Everything You Should Know About Script Writing

This is a guest mail service by Ken Miyamoto from ScreenCraft.

At that place are lessons to master about story, structure, and label in your screenplays — these 15 uncomplicated merely of import screenplay rules have zippo to practice with them. They won't make you a improve cinematic storyteller. They won't catapult you upwardly the Hollywood totem pole. Yet, they volition certainly brand your scripts more professional-looking, streamlined, and easier to read — the happier the script reader, the improve chances of getting that coveted Consider or Recommend when they write their script coverage.

In one case you've got these simple rules downward, write your next screenplay in 5 weeks with this guide.

Remember and implement these elementary rules, and you'll bound ahead of 95% of the screenplays and screenwriters out there.

one. Keep Championship Pages Elementary

Studios and companies don't demand or want likewise much data on the title page. It'south the 21st century. They don't need your mailing address, home phone number, cell phone number, and pager number (y'all may laugh, but it happens). Chances are your query was sent through email. If they want your contact information beyond that electronic mail address, they'll inquire for it through email.

While copyright numbers and WGA registration numbers are fine, know that it'southward not necessary. Yous have those numbers in your records and in the unlikely event that your script's content is stolen and produced by another, your records of those numbers will exist more than than enough.

Other unnecessary elements include draft numbers, loglines, character breakdowns, or any other superfluous data.

All that your title page needs is the title of the script and who information technology is written by.

2. Just Utilize FADE IN and FADE OUT at the Commencement and Cease of Your Script

Too many novice screenwriters use FADE IN and FADE OUT transitions — and variations thereof — throughout the whole script every bit stylistic camera or editing directions (more on that afterward). That's not what those transitions are for. FADE IN is the first text on the first line of your script (the beginning).

FADE OUT — or FADE TO BLACK — is for the terminate of the script. Writing THE END in place of either of those volition work equally well.

Deliquesce TO is the proper transition to use within the script, if needed.

It'southward a mutual fault, but a very annoying ane.

3. Slug Lines — a.1000.a. Location Headings — Should Only Have Three Pieces of Data

INT/EXT LOCATION – DAY/NIGHT

Those are the full general choices. Specific examples include:

INT. Car – Day

EXT. Business firm – Dark

Interiors are comprised of any location set within of a building, structure, vehicle, etc. Exteriors are outside. Thus, if your grapheme is in a schoolhouse class room, and they are beckoned into the hall by a friend, you don't write EXT. CLASSROOM – DAY when they are in the hall. Instead, you create a new location by writing INT. HALLWAY – 24-hour interval. Why? Because the hallway is nonetheless inside the schoolhouse.

If your character is inside of a machine, which is obviously driving outside, information technology is an interior scene, not an exterior scene. Some screenwriters add together things like MOVING (INT. Machine – MOVING – DAY), simply it nonetheless creates a slug line that is besides busy. The scene clarification (referred to as action within screenwriting software) should be used to convey that they are driving.

Some other additions include SAME or Afterwards in place of DAY or Night. SAME conveys that the scene takes place within the same moment of the previous scene, as would be the case with phone conversations, cutting back and forth between action sequences, etc. LATER conveys that we're in the same location established in the previous scene, but at a afterwards time.

Using terms like Early on MORNING, DAWN, Dusk, in identify of DAY or Night should only exist used if information technology is partial to the story. Apparently, a vampire moving picture script would be a adept excuse to use DAWN or DUSK now and so. But, over again, continue it simple. DAY or Dark is all we need. The scene description can exist used to convey other information similar time of day.

Lastly, slug lines should not contain dates or times ala EXT. TOMBSTONE – 1850 – Day or INT. Bedchamber – five:56 AM – Mean solar day.

Time and dates should be communicated within the scene description below the slug line — preferably within the first sentence. Too many screenwriters use the slug line to convey appointment and fourth dimension.

If the date or time needs to be conveyed to the eventual audience visually, use Supers or Title Cards (one in the same) in the left margin within the scene description. Examples and variations include:

SUPER: May 14th, 1850

Championship CARDS READS:

May 14th, 1850

TITLE CARD:

5:56 AM

Avoid this like the plague though. Likewise many supers and title cards throughout the script means that it's going to be a very busy read. Keep it elementary — slug line/location heading, scene clarification, graphic symbol names, and dialogue. Supers, title cards, and transitions should be used few and far between.

