I have a feature I wanna get started on with two directions to go in. The premise for each is basically the same, however...

Scenario 1: I feel I could knock this one out of the park. I relate well to the protag and the story.

Scenario 2: I don't relate as well to the protag and feel it might be a bit of a chore to write, but it has more marketability.

Again, they're basically the same story, just switched up so...

Which one would you write?

Steve

Have you learned nothing after your time on these boards?

Nobody knows what is "marketable" and what isn't.  People lose their shirts on "sure things" all the time.

Write what speaks to you.  If you are not enjoying it, what's the point?

Thanks, Bert.

The first one would probably be pretty good.

I wouldn't even wanna read the second one.

R

Depends what you define as marketable. I define marketable as a story people are going to love (would we write something we believe people will hate?). In that sense, everything I write is marketable.

Quoted from DustinBowcot Depends what you define as marketable.

Movie Biz Definition of "Marketable":  At some point in the past, people made big bags of money using pretty much the same idea.

Is there not a middle ground in-between since you say they are so close?

Simply pick the option which you feel you can do the most justice.

Quoted from CameronD Is there not a middle ground in-between since you say they are so close?

I thought of that, Cameron. And maybe as I go I might be able to do that. However, I think Bert got it right, as well as Toby.

Thanks for the help all!

Steve

I think everything is marketable in its own way, so long as it's good.

Scripts should be fit for purpose. Ask yourself what is your primary purpose with the script.

If you would be happy getting it made at a low budget, then the way you write it would probably be different than if you want to sell it for a million pounds.

Difficult question, Steven. I watched We're the Millers (HUGE BOX OFFICE SUCCESS). The plotting worked mostly within the rules of the "marketable formula" like
-things are just happening to raise the stakes
-characters speak sudden dialogues which actual don't belong to the character they are.

On the other hand: Wow was this original and different as a whole.

It seems as if it's the plotting which replays again and again. They SHOOT original screenplays, but give them the same plotting over and over, like:

We're at the border to the third act. All has got to be lost now, no matter what organic way the story would go naturally - as in literature for example, or a painting.

We just have a hard job. So, bad answer I know...take the marketable script and put the empathic prot in there- artificial structured plotting seems to be welcome-- would be the cold answer--

Write what you think is valuable for others would be my personal

Quoted from Alex We just have a hard job. So, bad answer I know...take the marketable script and put the empathic prot in there- artificial structured plotting seems to be welcome-- would be the cold answer-- Write what you think is valuable for others would be my persona

Nothing wrong with structured plotting, but can you finesse it enough to give your audience something different, moving, emotional, dynamic?   I relate more to the protag in Scenario 1 and feel I can do a better job with it, and hopefully give it all those things I mentioned.

A couple people, including the director of one of my shorts, made the suggestion that Scenario 2 would be more marketable for the audience I was going for, yet admits that he loved the conflict of Scenario 1.

So, I guess I have to find a balance... And yes, write what moves me. Hopefully it hasn't been done yet!

"artificial" < structured plotting.

So, when watching for example We're The Millers I think about concept is the biggest foundation of "different, moving, emotional, dynamic" stuff (in mainstream). Concept is most honest. While the plotting is same, you know what I mean. The plotting is there to fulfill expectations.

Have you already features here? I think you write a lot of dramas, and you're good at it.

(With regards to your purpose, and future intention; I would say write about the stuff you have not a single doubt about--that's only what I've learned without knowing how to...)

Quoted from Alex "artificial" < structured plotting.

Right! I know what you mean.

I have a comedy feature up, but its from a couple years ago and not really appropriate for viewing!    Just kidding. It's called Lake Moose and it's in the process of a much needed rewrite.

(Also collaborating on a feature with a certain beer swilling Irishman who owes me some new pages. I'd mention him by name but I don't know if I'd want to be linked with that kind of rabble.)

And, yes, dramas do seem to be the direction I go in. Go figure that one... Supposedly the least "marketable" genre!

Quoted from SAC (And, yes, dramas do seem to be the direction I go in. Go figure that one... Supposedly the least "marketable" genre!

(I'm goin to read your Feature of course!)

Hmm, I don't know it myself. I'm going to better write the kids play which is in my mind for about a few years (than the cinema thing disaster idea). That must be the right choice to go on for me.

When I read your short plays, I asked myself, what fucks you off (sorry I don't know the colloquial), or what you think is great about our world, life, valuable to tell. And I want to know . You're such a good short script writer, but out of money, what is it which let you say: That's a part I want, no, I have to tell. In your shorts you bring it across, best!