Archive for the 'Formatting' Category

• e  2 Variant cover artwork

  Since you released “The Variant” independently, how’d you get the nifty cover art?

• e  14 How to format an on-screen note

  First, avoid it if possible. But if you have to, here’s how.

• e  12 How to include sign language

  Italics are a good choice for sign language.

• e  15 Are glossaries a good idea?

  Generally, no. Try to make terms understandable in context.

• e  21 The Kindle is not good for screenplays

  Kindle 2: great for books, but not ready for screenplays.

• e  18 Can I go beyond DAY and NIGHT?

  Sluglines can be more specific, but only when it’s important for the reader.

• e  9 Comic book grammar

  Great lesson in how comic books distinguish action, dialogue, and all the rest.

• e  4 How do I show simultaneity?

  A couple of techniques for letting the audience know that two things are happening at the same time.

• e  8 How do I include animated sequences?

  Clear sluglines help to weave in and out of animation.

• e  17 On the radio

  Formatting radio chatter.

• e  12 Handling a character’s POV shot

  Formatting for a specific character’s point of view.

• e  34 Five quick questions

  One writer, five questions.

• e  36 How to cut pages

  Just as important, what NOT to do when trying to cut length. Don’t cheat.

• e  25 Writing silent scenes

  Always treat your readers like audience members, and think about it from their perspective.

• e  25 One-sided dialogue

  Sometimes, you only see one side of a conversation. That’s okay.

• e  13 Pre-Lap

  Using dialogue to bridge a cut. (Warning: some readers are haters)

• e  6 Split screens

  Split screens aren’t always spelled out in scripts, but you can get the idea across.

• e  9 Renumbering when moving a scene

  It takes both a letter and an omit.

• e  23 That’s a pretty expensive pad of paper

  You really don’t need fancy paper for hand-writing drafts.

• e  20 The Hollywood Standard

  All you need to know about formatting a screenplay, right here (for sale anyway). Second opinions included.

• e  8 Chicago: The Musical. No, not that one.

  I spent a few days in Chicago to see the workshop of my friends’ new musical, Asphalt Beach. And then I wrote a play.

• e  6 When characters have multiple names

  Treat your reader like an audience member. Give them the same information on the page that they would get on the screen.

• e  10 Mixing in bits of other languages

  Your characters won’t always be speaking English. Here’s how to handle that.

• e  9 How to format lyrics in scripts

  Generally, italics and a parenthetical.

• e  2 Should I fudge the date on the cover?

  Yes. Sometimes.

• e  29 Welcome to the O.C., bitch

  O.C. means “off camera.” But O.S. does the job just as well.

• e  21 What format should I send my script in?

  PDFs are almost always the right choice.

• e  5 Formatting the one-sided phone conversation

  You don’t need as many parentheticals as you think.

• e  23 Fixing double-spaces after periods

  Two spaces still looks best for screenplays.

• e  3 Handling dialogue-like situations

  If it feels like dialogue, it’s fine to use that formatting.

• e  14 From FD to MMS

  Some thoughts on the two major screenwriting platforms.

• e  12 Opening titles

  You can indicate where the titles go, but only if it serves a story purpose.

• e  13 Teenage girls and gay men

  Figuring out what to capitalize when indicating groups of people.

• e  17 How to include abstract images

  Don’t be afraid of including imagery if it’s important for your story.

• e  6 Printing words on-screen

  If you need us to know that it’s 1945, put it on the screen.

• e  20 Intercutting

  When intercutting between two scenes, the key is keeping it readable.

• e  1 Sensible sluglines

  Sluglines are a powerful tool. Use them wisely.

• e  2 Picking a printer

  You don’t need a great printer, just one that can kick out 120 pages.

• e  1 Keep scene headers simple

  Nobody really wants to read them anyway.

• e  14 Introducing off-screen characters

  You can reveal a character any time you want.

