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 This is a continuation of my blogging here at WdC |
| Writing For Screen Now, I am going here on what I learnt at university. There may well be differences in the USA and what have you, and there may be things the uni skipped over. Oh, and this came from a request, but I can’t remember who asked me. Sorry! First and foremost, your story needs to be planned. Successful screen-writing is not for pantsers. You need to have the whole story mapped out, characters mapped out, settings mapped out, everything. If you make changes as you write, go back to your plan and make changes there BEFORE continuing on with the writing of the screenplay. I did find it hard to write the few screenplays I did for my course because I am not a planner, but when I got to the final product and everything we needed to have done, I saw why they said that. To be honest, my first script I pantsed anyway. Handed it up. Got a low credit. The lecturer picked up that even my ten minute script had been made up as I went along. How? It did not read visually enough. My next two scripts both got me Distinctions (and one was filmed by film students), so I learnt my lesson. So…. 1) What you are writing is a spec script, not a shooting script. The first script is the basis on which the shooting script will be built. As such, it has to be in standard formatting. I will get to that later. 2) Plan your work! Then edit the plan. Once the work is written, speak it out loud – especially the dialogue – so that it makes sense and flows. Even go so far as to get others to speak it out loud while you listen. 3) More than anything else, screen-writing is based on character. If the audience does not care for a character, then they are not going to care for a film, no matter how great the ideas. Some books can get away with it, but a visual medium? No way. Characters are paramount here. Okay, writing bits. Front Page/Fly Page All writing should be in courier, size 12. The first page is never numbered, the title is in the centre in ALL CAPS, then a few carriage returns and “by”, then a few more carriage returns and your name/pen-name. Then, at the bottom of the page, flush left or right, your contact details (opposite to Shunn manuscript formatting). Slug Lines Slug Lines are the bits of a script that paint the setting. They let the crew and actors what is going on. This is short, sharp and shiny. Start with INT./EXT. (interior/ exterior), then the location (e.g. A FLOWER SHOP), the time of day (not the actual time, but DAY, MORNING, NIGHT, etc.). If it is a resumption of a previous scene only time has passed, add LATER. If it involves a vehicle, you can also add MOVING. Usually scripts will have many dozens of these Slug Lines. Action This is where you tell what is going on. You need to be descriptive, but also brief. All the work I did with drabble-writing set me in good stead for being able to do this, as you are not writing a book, but something to engage the initial readers. Descriptions are not needed except where they are relevant to the story. Especially with characters. Music may be included but the writer needs to remember that rights and permissions might not be given and so the music may need to be changed. It is always written in the present tense. There is always an action before any dialogue, and all the characters in a scene need to be included. We were told that every time you write a character’s name, it needs to be in capital letters; I have since been told that in the action section, only the first time a character is mentioned do they need to have their name capitalised. Capitalise all sound effects in the action section. Some people also recommend capitalising vital props. The ONLY information needed is that which is happening on-screen. You do not include back-story or anything else. Dialogue Dialogue is what the characters say. It should be natural and flowing, but only include verbal ticks (umm, err, uhh) which everyone uses when talking if it absolutely necessary for a character. Formatting dialogue is very important. The character’s name is centred on the page in CAPITALS. Underneath that is anything about the dialogue (warily, happily, etc.) but use this sparingly. Also actions (raising her hand, turning her head, etc.) are here. This is not centred, but is one tab in from the start of the dialogue itself. Some say to put this in italics. Beneath this is the actual words spoken. This is not centred, but has wider margins than the action. If something happens while talking, in brackets put the action as a separate line, one tab in again. There is also V.O. (voice-over) which indicates a narrator, a character not on screen and O.S. (off-screen) indicating a character that cannot be seen but is part of the scene and can be heard. Transitions This tells how you envision the scenes moving from one to another. This formatted as right aligned, written in ALL CAPS and has a colon after it. The most common are CUT TO:, FADE TO:, DISSOLVE TO:, BACK TO:, QUICK CUT:, etc. This is needed, generally, between each scene. Extras Montage If using a montage, start the scene with “BEGIN MONTAGE:” then detail what is to be included as one block paragraph. Title Card This is introduced by TITLE CARD: and then what is written on it. If anything is said over the top, then this is included beneath that. ”Chase” Scenes Do not worry about all the cuts, just write what happens in a chase scene as it happens. This is tell, not show, however, so tell it in as much detail as you feel is necessary. Formatting Courier, 12-point font, 1” – 1.25” margins (left margin needs to allow for three hole binder punch holes). 1.25-1.5 line spacing. It is assumed each page is one minute of screen time. Example This is from my uni degree… scene 2. CUT TO: 2. INT. SERVICE STATION. AFTERNOON TODD enters the shop-front area of the service station. The door clicks behind him as it shuts. SPIROS enters from a door behind the counter. He is definitely of Greek heritage. SPIROS Yah-soo. TODD G’day SPIROS Can I help you? TODD I just filled up. Spiros looks at the console and sees a light flashing. SPIROS (apologetically) Oh, sorry, mate. Didn’t see you come in. Thanks for being so honest. TODD (grinning) No probs. SPIROS Let’s call it forty-two dollars. I hope that helps! |
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