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Day - 3 - Script Writing

Script Writing

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20 views23 pages

Day - 3 - Script Writing

Script Writing

Uploaded by

dhrubhakarki
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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Script Writing

SPECIAL HEADINGS

• Other common scene headings are the MONTAGE, the


SERIES OF SHOTS, the INSERT, the FLASHBACK, DREAMS,
and so on.
• All follow the same basic formatting pattern, although
variations abound.
MONTAGE and SERIES OF SHOTS

• A MONTAGE is a sequence of brief actions and/or images


expressing a single concept or idea, such as a passage of
time, falling in love, places within a geographical location,
training (as in the movie Rocky), or a stream of
consciousness.
• Usually that concept is included as part of the MONTAGE
heading, as you will see in the example below.
Montage examples

• Here’s a common format for the MONTAGE. The concept or main idea is
“having fun.”
MONTAGE - SUZY AND BILL HAVE FUN TOGETHER
-- They run along the beach. Suzy raises her countenance against the ocean
spray.
-- They bicycle through a park.
-- Bill buys Suzy ice cream at a small stand. She stuffs it into his face. The
patrons chuckle.
Montage examples

• If the MONTAGE takes place within a scene, then return


BACK TO SCENE. (In the sample script “The Perspicacious
Professor,” we return BACK TO THE CLASSROOM.)
• Otherwise, double-space and type the next master scene
heading. It’s okay to type END MONTAGE before the next
scene heading if desired. For example:
END MONTAGE
or
END MONTAGE.
Series of shots example

• Similar to the MONTAGE is the SERIES OF SHOTS, consisting of a chronology of


quick shots that tell a story. They lead to some dramatic resolution or dramatic action,
whereas a MONTAGE usually focuses on a single concept.
• Usually, the main idea of the SERIES OF SHOTS is included in the heading, but not
always. Here’s an example of a SERIES OF SHOTS:
SERIES OF SHOTS - JOHN GETS EVEN
A) John lifts a handgun from his desk drawer.
B) John strides down the sidewalk, hand in pocket.
C) John arrives at an apartment building.
D) Mary answers the door. John pulls the trigger. A stream of water hits Mary in the face.
FLASHBACKS AND DREAMS

• Method 1
In the example below, the flashback is labeled like a montage.
FLASHBACK - TRAIN ACCIDENT
• David sees the train coming and jumps on the train tracks. He laughs; he’s playing
chicken with the train.
• With the train nearly upon him, he tries to leap from the tracks, but his foot catches
on a rail tie.
BACK TO PRESENT DAY
• The above method is designed for short flashbacks that happen
within a scene.
FLASHBACKS AND DREAMS

• For longer flashbacks, consider one of the following methods:


Method 2
FLASHBACK - EXT. TRAIN TRACKS - NIGHT
Method 3
EXT. TRAIN TRACKS - NIGHT - FLASHBACK
or
EXT. TRAIN TRACKS - NIGHT (FLASHBACK)
FLASHBACKS AND DREAMS

• If you use any one of the above notations, then the next
scene heading (let’s say it’s for an office scene) would
follow the same pattern and would look something like this:
INT. OFFICE - DAY - BACK TO PRESENT DAY
or
INT. OFFICE - DAY (BACK TO PRESENT DAY)
or, for Method 2:
BACK TO PRESENT DAY - INT. OFFICE - DAY
FLASHBACKS AND DREAMS

Alternate flashback endings for Methods 2 and 3


• At the end of a flashback, you can use one of the following
alternative methods to end the flashback.
END OF FLASHBACK.
INT. OFFICE - DAY
FLASHBACKS AND DREAMS

Method 4
• If a flashback is more than one scene in length, you will use
Method 2 or 3 for your first flashback scene heading.
• Subsequent scene headings will be written as normal scene
headings without the word FLASHBACK.
• The reader will assume that each scene that follows that
first flashback scene is part of the flashback until he sees
END OF FLASHBACK or BACK TO PRESENT DAY in some
form.
FLASHBACKS AND DREAMS

Method 4
• Here’s an example:
EXT. TRAIN TRACKS - NIGHT - FLASHBACK
• Barry sees the train speeding toward him and leaps from
the tracks, but his foot catches on a rail tie.
INT. HOSPITAL - NIGHT
Barry lies on a gurney. A doctor pulls a sheet over his head.
INT. OFFICE - DAY - BACK TO PRESENT DAY
FLASHBACKS AND DREAMS

Method 5
• An alternative method is to label the entire flashback comprised of
more than one scene as a flashback sequence. I prefer this method
to Method 4 because of its clarity.
BEGIN FLASHBACK SEQUENCE
EXT. TRAIN TRACKS - NIGHT
• And then write out all the scenes in sequence, just as you would
normally write scenes, and then end the sequence with this:
END FLASHBACK SEQUENCE
INT. OFFICE - DAY
Quick flashes