• e  20 Celtx screenwriting application shows promise

  An early look at an early version of the alternative screenwriting platform.

• e  11 How I Learned to Stop Worrying and Love Courier

  As a former designer, I now spend most of my working life in the world’s most boring typeface.

• e  8 Formatting for sign language

  As long as the reader understands what you’re doing, it’s no big deal.

• e  1 Formatting text shown on screen

  Keep it short and simple.

• e  Comments Off Cover page artwork

  It’s not a great idea.

• e  56 Formatting a reality show proposal

  Here’s how to present a reality TV show. Use it wisely.

• e  14 How many lines per page?

  It’s actually not as standardized as you’d think.

• e  9 Page count and tight formatting

  Everyone can tell when you’re fudging. So don’t.

• e  35 New CSS template for screenplay formatting

  An early draft of what would later become Scrippets.

• e  12 Avoid CUT TO’s in a busy sequence

  Think like a reader, not like an editor.

• e  1 What does I/E mean?

  Shorthand for INT./EXT.

• e  Comments Off Page count for animation scripts

  Does the page-a-minute rule apply across the board?

• e  9 Writing the script for a cooking show

  There’s not a standard format, so try to anticipate what producers would like to see.

• e  3 ‘A’ scenes and ‘B’ scenes

  Once you start numbering scenes for production, you have to find ways to add new scenes between existing ones.

• e  13 Screenwriting software survey results are in

  I took a poll, and here’s what you said.

• e  6 Using a different font for the cover page on a script

  It’s okay. And if you’re having trouble getting FD to do it, here are some workarounds.

• e  2 Survey up for screenwriting software

  I asked readers to tell me about themselves and the software they use.

• e  1 Met the guy who runs Final Draft

  I met the Final Draft guy.

• e  49 New Final Draft version 7.0 is…marginally better

  Review of the Final Draft update.

• e  6 Formatting a montage sequence

  A few different versions shown here. Pick the simplest version that gets the point across.

• e  1 Incorporating titles into a screenplay

  How to superimpose places, times and dates into your screenplay.

• e  Comments Off Script writing software

  Which software to use?

• e  Comments Off Voice-overs

  Voice-over should never replace actual scenes, nor should it be redundant to what we do see.

• e  Comments Off Secondary scene headings

  Ways to say “moments later” without necessarily writing it.

• e  Comments Off Various locations

  Keeping the reader oriented as characters move through a space.

• e  Comments Off Script formatting

  Not only will looking at real scripts show you how they’re formatted, but it will also give you a sense of how standardized the format truly is.

• e  4 Script length

  Anything shorter than 100 pages feels too short. It’s literally just not enough pages in your hand. And if you go much beyond 120 pages, people get nervous.

• e  1 Int. and Ext.

  How to handle scenes that take place both inside and out.

• e  Comments Off Using parentheticals

  Overusing parenthetical comments will not only break the flow of the dialogue, they’ll drive the reader crazy.

• e  2 Using CUT TO:

  CUT TO: is an effective transition when used appropriately and sparingly.

• e  Comments Off Split-screen

  While someone watching a movie can follow the action happening in multiple sections of the screen at once, the reader simply can’t.

• e  1 Character caps

  ALL CAPS for character names is fine throughout plays, but just use them once in screenplays.

• e  1 Foreign languages

  If you think the dialogue would probably be subtitled in the movie, italicize it in the script.

• e  1 Flashbacks and dreams

  Use common sense in differentiating between the two and try to read the script as if you didn’t write it, then see what’s clearest.

• e  3 Characters w/ multiple names

  From SUPERMAN to FIGHT CLUB, keeping the reader clear on characters with multiple names/identities.

• e  2 How many pages

  The majority of scripts that go into production fall between 110 and 120 pages. That’s generally what I aim for.

• e  1 Courier 12 pt. font

  If you have the choice, always pick the Courier version.

• e  3 Formatting and software

  Best practices for keeping your script formatted correctly.