A good script reader knows how to sum up a story s essence and characters in a few pithy lines that communicate to the executive what the piece is all about. The most important thing is to create a story in which the lead character has a dilemma that takes some time and energy and savvy to resolve. Anything is possible on paper. This is repartee that doesn t go through the characters filters of personality, mood, and world view. Good dialogue opens up scenes and characters personalities, and consequently opens up your story.
Good dialogue is as much about revealing as it is about concealing.
You say that lack of conflict is the most common screenwriting flaw. Stories become more interesting, and more recognizable as real, when problems snowball and become more complex and when supporting characters wrestle with dilemmas of their own. A single conflict in a story is an indication that your character is operating in a vacuum. If your story is about a party and you show a wild 3-page car chase in the opening sequence, then spend the rest of the story detailing the party without referencing the chase or hitting the streets again, you ve kicked things off with an unrelated gimmick. The first scene should set-up your story, establish the tone, hook us into wanting to see more of the same or finding the answers to the questions that are asked in that opening sequence.