• On rare occasion, you might have a situation where a character recalls a series of quick flashbacks
in succession. Handle that with the same format you’d use for a MONTAGE or a SERIES OF
SHOTS.
QUICK FLASHES - DUKE’S BASEBALL MEMORIES
-- Duke slides home safe. Jubilant teammates scramble to congratulate him.
-- Duke, playing shortstop, snags a hot grounder, and tosses the man out at first.
-- Duke swings at a fastball and watches it sail over the left-field fence.
BACK TO SCENE
• In effect, the above is a FLASHBACK MONTAGE. If you have just one quick flashback, use the
following format:
QUICK FLASHBACK
Duke strikes out.
BACK TO SCENE
• Flashbacks, dreams, and daydreams are written in present tense.
Dreams, daydreams, imaginings, mirages, and visions

• Handle these events the same way you handle flashbacks.


DREAM - SID IN THE JUNGLE
• If your character has a dream sequence, format it as you would a flashback sequence. If
your character has a vision, the formatting is the same:
DAME NOSTRA’S VISION - WORLD WAR FIVE
• Label all dreams, visions, daydreams, nightmares, flashforwards, and flashbacks as
such. It’s not usually in your best interest to hide the fact from the reader to surprise
him, although there are exceptions to this advice.
• And please don’t open your movie with a dream and have your character “awaken bolt-
upright” in her bed; that has become cliché. If you must use the cliché, give it a fresh
twist.
Animated scene

• Suppose you have a short animated segment in one of your scenes. Use the
same formatting pattern we have been discussing.
ANIMATION - SILLY BILLY MEETS THE MONKEY MAN
or
EXT. PET STORE - DAY - ANIMATION
INSERT

• The INSERT (also known as the CUTAWAY in some shooting scripts) is used to bring
something small into full frame.
• This can be a book, news headline, sign, contract, letter, or a leather pouch filled with
mints. In the case of the leather pouch on the sample script, I did not use an INSERT.
• If I had, it would have looked like this:

INSERT - THE PROFESSOR’S POUCH


His fingers deftly lift a candy mint.

BACK TO THE CLASSROOM


ESTABLISHING SHOT

• Often, at the beginning of a movie, sequence, or scene, there is an establishing shot to give
us an idea of where on earth we are. There are two ways to present an establishing shot.
• Incorrect:
EXT. NEW YORK CITY - DAY - ESTABLISHING
• Correct:
EXT. NEW YORK CITY – DAY
Manhattan sparkles in the sunlight.
• The second, “correct” example is preferred because it is more
interesting, plus it directs the camera without using camera directions.
It’s obviously a long shot of the entire city that establishes where we
are.
• Also notice that it is not necessary to add the word ESTABLISHING at the
end of the scene heading.
Narrative description

• A narrative is a story, and description is that which


describes; thus, narrative description describes the story.
• Specifically, it describes the three elements of 1) action, 2)
setting and characters, and 3) sounds.
• We’ll break these three down to smaller units for purposes
of discussion.
TECHNIQUES FOR WRITING
EFFECTIVE DESCRIPTION

• Narrative description is written in present tense because we view a film in


present time.
• Even flashbacks are written in present tense. Double-space between
paragraphs and do not indent.
Write lean

• Keep your narrative description (and dialogue) on the lean side,


providing only what is absolutely necessary to progress the story
while emphasizing important actions and moments. Be clean and
lean.
• Limit your paragraphs to a maximum of four lines (not four
sentences), although I would strive for paragraphs of one or two
lines. Big blocks of black ink can make a reader black out.
• As a very general rule (meaning there can be many exceptions),
allow one paragraph per beat of action or image. When a reader
reads your paragraph, she should clearly “see” and “hear” what you
describe. The result will be that she will “feel” what you want her to
feel.
Write lean

• Some visual images need just the briefest of descriptions.


For example, I might describe an ordinary conference room
as exactly that: “an ordinary conference room.”
• The color of the walls and the number of seats may not be
important. However, if, later in the scene, someone throws
a TV at the discussion leader, I may describe the room as
follows:
Write lean

INT. CONFERENCE ROOM - DAY


A TV sits on a table in a corner.
Then again, there may be a lot that is unique about a different conference
room that needs to be mentioned.
Here’s an example:
INT. CONFERENCE ROOM - DAY
About a dozen businesspeople sit on leather sofas that form a circle around a
distinguished-looking WOMAN dressed to the nines. She stands without
pulpit or props, and smiles confidently.

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