A screenplay, structured and the result of extensive work, is the visible part of an iceberg.
Serendipity, the art of discovering the essential by chance, enriches writing by bringing unexpected connections. Embracing the unexpected creates profound and intimate narratives, captivating the audience beyond linear storytelling.
A screenplay is a document that must be highly structured, as one of its functions is to build the narrative, and thus the meaning and interest for the audience. It is also the result of extensive research and development. The screenplay is only the visible part of an iceberg, not the whole iceberg.
Serendipity, the art or ability to receive, as if by chance, through one’s wanderings, important things, to encounter the essential without having sought to provoke it, seems to me a rich path in the work of screenwriting. It can apply both to the final writing, offering a narrative structure that is perhaps more flexible, contemporary, complex, and enriching for the audience, and to the very process of writing.
Serendipity always brings us things that feel just right, that come to us as obvious truths. But it requires putting ourselves in a state that makes us capable of receiving the unexpected, the unknown, this openness, or rather these openings. It can be likened to innovation, as innovation involves connecting things that had no apparent link, whose connection was not visible. By associating them, they trace a new path, rich with this newfound plurality of connections.
To enter a state of receptivity is, for example, daring to step outside while writing. It’s looking up while walking, not knowing what you might receive. It’s making yourself capable of welcoming the unexpected. It’s a highly enriching creative technique. However, it’s not at all easy to implement, as it’s neither reassuring nor legitimized. You don’t know exactly what you’ll find, and you don’t even really intend to find anything… Yet it’s often in these moments that the most important doors open.
It’s about engaging in a process that, initially, seems entirely useless and inefficient, with no clear objective. And it’s often there that essential things reveal themselves. Daring, even in moments of great stress or delay, to open yourself to serendipity in writing is an approach that will enrich and deepen the meaning of the screenplay.
In the same way, within the screenplay itself, for the audience, creating atmospheres, placing them in states of receptivity, and in those moments, offering them surprising, profound, enriching, and thought-provoking elements, may allow them to build a more intimate, complex, and rich relationship with the film. A relationship that goes far beyond a simple story where everything could be explained.
Tools and Techniques for Screenwriting and Film Project Development.
In our world where artificial intelligences create films directly from the desires of their authors expressed in very few words, in this world where 3.5-hour films in dark theaters coexist with 10-second videos on social networks—which of these require screenplays, why, and what is a screenplay?
Is a screenplay still useful in an era where everyone carries in their pocket audiovisual creation tools of nearly professional quality? What is the purpose of a screenplay?
For writers, directors, producers, and especially content creators, as they are most often called today, I believe that the screenplay, its methods of creation, its writing techniques, and its ways of telling stories, is an extremely powerful tool to help us create the most impactful audiovisual works possible—works that will best connect with their audiences today and tomorrow, across their respective distribution platforms, whether in movie theaters, on television screens, on SVOD platforms, on community video sites, or on new media built exclusively around collaborative video like TikTok.
This guide does not claim to be exhaustive, but it is based on concrete experiences—those I have lived and those I have facilitated. For over 30 years, I have supported thousands of people in making films of all genres, founded and directed several film festivals, created numerous innovative events around audiovisual media, and also served on creative funding committees. What I share here is therefore subjective and practical, drawn from my journey and my observations in practice.