Writers on Writing is our regular conversation with a writer or industry professional about the writing craft, industry insights, and their own practice. This week, we spoke to Chris Phillips about playing with the rules to create fresh and original stories in screenplays.
Over your 20+ years of experience as a writer, producer and editor for television, what are some ways you’ve observed the rise of ‘bingeable’ content and streaming platforms changing screenwriting?
Screenwriting fundamentals haven’t changed over the last twenty years. However, with the advent of streamers, the range and style of genres we can offer on the small screen has expanded significantly. Breaking Bad was rejected by three different networks before it found a home at AMC. Similarly, Stranger Things, was rejected by more than 15 networks in the US. The creators were told, ‘You need to make it a kids’ program or make it about Detective Hopper investigating paranormal activity. You can’t do both.’ The creators stuck to their vision and with the help of Netflix created one of the most bingeable shows of the last decade.
I think because the streamers are able to take risks and screen material that might not fit the charter of the networks, there’s more opportunity for writers to create stories that are fresh and original. And streamers have definitely expanded opportunities for documentary projects.
What do most well-written stories for screenplays have in common?
A rich and detailed story world.
Engaging characters with a powerful dilemma and surprising obstacles.
A unique point of view, that is specific and deeply resonant.
Strong cause and effect – pace.
Scenes that advance and or deepen the plot, insightful dialogue that offers conflict, challenges and character development.
How does your experience as a script editor and producer inform your practice as a writer?
I have found it helpful to be able to put on my editor hat when reviewing a script. The script editor probably comes to the script with a broader view and ideally a fresh pair of eyes. As a script editor, you’re looking at the elements that work and then identifying the ones that aren’t serving the story as well. At the editing stage of the process I like to take specific, focused passes on a script. Sometimes it’s for overall story, sometimes for a specific character, or it might be for a plot element that needs attention.
Producers tend to have a broader view on a script, so it’s helpful to do a pass of the script wearing a producer hat, or producer shoes as the case may be. A producer’s focus can be more on commercial potential of the script, and they’re also very aware of the budget. As a newbie writer I was less aware of budget constraints on the page. Working as a story producer, I learned a lot about all the little ways a scene can add unnecessary dollars to the budget, and clever ways to tell the story that were cost effective.
Screenwriting can sometimes feel overwhelming for those unfamiliar with its nuances. What are some screenplays you would recommend a writer read to become more familiar with the form and format?
I think it can be helpful to study screenplays from the genre you want to write in.
Studying screenplays with classic three act restorative structure is a great starting point. The better you know the rules, the more you can play with them, break them, shuffle them around and create something fresh.
Below is a list of recommended screenplays.
My top ten: Toy Story, E.T, Jo Jo Rabbit, Black Klansman, Muriel’s Wedding, Tootsie, The Big Chill, Little Miss Sunshine, Ted Lasso and Triangle of Sadness.
Sci Fi: Moon, Ex Machina and Interstellar.
Horror: Alien and Stranger Things (season 1).
Thriller: The Fugitive (original), The Girl on the Train (mystery/suspense) and The Lives of Others.
Romcom: When Harry Met Sally, It’s Complicated, Knocked Up and Notting Hill.
Drama: A Real Pain, The Social Network and Shrinking (dramedy).
Chris Phillips has over twenty years experience as a writer, script producer and script editor for network television and streaming services. Chris has worked on a diverse range of family-oriented programs from Heartbreak High to McLeod’s Daughters. Chris script produced Fox8’s multi-platform YA, comedy drama series, SLiDE. Chris’ feature film, Six Weeks in Heaven, was selected for Aurora in 2007 and was finalist in Cinestory, The Page Awards, and Inscription. Chris has co-written a number of feature film projects with Steve Vidler including Love Smarts, Handy Man, and the animated feature, Horrendo’s Curse. Chris has written lyrics for more than 50 songs on Hi-5’s ARIA award winning, multi-platinum selling albums. SLiDE and Hi-5 have both been nominated for International Emmys. Chris is also the host and producer of The Art of Mindfulness program on Eastside Radio 89.7fm.
Join Chris’ course, Screenwriting Fundamentals, on Saturday 14 March 2026, 10am-4pm.
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