Scriptwriting VS Screenplay

(http://actfourscreenplays.com/screenwriting-blog/script-screenplay/)

The short answer is that they usually mean the same thing and are interchangeable, but it can get confusing
when you’re talking about different mediums. It’s always best to be as specific as possible when discussing your
script/screenplay — we want to know if this is for a movie, a TV show, a short, a webisode or a stage play.

A screenplay is always written to be played on a screen — movie, television or computer screen. But a script
may also apply to a stage play, a video game, a radio program or computer programming script, so make sure
you’re clear in your pitch.

Now to make matters a bit more complex, you have to know about the term “spec,” which applies to a screenplay
or script that is written to be sold to an outside buyer without any upfront money paid to the writer. that a spec can
apply to a feature (movie) script or to a television script (which are most often broken into two
categories: sitcom or one-hour drama).

One last thing: you’re not a “scriptwriter,” you’re a screenwriter. No one uses the term scriptwriter. And
scriptwriter sounds too close to script writer, which can denote a computer programmer. This becomes a problem
on the internet.

Teleplay  but maybe who don’t hang in the hippest circles (or live in 1984).

http://www.oxforddictionaries.com/definition/english/screenplay

Screenplay : The script of a film, including acting instructions and scene directions.

Scriptwriter : A person who writes a script for a play, film, or broadcast.

(https://thescriptlab.com/screenplay/what-is-a-screenplay)

Let’s first start by defining what a screenplay is NOT. It is not a play, and it
certainly is not a novel. Unlike the novelist, who has complete freedom to explore
any point of view, shift between conscious and subconscious mind, explore
a character or a story from multiple perspectives, etc., the screenwriter MUST
write in present tense and only what the audience can SEE and HEAR.

A screenplay is VISUAL. The playwriter, on the other hand, doesn’t have to worry
about the visual medium. Often the play is simply a handful of characters - or even
only one - standing there on a barren stage. Dialogue, Music, Lighting are all part
of the stage. High speed car chases, however, belong in the movies.

So if you’ve written a “Filmed Play”, look for ways to make it visual. Turn it into a
movie.
(http://writertabish.blogspot.com/2007/07/screenplays-and-scripts-understand.html)

Screenplays and Scripts: Understand the Difference

Ad: Popular Filmmaking Products

Audience of the products of entertainment industries all over the world and people who are aspiring

entertainment industry wannabes and workers if not the professionals in almost all parts of the globe have

developed the habit of using the terms screenplay and script interchangeably with the later one most

frequently used. This, however, is an errorneous custom and needs to be changed as to depict our correct

understanding of the two terms as well as leading the people who are unconnected to the industry terms to

quote the terms appropriately.

Let’s begin to understand the difference between screenplays and scripts by having a look at the definitions of

the terms used to refer to the writing tasks of the two types of entertainment industry documents.

Screenwriting (not Screen Writing):

Screenwriting, sometimes written as Screen Writing, which is no more a valid method of writing the term in

almost all of the Hollywood but in few other parts of the world, is the term given to the task of screenplay

writing.

Scriptwriting or Script Writing:

Scriptwriting or Script Writing is the term given to the task of script writing.

What most people should not do, but do is confuse screenwriting with scriptwriting or script writing. Although

screenwriting and scriptwriting are not totally different, they are still two different mediums of media writing.

A script for a talk show, news, infotainment program, etc, whether on TV or radio, cannot be termed as a

screenplay. On the other hand, a screenplay of a movie or TV program that is presented in a dramatic

narrative with scenes and dialogues can be termed as a script. Why? Because a screenplay is a form of script

and not opposite is the case.

Here is what Film Terms glossary of the Babylon dictionary says about a screenplay:
A document text in a specific format which contains the dramatic elements of the film, as well as indications of

other elements such as setting, light values, action, and, in general, everything which it is essential to see on

the screen from the point of view of the whole narrative; in its relationship to the completed film, a screenplay

is sometimes described as being analogous to a blue print of a structure. The analogy is true up to a point, but

in fact there is no other kind of text which has the specific characteristics and constraints of a screenplay. And

no other text which, when successful at attaining its goal--i.e., the finished film--effectively ceases to exist

except as a historical and critical curiosity.

