One of the first challenges screenwriters seem to face after deciding they want to be a screenwriter is to actually write a screenplay. Perhaps it’s because you can’t seem to articulate your ideas into something viable for the screen. Maybe you’re letting it brew in your head before trying to write it out. It could even be due to the fact that you don’t have screenwriting software. Bottom line is: you’re simply not inspired. Luckily, there are 5 super-simple ways to overcome this dilemma and start writing.

First of all, if you can’t articulate it then move on to another project; there’s no sense in settling down with one story … despite the similarities, screenwriting isn’t marriage. Sure, allowing a story to build in your imagination is important, but it’s also the number one excuse for screenwriters – I’ve been there. Finally, ever hear of a pad and pen? Honestly, there really isn’t an excuse not to write. There’s one notorious reason why screenwriters don’t write that’s not a mere excuse, but a mystery rather. It’s called the lack of inspiration. Whether you’re outlining your screenplay, tackling the first page, or rewriting, the lack of inspiration can hit you hard when you least expect it. While taking a walk, reading how-to books, and slipping into dreamland may help, there are alternatives for those who want to tackle their problem immediately. Why nap the day away and wait for your muse? Personally, I don’t believe writers block is something professional screenwriters get. It’s a psychological block writers place upon themselves. You’re a writer! Write through it!

Because each project is different, it’s important to know that these tips are mere guidelines. Every screenwriter works differently. For this reason, it’s best to keep it simple … and it doesn’t get much simpler than articulating your story using the 5 “W’s”. In order to find inspiration from within your project, write at least a page of detail for each of the 5 “W’s.” Keep in mind that you’re asking each “W” regarding your story.

1. Who
Who’s your story about? If you can’t define who your story’s about … this is the time to do it! The “who” in your story is your audience’s window into the story. For example, in Pirates of the Caribbean, Elizabeth Swam is actually the central character. Now, Ted and Terry are serious pros who know how to tell a complex story, so naturally, they chose to bring the audience into the story through Elizabeth’s perspective, yet chose to focus on William Turner as the story’s protagonist. Why? because they rule! Jumping back to keeping it simple, who’s the protagonist of your story? Are they the central character? Who’s the antagonist? The antagonist is just as important, if not more so, than the protagonist, for they are the bringers of conflict.

2. What
What’s your story about? Define what your character will go through to arc from act one to three. This is where the index cards and brainstorming really come into play, but for now, simply write it all out. Let your imagination leap onto the page by jumping from one scene to another, one character to another, and you’ll discover what’s driving you to tell the story. There should be two parts to your motivation: thematic (Why) and visual. While the thematic reason might take time to understand, the visual reason should be screaming at you throughout the day. Articulate what your story’s about on a thematic level and visual level, and you’ll gain great insight into your motivation.

3. When
When does your story take place? Define the date of your story down to the day if you have to. It might not be important to the story, but you still need to know it – you’re the author, you should know everything! As a part of the setting, when will inform a great deal of what’s on screen. If it’s a period piece then you have a great deal of research to conduct. What were the houses like back then? What did the characters wear? What was going on in the world at the time? The setting of your story, not only being location, but era and time of year, is one of the most neglected aspects of screenwriting despite it’s powerful impact on story. Add dimension to your story by articulating the setting. If it’s the future, be specific of not only when, but why – this is the most common sign of sloppiness in sci-fi stories. Why is your story set in 2143? Why not 2043? Why not 5043? Be careful not to merely through a digit out there and call it a setting factor. Define why it’s set in 2143 as opposed to a year later. Perhaps you’ve drawn a timeline of how you see the world progressing into the next century and feel that it would take that long before your story – or the technology in your story – could come to be.

4. Where
Another factor of setting is where your story takes place and why. Why Illinois? Why not Oregon? Why Bolivia and not Chile? Why PlanetX and not Zircoil (quick tip: when writing sci-fi, avoid defaulting to names of planets and people that start with “Z”… and don’t think you’re being smart by naming everything with X’s and Y’s)? The why in where is like your antagonist to your protagonist. The two simply inform too much of your story to be neglected. Articulate it and discover the details. This is also a research-heavy zone, so you should be looking into travel guide books, websites, and blogs from people in your area … especially if your story’s set in Zircoil. This page should be pretty easy to fill – especially if you’re writing a story that takes place in a world of fantasy that you created. This is where you really need to explore and discover your world of story.

5. Why
Why are you telling this story? Here’s where your theme comes into play. One way to articulte this “W” simply is to use the Lajos Egri technique, which states that Romeo and Juliet is really about how “Great love defies even death.” This is a tough aspect to nail down, especially in the beginning, but it must be done. If you don’t know why you’re telling your story then how will your audience? The key to using Egri’s technique is to define beginning, middle, and end. For example, for Romeo and Juliet, you might say that their great love is act one, defying is act two, and death, of course, act three. Another example that might clarify this is Egri’s King Lear premise: “Blind trust leads to destruction.” Blind trust is what the audience experiences during the first act of the story, destruction is what the audience experiences during the third act of the story, and “leads to” is the transition between the two experienced in act two. It’s the arc from either positive or negative side of the thematic value to its counterpart. A final example might be “poverty encourages crime.” Keep in mind that these examples are basic beginnings to your story and must be able to hold 110 -120 feature length screenplay on their shoulders. Articluate why you’re telling your story. What theme do you want to share with your audience? Are you arcing from positive to negative (a downer) or a negative to positive (typical Hollywood happy ending)?

Between those five “W’s,” you should be able to write your own way to inspiration by exploring and discovering new facets of your story. While some screenwriters insist on the afternoon nap, you can use this technique to not only inspire yourself, but inspire yourself with your own creation. This will encourage you to return to your work for inspiration, which will keep your workflow moving, rather than push away from it by watching a movie, reading how-to books, or taking a nap, which has very little to do with your actual screenwriting. Lack of inspiration is closely related to the infamous writer’s block, so it’s important to understand that it’s merely a psychological block you place on yourself. Naturally the this block is too high to bound over, so in order to get past it you need to navigate through it – just as Frodo navigates through the Mines or Moria. It might not be fun, but it’s the only way.