tips – The Story Department

Why the Fuss about Script Formatting?

Jamie Campbell — Mon, 10 Nov 2014 22:33:48 +0000

It was the most beautiful chocolate cake I had ever seen. The college professor laid it gently on the table. My salivary glands were already anticipating a most excellent sensory experience.

by David Trottier

“Would you like a piece?” she asked the class.

Sitting on the front row, I was sure my chances were good. My hand shot up like a rocket. In fact, everyone raised their hand, including obnoxious Ollie sitting next to me who started screaming, “Oh, me, me, ME!”

“Okay.” It was almost a whisper, and she smiled so sweetly. And then she slapped her hand into the cake, grabbed a fistful, and dropped it into Ollie’s lap. He looked up at her helplessly.

“Go ahead and eat it,” she told him.

The big oaf just shook his head. The nasty expression on his face said it all.

And then the professor addressed the class and asked, “Is presentation important?”

She had us. Of course it was. After all, there was nothing wrong with the content of the cake, but there was a lot wrong with the format of her presentation. It seemed that no one wanted a piece after that.

And so it is with screenplays. Imagine dropping a sloppy mess into the lap of a reader. What might his or her reaction be?

Formatting is an important part of presentation. The script should look attractive to read. Part of that is writing it in the language of professionals who will read it.

Formatting affects readability, another aspect of presentation. The story should be clear and evoke emotion in the heart of the reader. The last thing you want to do is distract the reader from the most important thing in the script—the content of your wonderful story.

Does formatting have to be perfect? No. And neither does a chocolate cake. But your presentation will help make the “read” a most excellent sensory experience.

-David Trottier

David Trottier has sold or optioned ten screenplays (three produced) and 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.

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

Best of the Web 21 Sep

Jamie Campbell — Sat, 20 Sep 2014 23:33:53 +0000

Story & Structure

:: Grant Morrison Exposes The Mechanisms of Hollywood Screenwriting

Script Perfection

:: 10 Screenwriting Tips From Billy Wilder
:: Interview with Veteran Screenwriter John Fusco
:: McKee About Cinema, Breaking Bad and Other TV

Best of the Rest

:: Otto Preminger’s Film Noir ‘Laura’
:: 2014 Scriptapalooza Winners
:: Goldman Bio “Cursorily Researched and Wretchedly Written”
_______________________________

With thanks to Cameron Pattison.

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

Best of the Web 14 Sep

Jamie Campbell — Sat, 13 Sep 2014 23:33:01 +0000

Story & Structure

:: Unlikable Heroes and Genre Expectations
:: Scriptnotes, Ep 160: A Screenwriter’s Guide to the End of the World

Script Perfection

:: Tips on Finding & Working with Your Screenwriting Soulmate
:: Why We Identify with Mutants
:: Photo: Alfred Hitchcock on Fear.

Pitching & Selling

:: Film Independent Selects 9 Projects And 12 Writers
:: Toronto: Indie Screenwriting Fellow Prize

Best of the Rest

:: Does Stephen King Like The Latest Screenplay For The Stand?
:: Larsen Writes ‘Savage Dragon’ Screenplay
:: Ned Benson rewriting screenplay for How Starbucks Saved My Life
_______________________________

With thanks to Cameron Pattison.

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

Texting in the Movies

Jamie Campbell — Mon, 28 Jul 2014 23:33:24 +0000

I am frequently asked how to format text messages and email messages while maintaining the script’s “readability.” There are several methods depending on your dramatic purpose. All of the examples below are correctly formatted.

by David Trottier

In the first example, Sharon receives a text message from someone that she (Sharon) wants to show to Cynthia.

INT. SHARON’S ROOM – DAY

Sharon displays her iPhone for Cynthia to see. The text message reads: “I’m engaged!”

It’s important to put quotation marks around anything you want the movie-going audience to see and read. If the text message is misspelled, show the misspelling. If you want to emphasize the message so that the reader doesn’t miss it, then you might use the following approach:

Sharon displays her iPhone for Cynthia to see.

ON THE IPHONE SCREEN

the text message reads:

“I’m engaged!”

BACK TO SCENE

As you can see, you should indent the text message just as you would dialogue. Handle email conversations in the same way. Here’s an example.

Sharon reads the email on her laptop.

ON THE LAPTOP SCREEN

“I’m engaged!”

BACK TO SHARON’S ROOM

The following is a correct revision of the exact same situation:

Sharon reads the email on her laptop.

ON THE MONITOR

“I’m engaged!”

BACK TO SCENE

As an alternative to the heading BACK TO SCENE or BACK TO SHARON’S ROOM, you could focus solely on Sharon’s reaction to reading the email, as illustrated below.

