Screen East's Rough Guide to Writing Shorts

Concept and theme

A good short film is like a poem - it takes big themes and distils them.
Less is more. Simple (but not simplistic) ideas are often the most effective. Some of the most evocative short films revolve around a moment, a human exchange or choice.
Don't be afraid of tackling big subjects with high dramatic stakes. Short films can be incredibly powerful and deal well with complex and brave ideas or emotions.
To thine own self be true: your story should express life as you've observed (or dreamt) it.your personal vision.
Consider using a strong, universally resonant theme (e.g. search for validation, pursuit of love). It will provide a direct emotional route to your audience - vital in a short film.
Films under five minutes often work well with a visual (not verbal) punchline that reinforces the characterisation or theme.
Every moment in your story should be intrinsically tied to the theme and should exist in sympathy with everything else, with not a second wasted.
Start strong, finish strong. Begin with the end in mind - the last moment is the most important and should be an encapsulation of the theme. The opening is crucial too - you don't have time to build the story up - it needs to make an impact in around thirty seconds to draw the audience in.

Character

Short shorts cannot deal with complex character development - the audience needs to engage with a character as quickly as possible so that they can get into the narrative - so look at using character `types'.but not clichés.
Shorts tend to be concept rather than character driven.however, characters are vitally important and should drive your plot.
Actions speak louder than words. Don't use your characters as mouthpieces for your plot.
Try taking an established character type and showing them in an original setting - a world the audience hasn't seen before.
Comedy works extremely well in short shorts.

Structure

A good short is self-contained and perfectly formed.
Structure can be effectively used as a framework for your story - applying structure to your idea will give your audience a frame of reference.
However, applying an idea to an existing structure can make it seem formulaic. Examples of structure that can be effectively applied to short shorts: Linear/causal (The Talented Mr Ripley), Generic, Circular (American Beauty, Italian Job), Repetitive (Groundhog Day, Run Lola Run), Fragmented/synthetic (Memento, Mulholland Drive)

Time frame

Visual language

Think in pictures. Tell the emotion of your story through images rather than words (dialogue). Use images to create strong atmosphere and tone.
Shorts work wonderfully as visual `poems' with strong visual metaphors and symbolism.

Dos and Don'ts Do.

Ask yourself why you want to tell this story.
Aim to tell a fresh, entertaining story with emotional resonance and meaning through pictures.
Ensure you reach the dramatic issue at the heart of your story.
Consider the audience that will watch your film and how your story will connect with them. What experience do you want to give them and what feelings do you want to leave them with?
Be inventive - short films beg originality and risk.
Ask yourself if your story `fits' the length you're aiming for. Think about the types of stories that can be told in five minutes or under.
Consider whether the script is viable for a low budget.
Be prepared to be open to constructive criticism.
Watch as many shorts as you can.

Don't.

Tack on an ending or `surprise' twist that bears no relation to the theme and undermines the credibility of what has gone before.
Pack in too many events - let your story breathe.
Forget about genre but do approach it with a fresh eye.
Forget that rules are made to be broken.but only if you know why you're breaking them.