuse of words on the page.
Screenwriting Rule #3 - Character Descriptions
Next up, we tackle the screenwriting rule of character descriptions. Depending on who you ask, you’ll probably hear differing concepts on how you should describe your characters upon introduction.
Some would say that you should paint a picture in the mind’s eye through vivid arresting descriptions, while others lament the concept of focusing on the attractiveness of a character and dictate that other attributes should be in focus. Then there are other camps who would tell you that the description doesn’t matter and the character should be conveyed through their action alone.
But with so many rules to follow, what is a budding screenwriter supposed to do?
Well, if we look at Get Out, we’ll see that Jordan Peele kicked off his protagonist’s description by keeping it brief 😲 AND focusing on attractiveness as an attribute 🫣
Now, there is a slight commentary on the vanity aspect of Chris’s character. But from the screenwriter’s efforts, Peele mainly chose to get across the physically appealing aspects of the hero.
The lesson here is simple: Don’t over-analyze your character descriptions too much. Just stay true to your vision and what you see in your mind. If a decision-maker turns your project down because of how you describe a character, then this is probably a person you shouldn’t be working with, anyway.
Screenwriting Rule #4 - Don’t Add Licenced Music to Your Script
There are many reasons why this rule is in place. Some would say that you shouldn’t hang a scene on a song that you don’t have the right to. While others believe that it is the role of the director to make these decisions. Either way, the screenwriting rule has been established: Don’t use licensed music in your script.
But look who did just that… And on the second page as well!
In a previous draft, it looks like Peele used a French language tutorial recording instead of the song. But he finally made the switch to music after the fact.
Now, in fairness, for this rule, context matters. Is the licensed music an integral part of the scene? If so, then you should probably get the rights before promoting your work.
The True Screenwriting Rule
When it comes to screenwriting, there are no hard and fast rules. Obviously, too many typos would make someone question your level of skill. An ignorant or confusing character description might cause alarm bells to a reader. And relying too much on “We see” or “We hear” might take a person out of the thrust of the narrative.
But don’t be dismayed or dissuaded into thinking that a creative choice or even a slight error will bring a great story down. The real decision-makers understand that there is more to it than that.
The only true screenwriting rule that matters is: Write a compelling story.
And as a final little sentiment, here’s a Tweet from Jenny Frankfurt at the Finish Line Script Competition. As a 20+ year Literary Agent, Jenny has read countless, yes, countless (I’m not counting them) screenplays. And even more, she has helped a ton of screenwriters sell and option their projects as well. But what happens when she comes across something that doesn’t exactly ‘follow the rules’?
Now you go out there and write the very best story you can think of! And when the doubters cast their doubt, simply point them to the number 1 screenplay of the 21st Century, Get Out.
Thanks for reading guys.
The track I listened to while writing this article was Michael Giacchino’s Sonata in Darkness from The Batman.
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