And here is what the Babel glossary says about a script:

A general term for a written work (and with special reference to the entertainment industry) detailing story,

setting, and dialogue. A script may take the form of a screenplay , shooting script , lined script, continuity

script , or a spec script.

Here’s a list of more industry lingo for your perusal. Crucial terms for the screenwriter to know (that I definitely did
not copy from another site) …
SPEC – A screenplay written on speculation with the goal of selling it when it’s complete. Can also be used as a
verb, as in, “are you going to spec that idea or pitch it?”
PITCH – A verbal telling of a movie idea. With an original idea, the goal is usually to get someone to pay you to
write the script so you don’t have to spec it. You also pitch to get assignments.
ASSIGNMENT – A job that involves doing a draft on a project the studio already owns, such as a rewrite or
adaptation.
OPEN WRITING ASSIGNMENT (OWA) – An assignment for which the studio is actively looking for a writer.
OPEN DIRECTING ASSIGNMENT (ODA) – An assignment for which the studio is actively looking for a director.
TAKE – Your unique perspective on an idea. Example: “That writer pitched a great take on the book adaptation.”
Crucially important to get an assignment.
SAMPLE SCRIPT – A script sent out as a writing sample to show what the writer is capable of. Usually not
intended to sell (it may even have already been made). Ought to be in the same genre as the job the writer is
trying to get.
PITCH BOOK (aka: Look Book) – A book with photos and art – often culled from outside sources, sometimes
original – that is used to show the tone and look of a movie during a pitch. Common for director pitches, rare for
writer pitches.
SIZZLE REEL – A short film, usually no more than three minutes, of footage usually culled from outside sources
that gives a sense of the tone and style of a project. Common for director pitches, rare for writer pitches.
GENERALS (Meetings) – Get-to-know-you meetings without a specific purpose. Usually you get these because
someone read a script of yours that they liked but didn’t want to buy. You should always have a casual pitch for
your next idea ready. Example: “I spent all week doing generals.”
HIGH CONCEPT – A movie idea that can be easily summarized in a compelling sentence. Execs like this
because it means the movie will be easy to sell. If they get it in one sentence, so will the public.
LOW CONCEPT (aka: Small Concept) – A movie idea that requires lots of explanation to make its appeal
apparent.
EXECUTION DEPENDENT – An idea that depends on quality execution to be successful. Hard to sell as a pitch,
probably must be spec-ed. Most low concept ideas are execution dependent.
LOGLINE – A one-sentence description of the movie concept that captures what it is. A lot easier to create for a
high concept movie. Often used on Tracking Boards and Coverage.
TRAILER MOMENT – A really cool moment or line of dialogue that you can easily imagine in the movie’s trailer.
You want at least a couple of these in your pitches and you better have several in your screenplay.
FRANCHISE – A concept or property that is big enough in scope to spawn sequels, merchandising, comic books,
video games, etc. Studios like these.
BABY WRITER – A new writer. Usually in TV.
SET PIECE – A big spectacular scene, usually comedy or action. Example: “The script is full of huge set pieces
but has no character development.”
PRODUCERS POLISH/COURTESY POLISH – Polite term for a free revision done without pay based on
producers’ notes before turning a draft in to the studio. Used to be customary to do a single pass that involved a
day or two of work. Nowadays has been abused to mean multiple major rewrites from writers who know how hard
the market is right now.
DIFFICULT – What producers and development execs call writers who stand up for themselves.
PACKAGING – When an agency puts together multiple elements of a movie – script, director, stars and
sometimes even financing – before taking the project to the studio. Agencies get a fee from the studio for doing
this. Usually only the biggest agencies can package a movie.
BOUTIQUE AGENCY/MANAGEMENT CO. – Smaller agency often specializing in only a few areas (For
example: TV writers and directors or comedy).