Basic Element of Script Writing part-2

You Have see how to write a standard Slug line, here are few variations that come up in specific situations:

1) If a scene starts in a general Location, let’s say LAUREL’S HOUSE, and continues as the characters move between Sub locations, such as KITCHEN and LIVING ROOM, you don’t need to repeat the Location or the Time with each new Slug line. You can do this:

With some help from context, we understand that the two characters are moving around in the same house in continuous time.

2) In the scene above, some writers use “KITCHEN – CONTINUOUS” to emphasize the regular flow of time. But that’s not necessary. Instead, CONTINUOUS is best used for stylized scenes where a conversation or action continues right across several Locations.

3) Finally, if a scene occurs in a Location, followed by a scene in the same Location but at a later time, the word LATER can be used in the Slug line.

CUTS:

Once upon a time, it was standard to use the words “CUT TO:” to indicate a change in scene. Nowadays, the cut that comes with a scene change is implied by a new Slug line and CUT TO isn’t used as much.

The best time to use CUT TO is when you really want to emphasize the juxtaposition or shift between two scenes.

You can use JUMP CUT or SMASH CUT to imply a super-fast, in-your-face editing style. If using BRUCE LEE KARATE CHOP CUT makes you feel like a bad-ass, then go for it; just know that many pros consider it amateurish. Besides, no matter how it’s written, a cut always happens in 1/24th of a second – the amount of time it takes to switch from one frame to the next.

ACTION SEQUENCES:

Writing an action sequence can take a little getting used to, as you learn to translate what you envision on the screen into words. It certainly helps to read well-written action scripts such as Raiders of the Lost Ark or The French Connection, to see how it’s done.

In general, keep in mind that the way you format action should mimic its pace. The faster the action, the more you’ll want to break it up into discreet bits. Feel free to use fragments to keep the pace fast. You can also use capitalization to emphasize and draw attention to elements.

MORE DETAILS

Parenthetical: These are used within dialogue to describe what a character is simultaneously doing, who she’s talking to, or how he is speaking.

Parenthetical always live inside parenthesis and on their own line. If they hit their right margin, they wrap around to the next line, like above.

Parenthetical also take up space, slow your pace, and annoy actors, who don’t like being told how to say their lines; try to only use parenthetical where not using them would lead to confusion,

Voice Over (V.O.): Used when a character or narrator can be heard talking from some unknown place (the future, heaven, inside our head).

Off Screen (O.S.): Used when a character in the scene can be heard but isn’t actually on the screen. It looks like this:

Capitalization within Action: The very first time a character’s name appears in Action, it appears in ALL CAPS.

Some writers also use ALL CAPS when a sound effect appears in Action. Others capitalize important props. This would look like this:

MORTIMER groans and pops a handful of aspirin. The tea kettle WHISTLES. Mortimer pulls out a SUB-PARTICLE SUPER BLASTER and blows the kettle to smithereens.

Camera Directions: These indicate how close the camera is and how it will move, focus, etc. Directions include POV shots, pans, tilts, push ins, pull outs, dolly moves, tracking shots, close ups, wides, etc.

It’s incredibly tempting, as a story mastermind, to direct your movie on the page using Camera Directions. Resist this temptation. You aren’t the director (yet). Unless there’s absolutely no other way to communicate a visual sequence upon which your entire plot hinges, leave Camera Directions out.

Page numbers:

These go in the upper right-hand corner. There’s no page number on the first page of a screenplay.

Scene numbers:

DO NOT put scene numbers on your scenes. These are only for shooting scripts, and are used to help the production crew plan the shooting schedule.