Three quick answers on writing camera angles, formatting TV scripts and choosing a pen name.
Check through any of the .pdfs in the Library, and you’ll see that title pages are kept minimal: the name of the script, your name, based on (if any), and the date.
If you have a line that only makes sense one way — and it’s not the first way someone would read it — you have a couple of choices.
How to format the script for faux-documentaries like “The Office.”
For dialogue, use as few numbers as possible, and write them out unless it’s cumbersome to do so.
If it would be obvious to the viewer, make it obvious to the reader.
You may notice several variations on “continued” in screenplays.
I handed in a script today, and thought it might be helpful to talk through my best practices when finishing up a draft.
Since you released “The Variant” independently, how’d you get the nifty cover art?
First, avoid it if possible. But if you have to, here’s how.
Italics are a good choice for sign language.
Generally, no. Try to make terms understandable in context.
Kindle 2: great for books, but not ready for screenplays.
Sluglines can be more specific, but only when it’s important for the reader.
Great lesson in how comic books distinguish action, dialogue, and all the rest.
A couple of techniques for letting the audience know that two things are happening at the same time.
Clear sluglines help to weave in and out of animation.
Formatting radio chatter.
Formatting for a specific character’s point of view.
One writer, five questions.
Just as important, what NOT to do when trying to cut length. Don’t cheat.
Always treat your readers like audience members, and think about it from their perspective.
Sometimes, you only see one side of a conversation. That’s okay.
Using dialogue to bridge a cut. (Warning: some readers are haters)
Split screens aren’t always spelled out in scripts, but you can get the idea across.