HOW TO FORMAT A SCRIPT
Now that you have read a few of our linked scripts, it's time to discuss the format and vernacular of the screenwriting craft.
Improper formatting can kill even the best of spec scripts. Fortunately, there are many screenwriting programs available that will do all the work for you. Some are even free! We'll get to that later.
For now, let's touch on some of the things that you may have noticed about a script:
*tons of whitespace (thank god)
*use of capitals in seemingly strange places
*funny abbreviations like INT. and EXT.
Don't be overwhelmed by this, it's just the language of screenwriting, and much easier than learning French- way easier.
I've read a lot on the topic, as simple as it is, and screenwriters seem to weave this information throughout their websites (I guess to get you to read the whole thing). Maybe that's why so many scripts are submitted with very basic formatting issues: there's a lack of solid information about it.
Fortunately, I found the secret door and broke the code when I landed on the NICHOLL AWARD website. In a nutshell, the "Nicholl" is an annual screenwriting competition, possibly the most regarded in the industry. Fortunately for us, a great mind on their staff put together a fantastic guide, in the form of a script, on the general formatting rules and vernacular of scripts.
At thirteen pages, it a short script and an quick read, which is also very informative as well as funny.
CLICK HERE TO GET YOUR FREE SCREENPLAY FORMAT SAMPLE GUIDE
There are only a few bits of information missing from their script, so I'll fill you in:
INT. or EXT. in the scene heading stands for interior, or exterior.
EXT. TAXI - DAY
means that we are outside of the taxi, looking in, or viewing it from afar, maybe from an aerial.
INT. TAXI - DAY
is when we are inside of the vehicle, with the driver and main character for example, we are sitting in the backseat, watching the two converse. Let the director figure out that angle, just tell us if it's outside or in.
(O.S.) after the character's name stands for "Off Screen".
This is related to the V.O. (voiceover, narration) that they explain. It's important to know the difference. In O.S., the character is not narrating, we can hear them but they are not visible on the screen, but still on the set.
INT. BANK VAULT - DAY
Vinny spins the dial, listens with the stethoscope, tumblers CLICK.
GUIDO (O.S.)
Hurry up!
VINNY
Be quiet!
Also notice that SOUNDS can be capitalized, as they briefly mentioned, just don't go overboard with this, speaking of which:
CAPITALIZATION
In dialogue, the speaking parts, the character names will always be capitalized. In action / description, the part that tells us what is going on, the character is only capitalized when we see them for the first time:
FADE IN
EXT. ITALIAN STREET - DAY
VINNY walks with his cane, GUIDO close behind.
And that's it, for the rest of the script we refer to Vinny and Guido as such, no exceptions.
And as above, the screenplay always starts with FADE IN and ends with FADE OUT; no credits, no fancy cursive font proclaiming "The End", production handles all of that, don't step on their feet.
One more thing:
PARANTHETICALS
They did a good job of explaining this in the guide / script. It was the:
APRIL
(following him)
Exactly.
Parantheticals are a hotly debated subject in this trade. Many screenwriters say that actors will cross out parantheticals in their script, so they can deliver the lines or do the action as they wish. Use, or over use, is or can be considered "directing" or "overdirecting".
A trend for the cautious screenwriter is to include what would be a paranthetical into an action line.
INT. BANK VAULT - DAY
Guido is frantic.
GUIDO (O.S.)
The cops are outside!
VS
GUIDO
(frantically)
The cops are outside!
What's the difference? The trend uses four lines, the practical answer uses three.
WHAT I'M GOING WITH: using parantheticals in screenwriting competitions, and not when submitting as a spec script to a production company.
WHY: in my opinion, use of gives more character and a quicker read for judges in a competition, lack of shows respect for directing and production in a spec script.
Finally, something that was not touched on at all in the guide / script, something I can't stand, it's my pet peeve, and it's a trend by certain writers: ages.
EXT. ITALIAN STREET - DAY
VINNY,(63), walks with his cane, GUIDO,(24), close behind.
Okay, so that tells us Vinny is the old time safe-cracker and his grandson, or who could be, is a newbie to the biz.
Talk about over-directing or casting!
A screenwriter's job is to create visions with words, but not to be "on the nose", which is obvious, there should be some room for play.
WHAT I'M DOING: the following, instead:
EXT. ITALIAN STREET - DAY
VINNY, the veteran safe-cracker, walks with his cane, GUIDO, his grandson, close behind.
WHY: because of casting. If Leonardo DiCaprio wants to play Vinnie, an experienced safe-cracker, I don't want to shut him out. Likewise, if Abigail Breslin wants to play the apprentice safe-cracking daughter, she's in too.
The irony is, the same people that tag ages onto character names are the same ones that go on about how taboo it is to use a paranthetical. Bizarre.
Okay, enjoy your read!
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I gotta do ages for characters. It makes me panic less. It's the only control I ask for.
ReplyDeleteAlso, how many times have I entered that damn Nichol's contest?? They don't like redheads, obviously.
From the pictures of last year's winners (all dark haired), I'd believe that. This redhead might have to check into some dye just prior to next year's entry!
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