![]() “DIVE BAR” draws a much better picture than just “BAR” and “HIGH-END EXCLUSIVE HOTEL” says a whole lot more than simply “HOTEL.”ĭAY or NIGHT is next. Use specificity when describing your location. are used for “ Interior” and “ Exterior,” indicating whether the scene is inside or outside. There can be more than one slugline in a scene if one or more characters change locations. Purpose of a SluglineĪ slugline is there to indicate a changing location. ![]() You may then press enter once or twice before the next element. The camera placement is usually abbreviated to INT (interior) or EXT (exterior), followed by the location which is separated from the time using a hyphen. Scene HeadingsĪlso known as slug lines, scene headings are used to show the camera placement, specific location, and the time. ![]() However, one successful screenwriter I spoke to said that he’s actually been thanked by a number of studio execs and readers for including the FADE IN, saying that writing his screenplays correctly with the traditional formatting indicates a level of professionalism.įading in and out are the conventional bookends to any script with FADE IN acting as the precursor to the story being told. Leaving FADE IN out isn’t a cardinal sin, but like all rules, you need to know why it’s there before you decide to break it. NOTE: Many screenwriters today don’t type the “FADE IN” at the start of their script, claiming there is no need for it. And at the end, you “ FADE OUT,” which is also aligned on the left, after which you type “ THE END,” which is aligned in the center, underlined and usually with no period. Let’s now take a look at the structure of a screenplay.Ī screenplay always starts with “ FADE IN,” and this is aligned on the left. The fundamental nature of screenwriting is visually showing the evolution of a story on the screen, and something as basic as the expression on an actor’s face can convey pivotal moments in the story. The screenwriter must paint a picture of what’s going on in the story, rather than simply tell the story.Ī brief 2-page inner synopsis may work for a novel, but for a script, it’s the kiss of death. Since creating a film is a collaborative effort, it is vital that the screenwriter know each professional’s role and this should be reflected in the script.įor example, the screenwriter must keep in mind that a movie is a visual medium first and foremost. A screenplay acts as the blueprint for the movie it will eventually become.Įveryone on the set, including the director, producer, actors and the set designer all bring the screenwriter’s vision to life using their unique talents. Screenplays can be completely original, based on an actual event or on a previously written book, newspaper article or stage play. Comedies tend to be shorter, so these screenplays are closer to 90 pages, which would equal a 1½-hour film, while Dramas are a bit longer, more like 2 hours so 120 pages would be appropriate. This is why the page count should be between 90 and 120 pages since the average film is 90 to 120 minutes in length. One correctly formatted script page typed in Courier translates to roughly 1 minute of screen time. The reason Courier is used has to do with a timing issue. What Constitutes a Screenplay?īasically, a screenplay consists of a 90- to 120-page document typed in Courier 12pt font and printed out on 8 ½ “ X 11” bright white paper, three-hole-punched. Industry insiders and readers are very unlikely to keep reading your screenplay, not skim but read if they notice a ton of formatting mistakes right upfront. My professors in film school, who are all experienced screenwriters, emphasize how vital it is to get the formatting down. No need to freak out – the formatting is fairly straightforward once you’ve been taught! Some writers even prefer the screenplay format since it allows them to focus on the true essence of the story they’re telling without all the flowery details. ![]() Writing a screenplay is different than writing prose because of all the technical formatting required. ![]()
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