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Screenplay Writing Notes PDF
Screenplay Writing Notes PDF
Screenplay Writing Notes PDF
2. Script Elements
These are the unique margin, case, and position attributes that
give feature film script text the format and consistency expected
by all participants. Once you are accustomed to them you'll be
able to tell your story the way an industry reader is accustomed to
seeing it.
• Scene Heading
• Action
• Character Name
• Dialogue
• Parenthetical
• Extensions
• Transition
• Shot
3. Scene Heading
The Scene Heading, sometimes called Slugline, tells the
reader of the script where the scene takes place. Are we
indoors (INT.) or outdoors (EXT.)? Next name the location:
BEDROOM, LIVING ROOM, at the BASEBALL FIELD,
inside a CAR? And lastly it might include the time of day -
NIGHT, DAY, DUSK, DAWN... information to "set the
scene" in the reader's mind.
For example:
INT. BEDROOM - MORNING
EXT. LAS VEGAS STRIP - SUNSET
INT. OFFICE - NIGHT - CONTINUOUS ACTION
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE
4. Action
The ACTION or Description sets the scene, describes the
setting, and allows you to introduce your characters and set the
stage for your story. Action is written in REAL TIME.
5. Character Name
Before a character can speak, the writer inserts a
CHARACTER NAME to let the reader know this character's
dialogue follows.
6. Dialogue
DIALOGUE rules apply when anyone on screen speaks.
During a conversation between characters. When a character
talks out loud to himself... even be when a character is off-screen
and only a voice is heard.
7. Parenthetical
A Parenthetical remark can be an attitude, verbal direction
or action direction for the actor who is speaking the part.
Parentheticals should be short, to the point, descriptive,
and only used when absolutely necessary.
8. Extension
O.S. - Off-Screen
V.O. - Voice Over
An Extension is a technical note placed directly to the right of the
Character name that denotes HOW the character's voice will be
heard by the audience. An Off-Screen voice can be heard from a
character out of the camera range, or from another room
altogether.
Act I – Beginning
Act II – Confrontation
Act III – Resolution
11. Characters
Antagonist:
most
are
willful,
driven
characters.
His
goal
opposes
those
of
the
hero
and
cause
direct
conflict.
This
character
should
be
an
equal
to
your
protagonist
–
this
generates
maximum
tension
and
propels
and
narrative
–
and
until
the
final
moments
you’re
not
sure
who
will
win.
Credibility.
The
audience
must
believe
that
your
hero
is
capable
of
a
particular
action
or
of
reaching
his
goal.
Otherwise
you’ll
lose
them.
If
they
do
something
extraordinary
or
inexplicable
that
you
haven’t
set
up
(foreshadow),
we
won’t
believe.
Character
Biography
The
Character
Biography
is
an
exercise
that
reveals
your
character's
interior
life,
the
emotional
forces
working
on
your
character
from
birth
• Is
your
character
male
or
female?
• If
male,
how
old
is
he
when
the
story
begins?
• Where
does
he
live,
what
city
or
country?
• Where
was
he
born?
• Was
he
an
only
child,
or
did
he
have
brothers
and
sisters?
• What
kind
of
childhood
did
he
have?
Happy?
Sad?
• Physically
or
medically
challenging?
• What
was
his
relationship
to
his
parents?
• Did
he
get
into
a
lot
of
trouble
as
a
kid?
• Was
he
mischievous?
Character
Traits
• Character
traits
are
all
the
aspects
of
a
person’s
behavior
and
attitudes
that
make
up
that
person’s
personality.
• Everyone
has
character
traits,
both
good
and
bad.
• Character
traits
are
often
shown
with
descriptive
adjectives,
like
patient,
unfaithful,
or
jealous.
