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The document outlines the essential formatting guidelines for writing a screenplay, emphasizing the importance of correct formatting, including font choice and title page layout. It details the structure of scenes, character introductions, dialogue, and the use of visual descriptions, while also highlighting what should not be included in a submission script. Additionally, it discusses the differences between production scripts and submission scripts, including the inclusion of camera and sound directions in production scripts.

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tolulope Ajayi
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© © All Rights Reserved
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Download as PDF, TXT or read online on Scribd
4 views

scriptformat-111129183300-phpapp02

The document outlines the essential formatting guidelines for writing a screenplay, emphasizing the importance of correct formatting, including font choice and title page layout. It details the structure of scenes, character introductions, dialogue, and the use of visual descriptions, while also highlighting what should not be included in a submission script. Additionally, it discusses the differences between production scripts and submission scripts, including the inclusion of camera and sound directions in production scripts.

Uploaded by

tolulope Ajayi
Copyright
© © All Rights Reserved
Available Formats
Download as PDF, TXT or read online on Scribd
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Script Format

l Correct formatting of a script is essential. Production


company’s studios, directors or producers will not
read a script that is incorrectly formatted.
l 12 Point, Courier font.
l Use a formatting program to help you.
l www.celtx.com
Title Page
‘Title of your Script’

An Original Screenplay

By

Your name
l Do not include artwork or “First Draft” or “Second
Draft” on the front cover.
l Professional film scripts should have one contact
address in the bottom left-hand corner, with a phone
number and email address where applicable.
l The agent’s contact details (where applicable)
belong in the bottom right-hand corner.
l The scene heading (slugline)
Interior or Exterior, Location and Time.

l The action area (description)


Only what you see if you were watching the screen

l The character name

l The dialogue
FADE IN:

INT. LABORATORY – MID-DAY


l To establish a more definite context, you would
write:

l INT. LABORATORY – WORKBENCH – MID-DAY.


SCENE DESCRIPTIONS
l Description will make up the bulk of what is written
in a script.

l Define the world of the story.

l Introduce the principal characters.

l Character introduction needs no more than a


single descriptive sentence.
l In all your descriptions cut out everything that does
not further the story line.

l Simplicity/Clarity/Visually captivating description.


l The description tells the story.

l Good descriptive writing provides the basic


elements of visualisation.

l It provides the opportunity to captivate your reader.


Correct Format
l Only a production script contains editing and camera
directions (and scene numbers).

l These should not be included in a submission script,


only present the basic story.

l How the story is interpreted on the screen is up to


the director.
l A script contains no internal thought.

l John walks slowly down the street,


wondering why Carol did not return any
of his calls.

l How are John’s thoughts going to be shown to the


audience.
l Motivation and reasons for characters' behaviour will
be revealed through their actions, reactions and
dialogue.

l Visual description should contain only what you


would SEE if you were watching the screen.
DIALOGUE

l The final essential element of any screenplay is the


dialogue.

l Decide if each speech contributes to the story or is it


merely ‘fill’.
l Try not to use more than 5-6 lines of dialogue at a
time.
l If a character has to give a long speech, break it up
by inserting a suitable line of visual exposition.
l He turns and walks to the window.
or
l He takes a sip of his drink.
l This may be inconsequential, but assists readability
and prevents the script appearing "top-heavy" with
dialogue.

l Remember, film is a visual medium. Only write the


dialogue that is essential to the story or your
characters’ nature.
If a pause is desired between two lines in dialogue,
this is indicated by the words ‘beat’ or ‘pause’ in
parenthesis, lined up with the left margin of the
dialogue, as follows:
Sally
Sure I'm mad at you.
(BEAT)
When will you learn to
think of someone besides
yourself?
(PAUSE)
l (BEAT) and (PAUSE) are artistic directions: they
appear within the dialogue.
l If Joe in the dining room is on camera, talking to
Mary in the kitchen, whom we don’t see, the format
is as follows: (O.S.), "Off Screen", as follows:
JOE
Sally, can you bring
the wine in?

SALLY (O.C.)
Red or White?
Flashbacks
l INT. JOE’S HOUSE – CELLAR – NIGHT
(FLASHBACK)

l Remember, each flashback is a new scene, even if


it takes place in the same location as the current
action.
Inserts
l This is a cutaway shot to get close on something
small. Use this only when necessary.
INT. OFFICE – DAY

Joe opens his mail.

Insert – A LETTER
SOUNDS
l Important sounds can be capitalised.

They hear a CRASH of glass in the


other room.
l Or,
The SOUND OF BREAKING GLASS is heard.“

l Use this sparingly, however, as it can get tiresome if


repeated for every sound effect throughout a long
script.
l At the end of the script,

l FADE OUT

l is placed at the right hand margin, two spaces


below the last line of visual exposition.
Finally…
l Check your spelling and your grammar

l Do not break sentences between pages.

l Do not hyphenate words from one line to the next or


number individual scenes.
l Do not use semicolons anywhere.

l Only commas or full stops between sentences.

l Do not capitalise any lines of dialogue.


Production Script
l The production script will be the dialogue script with
the inclusion of camera, lighting and sound
information.
FADE IN:
EXT. FRONT OF HOUSE. DAY.
1. Opening shot – CU – finger in door bell
Foley of door bell ringing
Lit with early morning natural light
RICHARD JONES, 20 year old male stands in front of
a shabby looking front door. His is of slight
build, wearing glasses
2. LS from across the street behind Richard
Large depth of field
Roar of traffic noise
Camera Direction
l Shot type – LS, MS, CU
l Camera Movement
l Focus techniques – DOF, Pull Focus etc
Lighting
l Natural or artificial
l Soft or Hard
l Direction and angle
l Shadows
Sound Design
l Use of sound effects
l Any particular music
l The production script is not page limited.
l For a 5 minute film it will usually be around 10 to 15
pages
l Think about how your shots go together.
l How can you help tell the story through your camera
and lighting set-ups.
l How can you use sound to enhance the mood of a
scene.
Next Week
l TV

l Please sign up tutorials or e-mail scripts.

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