Formatting a Screenplay-(Not MLA)

Transcription

1 Formatting a Screenplay-(Not MLA)

2 Here are the basics: 12-point Courier font 1.5 inch left margin 1 inch right margin 1 inch top and bottom margins Approximately 55 lines per page Dialogue speaker names (in all caps) 3.7 inches from left side of page (2.2 from margin) Actor parentheticals (aka wrylies) 3.1 inches from left side of page (1.6 from margin) Dialogue 2.5 inches from left side of page (1.5 from margin) Pages should be numbered in the top right corner, flush to the right margin, a half-inch from the top of the page. Numbers should be followed by a period. The first page is not numbered. The title page is neither numbered nor does it count as page one, so the first page to have a number is the second page of the screenplay (third sheet of paper, including the title page), which is numbered 2.

3 Helpful Resources: Types of Paragraphs (Formatting): Formating (bird s eye view): riting/ Script Writing Software:

4 A strong screenplay gives the reader enough information so that they can read the film, and easily imagine the author s intent, without giving so much detail that there is no longer room for creative discretion. How to Read a Screenplay INT/EXT (Interior/Exterior): This shows where the scene takes place. Often, there is a description of the scene, or important details that the reader needs to take into consideration. Description should always be written in present tense. O.S./O.C.: Off Screen, Off Camera V.O.: Voice Over (Parentheticals) Appear under a character s name, and tell us information that is important to know about that particular line(s). This information should be something that is able to be seen. Example, instead of writing (angily), you would write (screaming). Only necessary if you are noting something that is not already assumed by the reader-don t overuse!

5 Screenplay Writing and Film Terminology

6 Action The scene description, character movement, and sounds as described in a screenplay. Example: TWO GUNSHOTS. Smith ducks down behind a parked car. Windows BLOW OUT, glass spraying on the sidewalk. PEDESTRIANS SCREAM, getting the hell out of the way. Smith scrambles forward, keeping low. Draws his gun. Risks a peek: two men, GUNMAN and DRIVER. Squeezing off three rounds, Smith lands two of them in the Gunman. The Driver grabs his buddy and floors it.

7 Character All CAPS the first time you meet them in the Action. A person on the screen at any moment.

8 Beat Can be used in a parenthetical or action to indicate a pause in the character s dialogue or movement. Often signals a brief pause in a character s speech or action. It is believed that a beat should be used sparingly, and if possible it should be conveyed in a character s action.

9 CLOSE On/INSERT When you want do drag a reader s eyes or imagination to a particular object on the screen like a text message, or a scar. Example: Newspaper Headline, Sign on a Shop Door Patton smiles as he flips slowly through the stack. He stops on one in particular. INSERT PHOTO of a 12-year-old Patton and his father in upper deck seats at the 1997 World Series, hot dogs in hand. PATTON Go Marlins. He fights back the single tear that s trying its damnedest to fall.

10 Dialogue What a character says in the script. Thank you sir, may I have another? Dialogue should never follow directly after the slugline.

11 Scene After a slugline a scene describes what happens in a particular place at a particular time.

12 Slug Line Denotes a new scene in the screenplay. Adds emphasis to what s important in a screenplay, for example, a specific camera angle. Includes: Whether the scene is set inside or outside, specific location, and time of day. Scene headings have two spaces above it, while the slug line only has one space.

13 CONTINUOUS Sometimes, instead of DAY or NIGHT at the end of a SLUGLINE/Location Description, you ll see CONTINUOUS. Continuous refers to action that moves from one location to another without any interruptions in time-like a high speed chase through a mall with different stores. MARY What s wrong? Why are you smiling like that? TOM No reason. Under the table, the dog begins licking the arch of Tom s foot. TOM (CONT D) Do you need any h-h-h-help with dessert?

14 More Examples A134 CONTINUED: EDWARD I have been nothing but myself since the day I was born. And if you can t see that, it s your failing, not mine. INT. BEDROOM NIGHT Mary searches for Rex, checking under the bed. INT. BASEMENT CONTINUOUS Tom WHISTLES, shaking Rex s favorite toy.

15 Cut To: Ends some scenes to provoke a reaction-you can cut to a joke, or to the opposite of what a character recently stated. Examples: When ending a scene abruptly for dramatic effect, or transitioning to a new scene (writer s discretion)

16 Establishing Shot: A shot from a distance telling us where we are--new York City? The Dust Bowl? The Congo?

17 Montage: A numbered sequence in a story that shows one or several characters completing a series of actions. Like Rocky s training sequences. A

18 Intercutting or INTERCUT BETWEEN: Used to show different scenes happening at the same time. Like a boy eavesdropping on his parents, or a phone call in two different places, or the murder of all the mob bosses in town during a baptism. 8

19 TRANSITION Descriptive term for how one scene transitions to another scene. Used appropriately, these can be used to convey shifts in character development and emotion.

20 Dissolve To: A transition mostly used in older films. Stylistically shows one image dissolving into another.

21 FADE TO: One of the more common transitions. You FADE IN: on the left and FADE OUT: on the right of the page. You an also FADE TO: on the left-usually used for scenes that transition in longer lengths of time.

22 INTO FRAME/INTO VIEW: When a character enters during a scene and you want to highlight that entrance.

23 JUMP CUT TO: A cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit gives the effect of jumping forwards in time.

24 MATCH CUT TO: A transition between scenes where one thing becomes another like jumping into a pool that matches to the same character diving into bed.

25 POV Point of view. This became popular with found footage movies but generally refers to the first person advantage as seen in movies like Halloween.

26 Shooting Script This is the truly final draft used on set by the production people, actors, and director to make the movie from the screenplay.

27 SMASH CUT TO: An especially sharp transition. This style of cut is usually used to convey destruction or quick emotional changes.

28 Speculative Script/Screenplay A screenplay not commissioned by a studio or producer. It is the idea of the writer only.

29 SUPER, SUPER TITLE, or TITLE Refers to words on the screen like the scroll in Star Wars or the little titles telling you in what city or time period the script takes place.

30 TIGHT ON A close-up of a person or thing. Basically, like the space has been squeezed out of the area between camera and subject.