Welcome to the life. My hobby is screenwriting. I got into it from "Cinematic" or plot arc style gaming.
Some tips here are generally considered as what not to do:
[But all rules can be broken, if you are good enough to pull it off.]
Do at least minimal research, or don't write about what you know nothing about.
If you don't know about sled dogs, or handguns, or things that are commonly known to people in their field, you might mess it up. Huskies, for example, sleep under the snow, they dig and make a mini igloo. So if you write some story where "the sled dogs huddled in a pile for warmth, but froze to death overnight...it's unrealistic. Do research at a library.
Don't use a strange / unexpected point of view.
The point of view of a gun, as it travels from man to man. [Except in this case, the "Dead Man's Gun" broke that rule, and made for a pretty good TV show...because the stories were about people with the gun, and how the gun affected them, not the gun itself and how it felt.]
Don't do the point of view of a parachute, or an eggbeater. People can't relate.
Don't write about a single idea.
In a good story, the experience is primary, not the message. A story shouldn't be reducible to a single idea, "guns are bad...religion is bad...A hungry man needs to eat." and should raise more questions than it answers.
Don't have too many Characters.
Determine who is necessary to the story, and remove everyone else.
Vary the names, make them distinct.
Two-syllable names with diminutive endings have the same effect, "Vicky, Billy, Danny."
Don't start with expository material, start with the story.
You don't want to go into a long spiel about how the nuclear weapon was developed, just focus on the situation at hand.
Don't ramble on with descriptions, page upon page of the wind, the trees, the sky.
Don't do formal introductions:
"John, this is Jane. Hello, Jane. Pleased to meet you, John. Have you met Bill? No, I don't think I've had the pleasure." Bleh.
Get to the story. Don't keep people wondering what is the story about, when is it going to start?
This is one thing I like about the GC Briefings. Establish the mission, gear up, pick agents and allies in supplies, resources, etc, and go.
Good stories intrigue readers from the first sentence.
Do not write the following:
"It was only the wind."
This is a story based on Anti-climax. A threat is built up by describing mysterious noises, sights, sounds, and sensations. The character's terror is developed by describing
various fears and possibilities, and perhaps recent atrocities in the vicinity. The end reveals that it was all caused by a cat, a raccoon, a possum, a shutter, a loud clock, wind in the trees, moonlight in the mirror, a child's wind-up toy, character's own heartbeat.
The Thinking on the Park Bench story.
A character stays in a single, relatively confined space for the whole story. While in that place the character thinks, worries, plans, whatever. Before long, the readers realize that the character is not going to do anything, nothing is going to happen in terms of action, or drama. The character is not interacting with other people, but reliving past interactions. Problems will not be faced, but thought about. Troubles will not occur, but they will be remembered. Often, this lack of motion signifies a lack of imagination on the part of the writer. You must find a way to make up for the lack of plot, action, and momentum. The missing kinetic energy must be generated by particular daring, wit, or ingenuity.
Two Philosophers in Jail Story.
Here, a small number of characters, perhaps only two, isolated from normal society, talk about life while not doing very much.
They tend to comment about civilization, philosophize about meanings, and squabble a bit among themselves. Realize that giving portentous dialogue to philosophizing outcasts is self-indulgent, sentimental, and heavy-handed.
The stylized setting makes all actions seem weightily symbolic, and the characters generally seem to stand for some major idea of the nature of man.
I can't wait to get my lottery payoff Story.
This sets up a character who will have his expectations dashed.
It dwells for pages on the joys expected, and then deprives the central character of whatever is desired. The beloved one never shows up, or is killed on the road, or drunkenly calls from a bar, or runs away with is pregnant by somebody else, or has really been dead for years.
The easily predictable ending / nothing new Story.
The bully, attacks a helpless victim, the victim, not helpless, attacks the bully.
The i-cried-because-i-had-no-cigarettes-till-i-met-a-guy-who-had-lung cancer-story
This story type is primarily designed to teach a lesson, using stereotyped characters, harmful results of bad behavior, or good results of good behavior.
The Weird Duck [My Character is Chaotic Neutral] Walking story.
This story type focuses on a character who is strange and different. We are given many examples of his (sometimes bad) behavior, but no insight into his character.
Instead, show what is driving him, what is he searching for, what is he missing, that makes him do what he does. Otherwise it's just a weird character, a mystery with no real clues.
The from nothing to nothing Story.
This shows a character that is rigid, and dull, and doesn't change. The loser who tries, only to lose again, the cheater who cheats again, the alcoholic that goes back to the bar, the suicide that succeeds.
The Nothing to Everything Story.
In this story, a character totally overcomes some character problem, in the span of a few days or less. But, a major, permanent change in personality is difficult to make plausible. Behavior lies deep, and is rooted in responses and habits that cannot simply vanish in a wish, or a phrase. The way a person has behaved, or the way people have behaved toward a person affects everyone for a long time, whether they like it or not.
Hope some of these help. I have hundreds of pages of notes on stuff like this, and other writing tips.