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Scriptwriting

This document provides guidance for scriptwriters on the essential components of a film script, emphasizing the importance of visuals over dialogue. It outlines key parts of a script, including scene headings, action lines, character names, dialogue, parentheticals, and transitions, while also discussing the significance of a logline and three-act structure. Additionally, it offers tips for crafting impactful endings and highlights the need for strong visuals and concise dialogue.

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Kamile Belza
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8 views7 pages

Scriptwriting

This document provides guidance for scriptwriters on the essential components of a film script, emphasizing the importance of visuals over dialogue. It outlines key parts of a script, including scene headings, action lines, character names, dialogue, parentheticals, and transitions, while also discussing the significance of a logline and three-act structure. Additionally, it offers tips for crafting impactful endings and highlights the need for strong visuals and concise dialogue.

Uploaded by

Kamile Belza
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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Hello, Scriptwriters!

After developing your characters’ inner, outer, and social selves, you are now
ready to plot your narrative – the scenes. But before you begin shaping your
story, read this concept note on the parts of a script to better guide you.

What should a film script contain? It should contain the visuals/pictures


of the film. Remember “show”, not “tell”. Inasmuch as possible, make your
characters real – show their actions. Dialogs should only be used when
pictures cannot do the job of expressing the tone, mood and message – they
should be the last resort.

What are the parts of a script?

1. Scene Headings (Sluglines):


 Purpose: Introduce the setting, location, and time of day for each
scene.
 Format: INT. COFFEE SHOP - DAY or EXT. PARK - NIGHT.
 Components:
o INT./EXT.: Indicates whether the scene takes place indoors or
outdoors.
o Location: Specifies where the scene is set.
o Time of Day: Indicates whether it's day or night.

2. Action Lines:
 Purpose: Describe the visual elements and actions happening in the
scene.
 Format: Written in the present tense, often starting with a descriptive
verb.
 Example: "JANE walks hesitantly into the room."

3. Character Names:
 Purpose: Indicate who is speaking or acting in the scene.
 Format: Capitalized and placed before the dialogue or action line.
 Example:
JANE:
(nervously)
Hello?

4. Dialogue:
 Purpose: The spoken words of the characters.
 Format: Follows the character name, indented slightly.
 Example:
JANE:
Hello?
5. Parentheticals (Acting Notes):
 Purpose: Provide instructions to the actors on how to deliver their
lines or perform actions.
 Format: Placed in parentheses below the character name and before
the dialogue.
 Example:
JANE:
(nervously)
Hello?

6. Transitions:
 Purpose: Indicate how the scene should transition to the next
scene.
 Format: Capitalized and placed on the right side of the page,
between scenes.
 Examples: CUT TO, FADE OUT, DISSOLVE TO

Consider the following important elements when writing your script.


 Logline: A brief, one-sentence summary of the film's plot.
 Three-Act Structure: A common storytelling structure with a
beginning, middle, and end.
Beginning/Exposition – Introduce the time and place settings,
and the characters.
Middle/Confrontation – Introduce the conflict/struggle of the
character/s. Lead the narrative to the climax.
End/Resolution – Resolve the conflict.
 Scope: Ensure the story is feasible within the limitations of a short film
format.
 Strong Visuals: Focus on impactful visuals and concise dialogue.
 Impactful Ending: Consider a memorable and thought-provoking
conclusion.

Tips on Ending Your Film


(UTAS)

BY

(AL ENRIQUEZ)

DATE:
JANUARY 2017
CHARACTERS:

(LIST OF NAMES AND THEIR TRAITS)

SETTING:
(PLACE)
(TIME)

LOGLINE:
(ONE-LINER)

SCENE 1
INT. LANDFILL-DAY
Two boys scavenging for scrap materials to repair a
broken kite.
Child A helps out Child B repair the latter’s broken
kite.
The two boys move from edge to edge of the garbage
hill to find garbage plastic, thread, sticks, etc. that
seem possibly necessary for the repair
They stop, bend, sit and repair.

CHILD A
Hace ta mas grande con’l rabo. Fuerte ya ahora el viento. Mira
tu, ya cay lang le enantes.
(attaches the tail to the body of the kite)

ET: Let’s have a larger tail. The


wind is stronger now. You see, it
just fell a while ago.

CHILD B
Hende quita cambia con’l hilo?
ET: Aren’t we changing the yarn?

CHILD A
Hende se ta depende na hilo. Na porma se del bulador... Masquin
pino el hilo, pero si sabe el bulador sigui na viento, hende
este rebenta.
ET: It doesn’t depend on the yarn.
It depends on the kite itself. The
yarn may be fine, but if the kite can
sway with the wind, it won’t snap.

CHILD B
Baca ba tiene hace dagit...
ET: I’m afraid it would get

CHILD A
Nohay se... amara lang na mas alto lugar. ET: Don’t worry. Just
tie it in higher.
Silence.

CHILD B
(looks at the grand kite dancing in the air)
Mas alto, mas claro noh? Era tiene ya se quien mira. Era tiene
ya quien pensa cay hende se basura.
ET: The higher it is the clearer it
is, right? Hopefully, someone will
see already. Hopefully, someone will
already think that it isn’t trash.

CHILD A
Era... para descansa ya tamen quita.
ET: Hopefully. So we could already
rest.

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