(Incidentally, if you decide to use a character’s name as a secondary scene heading, keep in mind that, in so doing, you are communicating to the reader that you want the camera on that character until the next heading appears. In other words, if you want to describe something happening elsewhere in the room, you will need to indicate that new location in a new scene heading.)

SHARON

jumps joyfully from her desk, grabs her iPhone, and starts texting.

ON SHARON’S IPHONE SCREEN

“Guess what happened?”

BACK TO SHARON

who suddenly becomes aware of her blaring TV set.

ON SHARON’S TV

A NEWS REPORTER holds a paper in his hand.

NEWS REPORTER
This just in. Alice is engaged.

As you can see from the above examples, you can use the same format for emails, text messages, and TV announcements, and you can use a variety of styles. Here is an additional example.

Sharon glances at the email on her laptop. It reads: “We’re engaged!”

Sharon jumps joyfully from her desk, grabs her cell, and starts texting.

INSERT – SHARON’S IPHONE, which reads:N

“Guess what happened?”

BACK TO SHARON’S ROOM

Or you could end with BACK TO SCENE or BACK TO SHARON

In the above example, I inserted the INSERT, but I could just as easily have written the following:

Sharon jumps joyfully from her desk, grabs her iPhone, and starts texting: “Guess what happened?”

As you can see, in formatting, there is often more than one way to skin a cat, depending on your purpose, the amount of space you have, and how readable you want your script to be. Use the method or methods that best suit you, and keep writing!

* * *

And incidentally, if you’re wondering how to indent messages (as described above) using Movie Magic Screenwriter or Final Draft, please follow the instructions below.

If you use Movie Magic Screenwriter, select the “Action” element. Then click on “Format” on the top toolbar and then “Cheat” and “Element” (F3). Select the margins you want (2.5 on the left and 2.5 on the right).

If you use Final Draft, make sure your ruler is visible at the top of the document. If not, click “View,” then click on “Ruler.” Select the “Action” element. Select the paragraph you want to indent. Then, with your mouse, grab the little square bottom of the hourglass at the left of the ruler and drag it to 2.5, and grab the margin marker on the right and move it to 6.0.

If you’d like to keep this new element for future screenplays, follow these directions: Click on “Format” and then “Elements.” You’ll see a list of elements. Below that, click on “New.” At the top left, name the element; for example, “Special indent.” Under the “Paragraph” tab, under “Indents,” select 2.5 for your left margin and 6.0 for your right margin. Click “OK.” To save as a permanent template, click “File” and “Save as.” You should be able to find your way from there.

-David Trottier

David Trottier has sold or optioned ten screenplays (three produced) and 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.

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

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

How To Confront The Unforgiving Nature Of Third Acts

Jamie Campbell — Mon, 27 Jan 2014 22:33:52 +0000

My early training was as a playwright. Although most plays over the last forty years are two acts, historically plays were three acts. One of the first rules I learned was that if there were problems in Act 3 it meant that the real problem was in Act I.

by D.B. Gilles

Since the 3 Act Structure is what most screenwriters use to write their scripts, the rule I learned as a playwright is dead on.

If you’ve been writing a while and have started, but not finished, a number of scripts, chances are you walked away from them because you couldn’t make your third act work. If there’s a way to make them work it has to do with how you end your second act.

Act 2 must end with a bang. A surprise. New information. Most films don’t have a big End of Act 2 moment. The ones that do rock! The best one ever is in The Crying Game. If you’ve seen the movie you know what I’m talking about. If you haven’t seen The Crying Game I don’t want to spoil it for you, so rent it.

If there’s a way to make them work it has to do with how you end your second act.

By building your second act to a big moment or reveal or twist or new information, you propel your audience into Act 3 with momentum.

Say you’re writing a romantic comedy and the story is basic will boy get girl? You’re moving along and the boy is pursuing the girl and then you get to the end of Act 2 and we find out that she’s married. If we didn’t see that coming, you’ve pulled it off and made us say: “What’s going to happen now?”

It’s important to know that you don’t necessarily need to have a humongous event happen at the end of Act 2 (like in The Crying Game). But you need to have something. Something that makes your audience (and remember, your first audience are the people reading the script) smile or nod their heads or think “Interesting.”

… You propel your audience into Act 3 with momentum.

Getting to that moment means doing your preliminary work. An outline. Not all that long and not for anyone but yourself.

Basically you write down (no dialogue) whatever will happen in Act I, then whatever will happen in Act 2 and point out the new information that will propel you into Act 3.

What Act 3 is all about is how your main character handles whatever that new information presented to him was. What action must he take? And if he takes it, what is the risk? Or if he doesn’t take it, what are the consequences?

Act 3 can be beaten and controlled and made to work for you. But before you get there, do an outline and know where you’re going.

-D.B. Gilles