Good Character Traits
• Religious
• Honest
• Loyal
• Devoted
• Loving
• Kind
• Sincere
• Devoted
• Ambitious
• Satisfied
• Happy
• Faithful
• Patient
• Determined
• Persistent
• Adventurous
• Homebody
• Considerate
• Cooperative
• Cheerful
• Optimistic
• Pessimistic
• Funny
• Dishonest
• Disloyal
• Unkind
• Mean
• Rude
• Disrespectful
• Impatient
• Greedy
• Angry
• Pessimistic
• Repugnant
• Cruel
• Unmerciful
• Wicked
• Obnoxious
• Malicious
• Grumpy
• Quarrelsome
• Caustic
• Selfish
• Unforgiving
• Domineering
• Boorish
• Persuasive
• Ambitious
• Bossy
• Disparaging
• Picky
• Sly
• Cold-hearted
• Rude
• Self-centered
• Conceited
• Playful
• Zany
• Active
• Wild
• Silly
• Affectionate
• Funny
• Rough
• Talkative
• Rowdy
• Smart
• Fidgety
• Shy
• Lively
• Submissive
• Stubborn
Story
all
of
the
elements
contained
within
the
narrative,
in
chronological
order.
In
other
words,
everything
that
happens
to
all
of
the
characters
places
in
a
straight
line
through
time.
• Plot
how
the
writer
chooses
to
order
the
story
elements;
intercutting
main
plots
and
sub-‐plots,
and
incorporating
flashbacks,
flash
forwards
etc,
if
necessary.
Only
begin
plotting
when
you
have
all
of
your
main
story
events
and
you’re
ready
to
sequence
them.
• Theme
theme
is
the
expression
of
the
universal
value
of
your
story;
the
reason
why
it
will
connect
with
an
audience.
There
may
be
several
themes.
Or
you
may
not
know
the
theme
until
you’ve
finished,
but:
“if
your
script
is
about
what
it’s
about,
you’re
in
deep
shit”.
o Plotting
“a
film
should
not
have
a
beginning,
a
middle
and
an
end.
But
not
necessarily
in
that
order.”
the
art
of
plotting
revolves
around
trying
to
find
the
most
effective
dramatic
structure
for
your
story.
Which
may
or
may
not
be
linear.
But
your
main
character
is
always
the
vehicle
that
carries
the
reader
through
the
narrative
o Main
plot
the
main
plot
follows
the
protagonist’s
action
line
through
the
story.
It
carries
the
major
thrust
–
to
get
the
hero
from
the
inciting
incident
to
his
goal
in
around
100
pages.
o Sub-‐plot
sub-‐plots
involve
other
characters
and
other
events
that
connect
directly
or
indirectly
to
the
protagonaist’s
main
plot.
They
may
run
parallel
to
the
main
plot,
or
contrary
to
it.
They
are
useful
carries
of
theme
and
often
provide
the
deeper,
emotional
levels
of
your
story.
Conflict
conflict is an inherent incompatibility between the objectives of two or
more characters or forces. Conflict creates tension and interest in a
story by adding doubt as to the outcome. A narrative is not limited to a
single conflict. While conflicts may not always resolve in narrative, the
resolution of a conflict creates closure, which may or may not occur at a
story's end.
Conflict may be internal or external—that is, it may occur within a
character's mind or between a character and exterior forces. Conflict is
most visible between two or more characters, usually a protagonist and
an antagonist/enemy/villain, but can occur in many different forms. A
character may as easily find himself or herself in conflict with a natural
force, such as an animal or a weather event, like a hurricane. The
literary purpose of conflict is to create tension in the story, making
readers more interested by leaving them uncertain which of the
characters or forces will prevail.
There may be multiple points of conflict in a single story, as characters
may have more than one desire or may struggle against more than one
opposing force. When a conflict is resolved and the reader discovers
which force or character succeeds, it creates a sense of
closure.Conflicts may resolve at any point in a story, particularly where
more than one conflict exists, but stories do not always resolve every
conflict. If a story ends without resolving the main or major conflict(s), it
is said to have an "open" ending. Open endings, which can serve to ask
the reader to consider the conflict more personally, may not satisfy
them, but obvious conflict resolution may also leave readers
disappointed in the story.
