9: Formatting
- Page ID
- 395323
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 9.1: SCREENPLAY FORMATTING- WRITE SO YOUR READER CAN SEE THE MOVIE
- This page highlights the significance of concise and purposeful writing in screenwriting, addressing the issue of excessively lengthy scripts submitted by students. It compares the writing process to sculpting, focusing on the removal of unnecessary elements to improve clarity and storytelling. Additionally, proper formatting is framed as a vital practice for creating engaging, readable, and production-ready scripts rather than a strict limitation.
- 9.2: What Screenplay Formatting Does
- This page discusses the importance of formatting in scriptwriting, emphasizing that it improves clarity and helps readers visualize the narrative. A well-formatted script not only conveys professionalism but also enhances the understanding of the story's flow, reflecting the cinematic rhythm effectively.
- 9.3: Basic Formatting Principles
- This page discusses the essential elements of standard screenplay formatting, emphasizing the use of 12 point Courier font along with specified margins for different parts of the script. It highlights how proper formatting aids in scene transitions and dialogue flow, improving readability. Although screenwriting software can automate these tasks, manual formatting is also an option, though not necessary.
- 9.4: Scene Headings
- This page emphasizes the importance of scene headings in screenplays, detailing their formatting with "INT." for interior and "EXT." for exterior settings, followed by the location and time of day. An example provided is "INT. AUDITORIUM – DAY," which clearly indicates an interior scene in an auditorium during daytime, highlighting how these headings enhance clarity and visualization for readers.
- 9.5: Action Lines
- This page discusses the structure of action lines in scripts, emphasizing the use of simple present tense and active voice to convey visual and auditory elements. It introduces the "We See" or "We Hear" test to determine the effectiveness of these lines, using an example to illustrate how to clearly identify the doer in a scene.
- 9.6: Character Introductions
- This page presents a character introduction convention for writing, emphasizing that a character's name should first appear in all caps along with their age and a significant visual trait related to their core essence. It discourages superficial attributes and includes examples to clarify the approach. Subsequent mentions of the character's name should not be in all caps.
- 9.7: Dialogue Formatting
- This page outlines essential guidelines for writing dialogue in scripts, including formatting, conciseness, clarity, and rhythm. It emphasizes placing dialogue below the character's name without quotes, avoiding long speeches, and incorporating action lines for better scene visualization. These strategies enhance reader engagement and create a dynamic flow that maintains audience connection to both the dialogue and the action.
- 9.8: Parentheticals
- This page explains the use of parentheticals in screenplay writing, highlighting their placement under a character's name before dialogue to indicate tone or action. It stresses the need for sparing use, recommending that parentheticals should only be included when essential.
- 9.9: OS vs VO
- This page describes two cinematic terms: OS (Off Screen), which signifies a character's presence in a scene without visibility, illustrated by dialogue from JORDAN, and VO (Voice Over), indicating a character's narration from outside the scene, shown with a line from NORA. These concepts aid in expressing actions and emotions in filmmaking.
- 9.10: Special Formatting Situations
- This page provides formatting guidelines for screenplay communication methods, including phone calls and text messages, emphasizing clear labels and structure. It details the formatting for flashbacks, fantasies, and montages to enhance visual storytelling while prioritizing simplicity and clarity to convey scene intent effectively.
- 9.11: Sample Script Page
- This page illustrates the tension between Maya, a frazzled student, and Nora, an overworked teacher. Maya is preoccupied with an impending test, while Nora prioritizes an urgent conversation, emphasizing the importance of addressing pressing issues. The interaction highlights the typical pressures found in a school setting, showcasing the struggle to balance academic demands with interpersonal dynamics.
- 9.13: Recommended Screenwriting Software
- This page recommends screenplay writing software like Fade In, Final Draft, WriterDuet, and Celtx, which facilitate the writing process by handling formatting, enabling writers to focus on creativity. It also suggests exploring free trials or student discounts before purchasing.
- 9.14: STUDENT WORKSHEET- WRITE A SCENE
- In a bustling coffee shop, Kate anxiously awaits her friend Robert, who arrives late with a smirk. They banter about his tardiness and discuss a text from Anna inviting them to a party. Kate humorously claims they are preoccupied with "important matters" regarding the fate of the world. Their playful conversation turns into a silent moment of connection, as they enjoy each other's company amidst the café ambiance, while more customers enter.