For a groovy free screenwriting software to automate your formatting, bank check out Arc Studio Screenwriting Software.

4. Little to No Camera Directions

Things like CAMERA PULLS Back, WE ZOOM IN, CAMERA DOLLIES Right, EXTREME CLOSE-UP, and other camera directions take no identify in a spec script (script written nether speculation that information technology volition exist sold and produced).

Screenwriters often read scripts directed by auteurs like Quentin Tarantino, the Coen Brothers, and Paul Thomas Anderson. You surely will run into camera directions in those types of scripts. If you're reading shooting drafts that take been published or shared, camera directions may be in there as well. That doesn't mean you lot, the non-auteur, should be including them in your script.

Most volition say to only include them if they are partial to the story, but you just shouldn't include them at all. You lot're the writer, not the manager. Unless yous're the director too, so nevermind.

five. Dialogue Never Follows the Slug Line

Another mutual mistake occurs when screenwriters write their slug line/location heading and and then immediately follow that with dialogue (and accompanying character names).

This should never happen. Whenever you motion into another location, in that location has to be at least one line of scene clarification betwixt the slug line/location heading and the dialogue (and accompanying character names).

Before you beginning to think of reasons why this should be allowed, just end and assume that information technology isn't to avoid poorly formatted screenplays.

6. All New Notable Character Names Demand to be in CAPS the First Fourth dimension They Appear

When a new character appears, you have to cue the reader to their offset advent by putting their name in CAPS that commencement time. This is more often than not saved only for characters that take dialogue or are prevalent to the story. A passerby that doesn't accept a line and doesn't have annihilation to do with the story (probable only actualization in one scene), doesn't demand to exist featured in that way.

Furthermore, the starting time name you use for ane grapheme has to be the name you utilise throughout the whole script. Yous cannot introduce them as GUY and then once they are introduced or referred to by name in dialogue, change it to JOHN. Introduce him equally JOHN from the get-become. While this may brand it difficult to have some sort of reveal moment or anything inside your script, practice your best to prepare those reveals upwards within the scene description.

An exception would be if you had different versions of your characters from different time periods — or any equivalent. In those cases, you tin utilize Young JOHN, OLD JOHN, or something to that consequence.

seven. Scene Description Is Not for Background

It's a common cheat for screenwriters to utilize the scene clarification to explain away story elements, character history, and background.

Screenplays are a visual medium. You are tasked with telling the story cinematically through visual actions, reactions, and audible dialogue. If it'due south non going to be on the screen, yous can't include it inside your screenplay, which is a design for communicating to the director and cinematographer what is to be seen and heard on screen.

Thus, you can't depict a graphic symbol every bit "a trouble-maker who has been through prison multiple times and is a recovering drug addict." Y'all would accept to showcase scenes of that character in prison house, going to drug addict support group meetings, or include all of that information within the dialogue.

If it's non going to be shown on the screen, you can't include it in the script. And if you demand it to be shown on screen, y'all have to exercise so through scenes and the format that communicates those scenes — slug line/location headings, scene descriptions, graphic symbol names, and dialogue.

8. Dialogue Is Not for Exposition

Exposition is defined as "a comprehensive description and explanation of an idea or theory." In screenplay context, information technology's information that is communicated through dialogue explaining either what has already been described within the screenplay (redundant) or what has clearly happened off screen.

Expositional dialogue is the worst kind of dialogue — and frequently the biggest crutch that a author clings to in club to explicate elements that they did not show onscreen in their scenes.

Yes, exposition is sometimes needed, but avoid it whenever you can. It points to the historic period-one-time screenwriting adage of Bear witness, Don't Tell.

9. CUT TO Transitions are Useless in Screenplays

Forget what yous've seen in the screenplays you've read from older classics. The transition CUT TO between scenes is overly redundant because once we movement from one new scene or location to the next, we obviously Cut TO that adjacent one (with minor exceptions). At that place's no need to waste of import screenplay real estate by typing CUT TO in between every — or any — scene or location.

10. It'due south Not Your Chore to Dictate Where Actors Should Improvise

A common badgerer in screenplays occurs when the screenwriter uses the scene clarification to tell us that characters are engaged in minor talk, are talking on the telephone, or that actors portraying those characters are tasked to improvise.

Once more, everything within the screenplay needs to communicate what is going to be seen or heard onscreen — thus, in this case, we demand to know what those characters are saying.