The basic types of conflict in fiction have been commonly codified as
"man against man", "man against nature", and "man against self."
• Exposition
as
you
will
have
found
during
your
character
biography
exercise,
events
in
the
recent
past
affect
what
is
happening
now.
If
that
is
the
case,
the
reader
must
be
provided
with
the
context
–
the
background
to
the
events
and
characters
in
your
plot.
This
is
known
as
backstory,
or
exposition.
How
you
choose
to
relate
these
“backstories”
takes
thought
and
may
shift
your
narrative
timeline/plot
(characters
don’t
usually
tell
their
own
story
–
writers
often
use
devices
such
as
flash
forward,
flashback,
voice
over
or
through
other
characters/conversations.)
you
don’t
have
time
to
tell
everything,
but
tell
what
is
relevant.
Usually
exposition
is
all
given
Act
1
–
but
holding
back
a
crucial
element
can
create
anticipation,
mystery,
and
intrigue.
TABLE
READ
• The read-through, table-read, or table work is a stage of film,
television and theatre production when an organized reading
around a table of the screenplay or script by the actors with
speaking parts is conducted.[1][2]
• In addition to the cast members with speaking parts, the read-
through is usually attended by the principal financiers or studio
executives, producers, heads of department, writers, and
directors. It is extremely rare for anyone not involved in the
production to be permitted to attend. It is usually the first time
everyone involved in the production will have gathered together
and it is traditional to go around the table (usually a ring of tables,
in fact) and allow everyone to introduce themselves by both name
and job. The director may then open proceedings by making a
short speech outlining his or her aspirations for the project.
• An additional professional actor not otherwise involved in the
production may be hired to read the non-dialogue parts of the
script such as scene headings and action. These parts of the
script are usually edited down severely for the purposes of the
read-through to keep the pace of the reading up.
• In film[edit]
• The read-through is an important milestone in the production of
most films. It is a clear signal that all of the key elements,
including cast, finance and heads of department, are in place and
that pre-production is almost complete. It is often the first time
that the script has had a life beyond the written word, and it is
also an opportunity for everyone involved in production to get at
least a partial insight into the way the actors may approach their
roles. In addition, a read-through is often a surprisingly powerful
tool for identifying problem areas in the script. Wooden dialogue,
unbelievable situations or boring sections of the film which have
not been addressed during the script development process are
often writ large in the read-through, and may now come under
intense scrutiny.[3]
• It is traditional to treat the read-through as a cold reading.
Because the actors have had no rehearsal time, and may not
even have discussed the project much with the director, they are
not expected to give a performance but simply to read the words
on the page. Some actors including major Hollywood stars will
indeed read their entire role in a flat monotone, whereas others
(often actors from the theatre, or character actors with relatively
minor parts) will 'go for it' and are often the most entertaining part
of the process.[citation needed]
• The read-through can be very nerve-wracking for the producers,
director, writer and executives. Despite the fact it is supposed to
be a cold reading, everyone is on the alert for possible casting or
script problems—a lack of chemistry between the principals, a
key player who lacks charisma, a script which has logic problems
or is obviously extremely boring. Even in their very short
introduction, it may become clear that the director is unsure of
himself or herself, or finds it difficult to communicate ideas. On the
other hand, it can be extremely exciting to finally see a project
which may have been in development for many years finally
begin to take on a life of its own.
• In his book Adventures in the Screen Trade, screenwriter William
Goldman describes the read-through as the most important part
of film production, because if the script is right and the cast is
right there's not much else that can go wrong.
• In an unusual example, the Space Ghost Coast to Coast episode
"Table Read" consists entirely of recorded footage of a read-
through for an early version of the episode "Fire Ant".