Your Story’s Promise To Your Target Viewers Or Readers

Most spec screenplays don’t have a strong opener

Instead, they open with generic scenes that could belong to literally any story.

Yet *produced* movies and TV shows tell us exactly what we’re in for from the very first moments. All we have to do is really LOOK.

1) Opening With Your Genre

Check out these stills I’ve taken of NowTV’s FROM, starring Harold Perrineau. From left to right, top to bottom:

1) The first image is of evergreen trees

This shows we are in a rural area, near a forest. It’s not the dreaded ‘establishing shot’ either, but a super-quick moment for storyworld context. Subtle, but crucial difference.

2) Next up, we see Perrineau

This is because he is the protagonist, Sherriff Boyd. Crucially, we don’t know everything about him yet, or even his name. He is well-turned out, ringing a bell … which immediately creates intrigue.

3) The shot continues and a white woman comes into frame

She is just a peripheral character, but she has a very important line of dialogue. We realise everyone is rushing home and there’s a sense of pressure. Again, this creates intrigue.

4) And there is Boyd’s bell again, this time in close-up

As the camera pans up, we discover he has a sherrif’s badge. He is in charge, plus he tells kids and other people to ‘Get on home’.

This all occurs in less than a minute (aka one page)

Before we know all the rules of this storyworld, we already understand the vibe: nobody here is safe. It also establishes genre, because FROM is horror.

This is what a strong opener does. It makes a promise to the audience.

Too many spec scripts wait until page 10, 20 or even 30 to reveal what the story actually IS. By then, many readers are already losing interest. Your opener should create questions, atmosphere and emotional impact from the jump. It should whisper to the reader: this is the story you’re about to experience.

MORE: #1 Killer Opener Mistake That Nearly All Screenwriters Do 

2) Opening With Your Protagonist (Not Genre)

Introducing your protagonist does NOT have to be dull. HIGH POTENTIAL is a great example of this. Morgan isn’t introduced through pages of exposition or characters telling us who she is. Check it out:

1) The first image shows her leaving home

But note how it is in the middle of night/ very early morning. Morgan is clearly a shift-worker of some kind.

2) The second shows her on the bus

This hints Morgan doesn’t have much money – but we get this from what we SEE (not her complaining via dialogue).

3) Next up, we see her at her locker

She’s a cleaner – and a quirky one at that, with her pink headphones and dancing.

4) And there she is, cleaning … but it’s not boring!

She is literally dancing on the desktops as she does so!

This is what strong visual storytelling does

I frequently talk on this blog about how we should learn about characters from their ACTIONS.  The above establishes Morgan as the fun-loving, chaotic individual she is … without a single line of exposition. Nice!

These visuals lets the audience EXPERIENCE the protagonist, rather than listen to explanations about them.

Yet too many spec scripts rely on flat dialogue and generic “normal life” scenes to introduce characters. But readers want to understand who someone is through action, contrast and imagery.

Remember, if your opening pages feel static, your protagonist probably does too.

3) Opening with Storyworld

I give this note more than ANY other: your spec screenplay needs to be visual from p1.

Too many screenwriters begin with filler scenes that don’t tell us anything about the actual story. We end up with everyday moments that could belong to literally any script.

SONS OF ANARCHY understands the assignment immediately. Here’s what it does – all we have to do is pay attention!

1) First up, crows and roadkill

Crows = harbingers of death. (It’s also a clever nod to the Sons of Anarchy acronym used in the series, ‘SAMCRO’).

2) Next – the iconic SoA ‘cut’ (aka jacket)

This establishes the title is the motorcycle gang’s name. Lots of spec screenwriters shy away from such visuals, believing it’s ‘too obvious’ or ‘on the nose’. It’s not – it’s establishing the storyworld and characters.

3) Then we see our protagonist, Jax Teller

He’s a good-looking young guy, smoking and enjoying the ride. Note the song used as well! It is a cut-throat world, where Jax will be up against the gang, even his family members. Nothing is there by accident.

4) Then he’s off into the Californian city of Charming

Again, this establishes the storyworld, but crucially he’s still on the road. This is a story about motorcycle gangs after all!

This opening tells everything we need to know

From the jump, we’re immersed in story and character. It’s a dangerous outlaw world full of violence, loyalty and tension.

The visuals, atmosphere and action tell us exactly what kind of RIDE we’re in for before the plot fully kicks off.

MORE: How To Write Great Openers That Grab The Reader

Last Points

That’s what your opening pages should do, too. Your screenplay is a visual medium, not a novel!

If the first pages don’t immediately give readers something cinematic to latch onto, they’ll start disengaging fast.

This means your opening must do some VERY heavy lifting. Character, plot, genre, tone, storyworld all have to be introduced FAST … and visually, or else.

So don’t launch in lengthy explanations upfront in your own spec screenplay. Change your mindset and think: ‘What does my viewer SEE here and what promise does it make to them?’ 

Write it on a Post-It note and stick it up near where you write. Knowing your ‘promise’ to your audience is one of the fastest ways to level up your writing.

It’s also what script readers are told to look for! If you want your best chance of sneaking past the gatekeepers, understanding this is paramount.

Good Luck!

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