mistakes – The Story Department

Formatting Mistakes [Get Ready For The #1 Goof]

Jamie Campbell — Mon, 21 Apr 2014 23:33:12 +0000

About 90% of the complaints I hear from agents and producers have to do with formatting mistakes in scene headings, sometimes called slug lines.

by David Trottier

As a script consultant, I sometimes find myself saying while reading a script, “Where am I?” For example, here’s one of my favorite formatting mistakes:

INT. A HECTIC BREAKFAST – DAY

“A hectic breakfast” is not a location. Where am I? Here’s another goof:

EXT. OCEAN – DAY

Marion runs through the waves.

LIBRARY

Marion reads a book.

How can a library be part of the ocean? Is it a floating library? And how did we get from an exterior camera placement to an interior? Did I miss something?

I sometimes find myself saying… “Where am I?”

Do you see the potential confusion? It’s not good for you to have a reader stop and try to figure something like this out. You want the story to flow steadily through the reader’s mind. Formatting mistakes like these aren’t going to help you.

In view of that, here are your key principles for scene headings.

Begin a scene with a master scene heading. Include the master (or primary) location; for example, EXT. SMITH HOUSE – DAY. Other locations (such as BEDROOM or HALLWAY) that are part of the master location are called secondary locations. The resulting heading is called a secondary scene heading.

In addition, it’s okay to add a secondary location to a master (primary) location in a master scene heading. I’ll illustrate all of these points below.

First, we’ll begin with the master scene heading. This one includes a secondary location. Next, we’ll move to other secondary locations.

INT. SMITH HOUSE – LIVING ROOM – DAY

John slams the front door and races down the
HALLWAY

and into his

BEDROOM

where he dives on top of his bed and sobs.

The above is correct, but it could have just as easily been written like this, which is also correct:

INT. SMITH HOUSE – DAY

LIVING ROOM

John slams the front door and races out.

HALLWAY

He runs past pictures of his family.

BEDROOM
He stumbles in and falls on his bed sobbing.

As you can see, any number of secondary headings can follow. Just make sure they are part of the master (primary) location. Once we change the camera placement to an exterior location, or to one that is not part of the master location, we must create a new master scene heading.

You want the story to flow steadily through the reader’s mind.

If I may, I’ll mention one other common formatting fumble.

EXT. A WINDY NIGHT WITH A PALE MOON SHINING THROUGH TREES IN THE WOODS

This one includes description in the scene heading.

It should have been written as follows:

EXT. WOODS – NIGHT
A pale moon shines through trees buffeted by a stiff wind.

Save the description for the description (action) sections of your script. And save the reader a lot of pain.

Make him or her a happy reader. Avoid silly formatting mistakes like these above.

A happy reader can make you a happy writer.

-David Trottier

David Trottier has sold or optioned ten screenplays (three produced). He’s also helped hundreds of writers break into the writing business.

He is an award-winning teacher and in-demand script consultant, author of The Screenwriter’s Bible, and friendly host of keepwriting.com. He’ll save you from formatting mistakes – and embarrassment.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

3 Keys to Failing as a Writer

Jamie Campbell — Mon, 10 Feb 2014 17:33:51 +0000

If you’re going to fail as a writer, then you might as well get it over with now. Then you can focus on your day job and watch television all night.

by David Trottier

The following 3 keys are guaranteed to unlock the door to instant failure and free you to flop like a floundering fish on the floor.

1. Just say no

Why didn’t you think of this before? Stop writing. It’s as simple as that. Wait for huge blocks of time to open up, and refuse to write until they do. Now that’s commitment! Don’t touch that keyboard until your Muse flies down from Mount Parnassus to reveal the 101 master plots. Failure comes to those who wait.

And don’t listen to barkers like that Trottier fellow who tells you to make realistic writing goals and make time to achieve them. “Writing is its own reward,” he says. What kind of bull crap is that? Remember, success comes one day at a time, but failure is an all-or-nothing deal. You can have it right now by not acting right now. Insist on your story unfolding immediately to you at this instant, or find relief with a TV remote. With any luck, you’ll be unconscious before those pesky desires to reach your God-given potential begin to bother you.

Failure comes to those who wait.

2. Listen to those voices

You know which ones. “You’ll never amount to anything,” and “This is the biggest waste of time since Dole ran for president.” And don’t forget to repeat this next one ten times before you fall asleep each night: “I’ll never be Hemingway.” And you never will! Affirm that. Of course, Hemingway will never be you, but that’s beside the point. Face your fears and back off.

When you are tempted to write, seize this thought: “My work is worthless until it is absolutely perfect, and since it can’t ever be perfect, I am the most wretched creature to ever pick up a pencil. My writing is an embarrassment to the free world.” Pay no attention to those who talk about developing your craft or listening to Joseph Conrad’s “inner voice that knows.” What inner voice? That’s just the result of a half digested Whopper rotting in your gut. “Have it your way” and take a nap from the joy of creation.

Face your fears and back off.

3. Submit before you’re ready

How can you possibly know when your script or manuscript is ready to be submitted to a potential buyer? It’s never ready. Send that unfinished work out now so that it will be rejected, proving that “those voices” mentioned earlier are right on the mark. Why waste time striving for excellence when you can fail with grace, knowing full well that it wasn’t your best work that was rejected anyway.

And don’t waste time with a marketing plan or research. Just find some names in a directory or book and mail off some half-baked query letters. The rejection slips will give you the perfect excuse to end the writing madness once and for all. Remember, the road to Heaven is paved with a helluva lot of effort. You don’t need the pain.

Most importantly, clear your mind and medicate. Here, have a beer… and some donut holes. Don’t you feel better with writing out of your life? Now, shuffle up to that remote and sit down. There, there; everything is going to be just fine. Nighty night.

-David Trottier