If a grapheme is in the background talking on the telephone equally is not meant to be heard, you need to communicate that within the scene description.

John is talking on the telephone just out of earreach.

In short, don't be lazy. If there's something meant to exist heard onscreen — or not — it's your task to tell u.s..

xi. Use "We Run into" Few and Far Between

When y'all're writing scene clarification, information technology'due south okay to use "we see" as a fashion to communicate an epitome or activity every at present and then.

Nosotros see the shadow of the shark within the water.

When it's in a bulk of scene description blocks, it's overbearing.

Nosotros see the shark'due south fin penetrate the water. Brody rushes to the side of the gunkhole. We see the fin turn and motion briskly towards the gunkhole. As we meet Quint and Hooper ready their equipment, the fin disappears underneath the gunkhole.

That's likewise much.

12. Less Is More

The truthful testament of a seasoned screenwriter is the ability to convey style, temper, and substance with as picayune scene description equally possible — and the same goes for dialogue likewise.

Less Is More than is a mantra that all screenwriters need to embrace because it serves the script so much better than overwriting, which describes too much atmosphere, too much direction, and also much information for the reader'southward listen to process while they're trying to visualize your cinematic story.

Overwritten Version of Scene Description

Correct Version of Scene Clarification

The latter version takes information technology to the extreme, but you lot hopefully become the indicate.

In screenplays, particular is poison. Film is a collaborative art form. The director, cinematographer, set designer, makeup artist supervisor, special furnishings supervisor, and so many others volition make up one's mind the details. Your job is to convey the broad stroke image every bit quickly every bit possible and so the reader can visualize it quickly and move onto the adjacent image they're supposed to exist seeing.

13. It's Not Your Job to Create the Pic Soundtrack

You may feel the demand to create atmosphere by including song selection throughout your script — it's time to end that habit at present.

Starting time and foremost, your inclusion of a particular song in your script is saying that it's partial to the story. Only what if the studio that produces your script can't go the rights to the song — either considering another studio owns information technology or the rights holder doesn't want it used?

Secondly, if information technology is partial to the story enough where you've included it inside the script, what happens if the script reader doesn't know the song or ring? That's an instant disconnect.

Instead, merely use the scene clarification to explain what blazon of music your character is listening (Grunge, Archetype Stone, Indie Rock, Hip Hop, etc.).

If your grapheme isn't listening to music and you just included the vocal as something to be played over the scene, that'south not your job.

xiv. Smarty Pants Vocabulary

Put downwards the thesaurus and merely use plainly and unproblematic words. Remember, your chore is to convey images, sounds, and dialogue in the well-nigh simple ways possible. Large words that nobody really uses will only deadening the read of your script to a halt.

15. Don't Marketplace Your Script to the Incorrect People

When all is written and washed, and you're set up to go your script out there, don't just expect for the top agents, managers, and producers to query them. You lot accept to choose very wisely who yous arroyo.

You're not going to take your erotic thriller to Disney. You're non going to market your period romance drama to Michael Bay'south product company. Utilize IMDBPro to discover movies that are similar to yours and then find out who is producing them. Then find out who wrote them and who represents those writers.

Coating marketing is a newbie error. Target specific people and companies for specific scripts.

Bonus Dominion! Don't Write Sequels, Reboots, or Remakes to Already Produced Movies

You lot don't own the rights. The studios and rights holders aren't going to read them because they're only going to entrust their intellectual holding to well-established screenwriters.

If you're doing it for fun — fan fiction — that'southward 1 affair. Writing them in hopes of the studio seeing your "bright" accept on Batman , Superman , or Star Wars ? It's a waste of your fourth dimension.

Follow these fifteen screenwriting rules (plus the bonus) and y'all'll notice yourself in adept standing with near script readers — offering y'all a better gamble at making those screenwriting dreams come truthful.

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Ken Miyamoto has worked in the motion picture industry for nearly two decades, most notably as a studio liaison for Sony Studios and so as a script reader and story analyst for Sony Pictures. Brand sure to read his growing annal of posts at ScreenCraft for more inspiration.

He has many studio meetings under his chugalug every bit a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many product and management companies. He has had a previous development deal with Lionsgate, too every bit multiple writing assignments, including the produced miniseriesBlackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner. Follow Ken on Twitter @KenMovies

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