![]() When introducing a major character (and by “major” it’s generally meant “one with a speaking part”), put his or her name in all caps, but only the first time. Into the bar strides PROTAGONIST, mid-30s, a man so built like a semi he probably farts diesel exhaust. For the sake of simplicity, let’s say you’re introducing your Protagonist. Okay, it’s about time to introduce your first character. You don’t want to intimidate Head Hancho over at Hollywood Movie Production Conglomerate with a big page of text, do you? Keep breaking them up, in logical areas where the camera would naturally cut, to keep the page nice and digestible. Each paragraph should be no longer than five lines. ![]() Set up the scene, but don’t blabber on too long. Remember to always write in present tense-the flashbacks will be in present tense, the flashforwards will be in present tense… even the weird, parallel universe created when your protagonist fell into a temporal rift will be in present tense. We’re on an action/description line now, so you can go ahead and turn off caps lock. Usually it’s as simple as DAY or NIGHT, but more specific times can be written if they are relevant to your story. The last piece of the slugline is the time. The second part where the scene takes place be sure to keep this location consistent if your characters ever go back. Rarely can you write both ( INT./EXT.), but it has been done. The first is either interior ( INT) or exterior ( EXT), indicating if the scene takes place inside or outside. Screenplay line spacingĭouble space, staying left justified at 1.5 inches, and we’ll hit our first required element: the Master Scene Heading (don’t let off caps lock just yet.)Īlso known as the slugline or master slugline, this element consists of three parts. Left justified, in all caps, write the glorious opening phrase: This is an (arguably) optional first step. On to the font: Courier or Courier New, size 12. The bottom margin should be at 1 inch as well, though it varies as there are rules if dialogue breaks between pages. Screenplay marginsįirst, let’s set up your margins: top margin at 1 inch, left margin at 1.5 inches, and right margin at 1 inch. Like all aspects of art and creativity, you have to learn the rules first before you start to manipulate them. ![]() Where to start? In screenwriting, there’s a very simple mantra: format, format, format. There are different rules, different shortcuts, and, of course, different routes to stardom. If your reader can't tell that the scene following the previous scene is not set in the same time of day, you probably need to go back and make sure your writing in both scenes is as clear as it can be.So, you want to start writing movies? Beware: Writing a movie is a completely different experience than writing a novel. Rob and Lisa mount up with their swords and ride off.Īnd regarding CONTINUOUS. The solution: Give the reader the idea that it's dawn, sunset, or two hours later in the action text right below the slugline. into either DAY or NIGHT production strips, which are the two categories their scheduling software has to deal with. When reading and breaking down your script for production, the production departments I've worked with have found it problematic trying to force DAWN, SUNSET, TWO HOURS LATER, etc. The primary reason is a bit wonky and silly, and there are many who will disagree, but it's this: Don't use DAWN, SUNSET, TWO HOURS LATER, or CONTINUOUS in your slug line. It's been my experience when writing - DAY / NIGHT / CONTINUOUS etc that there is only one rule you need to adhere to in order to keep your script reader from being confused.ġ) ONLY use DAY or NIGHT. ![]() People in the entertainment industry need to get over themselves. I would suggest leaving those time-related headings off altogether, and seeing for yourself what difference it makes when it comes to doing the work. With respect, it seems to this little black duck that to blindly follow this convention “because that’s the way it’s done” is no more than a means of keeping a typist out of the unemployment statistics or, if that's too obscure, of checking that the CAPS LOCK key on your keyboard is still functional. What does it matter to anyone – crew, actors, the tea-lady, whoever – if a particular scene takes place at the dark of the moon or on Pancake Tuesday? I mean, what possible effect can it have on the finished product, as seen by the audience, for this (timing) to be known by those concerned with its production? The answer can only be that it doesn’t matter, that it has no effect. ![]() This particular effort is to be portrayed as taking place entirely in a windowless basement. Screenplay scenes can be, generally are, filmed out of sequence then cobbled together later in the correct order, right? ![]()
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