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Day_1_Script Writing

Script Writing

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24 views

Day_1_Script Writing

Script Writing

Uploaded by

dhrubhakarki
Copyright
© © All Rights Reserved
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
You are on page 1/ 23

Script Writing

SCRIPT LENGTH

• Your script should be about 90 to 120 pages—ideally, about


100 for a comedy and 105 to 110 for a drama. Yes, there
are many screenplays of completed movies that are over
120 pages, but virtually all of those were developed by
studios or production companies; they were not specs.
THE 17 COMMANDMENTS

Certain things turn off most professional readers, agents, and


producers. Don’t do any of the following unless requested.
1. Don’t include fancy covers, artwork, illustrations, or
storyboards.
2. Don’t number the scenes. This is done after the script is sold.
3. Don’t use fancy fonts or proportional-pitch fonts, only 12-
point Courier or Courier New.
4. Don’t justify right margins. Leave the right margin ragged.
5. Don’t bold or italicize.
THE 17 COMMANDMENTS

Certain things turn off most professional readers, agents, and


producers. Don’t do any of the following unless requested.
6. Don’t use camera and editing directions unless necessary to move
the story forward.
7. Don’t date your script in any way. Scripts get “old” fast.
8. Don’t write “First Draft,” “Final Draft,” or any draft.
9. Don’t include a suggested cast list or character list with bios.
10. Don’t include a list of characters or sets.
11. Don’t include a synopsis—you are selling your ability to write a
script.
THE 17 COMMANDMENTS

Certain things turn off most professional readers, agents, and


producers. Don’t do any of the following unless requested.
12. Don’t include a budget.
13. Don’t include a header (such as your name or title) at the top of
each page.
14. Don’t ignore errors in spelling, grammar, and punctuation.
15. Don’t “cheat” by using thinner left and right margins, by squeezing
extra lines onto a page, by using a smaller typeface, or by widening
dialogue lines beyond the standard 3.5 to 4 inches. Movie Magic
Screenwriter and Final Draft provide acceptable methods of cheating;
also see “When to break the rules” in Book IV.
THE 17 COMMANDMENTS

Certain things turn off most professional readers, agents,


and producers. Don’t do any of the following unless
requested.
16. Don’t type CONTINUED at the top or bottom of each
page.
17. Don’t send out a script that is over 120 pages.
THE TITLE PAGE

• The title page you see for the sample script is correct for a
script that has not yet found an agent.
• You may add quotation marks around the title if you wish,
or underscore it, or both.
• If there are two or more writers and they worked together
and contributed equally, use an ampersand instead of the
word and.
THE TITLE PAGE

• For example:
“NAZIS IN SPACE”
by
Bart Snarf & Buffy Bucksaw
THE TITLE PAGE

• When the word and is used, it means a writer was brought


in later to rewrite the first writer’s script. In other words,
they didn’t work together.
• Your address, phone number, and email address should
appear in the lower right corner, where it can be easily
seen. Lower left is okay. Nothing else needs to be on the
title page.
TYPEFACE

• Always use a Courier 12-point font because it is the


industry standard.
MARGINS

• If you use screenwriting software, don’t worry about


margins, tabs, line spacing, and pagination. Skip those
sections.
[A] THE FIRST PAGE

• (NOTE: The reference code [A] and all future alpha codes
refer back to examples on the sample script “The
Perspicacious Professor.”)
• The title of your script may be centered at the top of page,
in CAPS, and underscored.
• This is optional and is seldom used anymore.
[A] THE FIRST PAGE

• I recommend that you begin your script as follows:


FADE IN:
• That is followed by a master scene heading or the description of an image, after which
normal script formatting rules apply. If you wish, you may begin your script with a
master scene heading without the FADE IN.
• Some movies begin with a BLACK SCREEN, which is followed by the description of
sounds or some superimposed (SUPERed) words or both, which is followed by the
familiar FADE IN.
• You will not need to use FADE IN again unless you FADE TO BLACK later in your
script, after which you will need to FADE IN again. Here’s an example:
FADE TO BLACK.
[A] THE FIRST PAGE

• In the above example, CREDITS is treated as a “heading.”


However, it can also be included in the body of the
narrative description.
• The word TITLES is often used in place of CREDITS in a
shooting script. Again, I strongly advise against indicating
CREDITS or TITLES.
THE LAST PAGE

• There are two general ways to end a screenplay. My personal choice is to


write THE END at the end. Some writers like to fade out, as follows.
FADE OUT.
or
THE LAST PAGE

• You’ll recall that FADE IN appears flush to the left margin


and FADE OUT appears flush to the right margin (or at a tab
6 inches from the left edge of the paper).
• Thus, FADE IN is the only editing direction (or transition)
that appears flush to the left margin.
• If your software program places FADE IN flush to the right
margin, don’t be concerned.
Formatting Screenplay

• There are three parts of a screenplay: scene headings,


narrative description, and dialogue.
1. Scene headings (sometimes
referred to as slug lines)

There are three types of scene headings.


A. Master scene headings, which consist of three main parts:
i. Camera location (EXT. or INT.)
ii. Scene location
iii. Time (DAY or NIGHT)
B. Secondary scene headings
C. Special scene headings for flashbacks, dreams, montages,
series of shots, and so on.
MASTER SCENE HEADINGS

A master scene heading consists of three main parts, and a rarely used
fourth.
1. Camera location
• If the camera is located outside or outdoors, then use EXT. for EXTERIOR.
If it is indoors, then use INT. for INTERIOR. Please read the brief section
“Camera Placement” at Code I; it will provide a helpful example.
• Occasionally, the action moves back and forth through a doorway or
opening. This can create a large number of master scene headings.
Sometimes a scene begins outside, but quickly moves inside (or vice
versa).
• In such cases, the following camera location notation is permissible:
INT./EXT. CAR - DAY
• Now the camera can be placed anywhere that makes sense to the reader
(and director).
MASTER SCENE HEADINGS

A master scene heading consists of three main parts, and a rarely used
fourth.
2. Scene location
• The second part of a master scene heading is the master (or primary) location of the scene,
the place where everything is happening. Usually one or two words will suffice.
• Occasionally, I see incorrect scene locations such as RUNNING or GRABBING LUNCH
or CHRISTMAS MORNING. These are not locations.
• A STREET is a location. A DINER is a location. SMITHS’ HOUSE is a location, and that’s
where the Christmas tree is.
• If the location is a small classroom. I use the word “small” only because I don’t want the
reader to visualize one of those large, semi-circular auditoriums.
• I want a more intimate scene and perhaps a modest budget. Generally, you want master
scene headings to be short and specific.
MASTER SCENE HEADINGS

A master scene heading consists of three main parts, and a rarely


used fourth.
3. Time of day
• Most often this will be DAY or NIGHT. Avoid terms like DUSK, DAWN,
LATE AFTERNOON, EARLY EVENING, HIGH NOON, GLOAMING,
or the time on the clock. Use these only if helpful to the story.
• Keep in mind that virtually all movie scenes are shot for DAY or NIGHT.
2. Narrative description (action)

• The word “narrative” loosely means story, and it consists of


three elements:
A. Action
B. Setting and character (visual images)
C. Sounds.
3. Dialogue

The dialogue block consists of three parts:


A. The character cue, or name of the person speaking, which
always appears in CAPS
B. The parenthetical or actor’s direction or wryly (this is
optional)
C. The speech.

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