John August

Formatting

Angles, spacing and monikers

Formatting, QandA, Television, Words on the page

questionmarkThree quick questions:

(a) I was reading over a pilot example, and I saw a lot of angle descriptions, camera descriptions, etc. I thought that was a big no-no: don’t describe angles or try to “direct” via your script. Is that less a concern these days? Or less a concern when writing for TV than film?

(b) Ditto the spacing. I was under the impression that TV scripts had to be double-spaced, all dialogue in caps, etc. Is that not true for pilots?

(c) There is already a writer working on film/TV with my name (Joshua Siegal). I’m thinking of going with J. Howard Siegal. Do I need to get registered with the writer’s guild and such with that name? Is it a good/bad idea to find a unique name to write under?

— Josh

(a) Some screenwriters refer to the camera a lot. It’s not wrong, but it can annoy directors. I try to avoid mentioning angles and camera movements unless it’s very important. As an alternative, I use “we” —

RISING THROUGH THE CHIMNEY, we reveal Kruchkov.

He pulls the pin on a grenade. Drops it with a smile.

— and you should know that some people hate “we.” I think it reads better, but to each his own.

(b) The only way to know how a show is formatted is to read an actual script from the series. Single-camera TV shows are generally formatted like feature films, single-space. Multi-camera shows (sitcoms) are double-space. But there are exceptions, so never assume.

(c) Screenwriter names are not regulated the way actor names are, but yes, it’s a good idea to have a unique moniker. For example, there is already another [aspiring John August](http://johnaugust.com/archives/2004/my-namesake-also-a-screenwriter).

What belongs on a title page?

Formatting, QandA

questionmarkI have a spec script I would like to send to some producers. I have read conflicting information online as to what should be included. For those of us who don’t have an agent, definitely include an address and a phone number. But what about an email? And WGA registration information? A copyright notice?

I read that it looks amateurish to put WGA information on the title page. If not there, where would it go? Thanks!

— Mike
Fargo, ND

You never need to put WGA registration numbers on the title page (or anywhere else on the script). And while legally it could be helpful to include a copyright notice, no one ever does this.

Check through any of the .pdfs in the [Library](http://johnaugust.com/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. ((It’s common practice to bump the dates on spec scripts up so that they don’t appear “old.”))

If it’s truly a spec script — and you’re not sure who will ultimately be reading it — then add contact information in the bottom-left corner. To me, an email address is plenty, but add a phone number if you like.

I don’t see the point of including a street or postal address. Are you expecting guests or flowers?

There has traditionally been a bias against phone numbers outside LA’s traditional 213, 323 and 818 area codes. I think that’s fading as people hold onto cell phones and Google Voice numbers. But I’ll always harbor doubts about anyone with a Hotmail, AOL or RoadRunner address.

If you have an embarrassing email address, get something staid and boring at Gmail.

Stressing out in dialogue

Formatting, QandA, Words on the page

questionmarkI was just wondering how to indicate that a character is stressing a certain word in the dialog. I’ve thought about using capitalization but I’m not sure that’s the proper way, as I’ve also seen quotation marks used to similar effect. If you had any advice on which method you use, that would be more appreciated.

— Mike Morin
Portsmouth, Rhode Island

Underline. But remember, in most cases, you needed and shouldn’t give a specific line reading for any piece of dialogue. If a scene is working, readers (and actors) will naturally fall into the right tone.

But 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:

Set it up in stage direction:

Through clenched teeth --

MARGARET

I’d delighted.

Use a parenthetical:

CORBIN

(condescending)

I’m sure you’ll improve.

Underline the word or words that need to be stressed:

XANDER

I’m not not saying he wasn’t a Bugwath demon but if he was — or wasn’t, I confused myself there — either way he was surly. And oddly cat-phobic. Now can we get back to the part where the whole world goes boom at midnight?

You’ll occasionally see italics in dialogue (often for foreign languages). A few screenwriters use boldface or uppercase in dialogue. I’ve never seen the need.

Quotation marks should be reserved for moments that a character might make “air quotes” around something they’re saying. The misuse of quotation marks is a scourge of modern English.

Formatting the faux-documentary

Formatting, Genres, QandA

questionmarkI want to know more about proper formatting of the new documentary aesthetic that’s been brought about by shows like The Office and Modern Family. I’m referencing specifically the ironic or conspiratorial glances into camera, the unexplained interview shots. These shows seem to have the assumption that there’s a documentary crew present. I love that! And I love the potential for humor it brings about.

My question is this: how would that be written in a script other than through the use of “into camera”? Is there a way to indicate that an entire film or pilot would be shot in this manner? I’m also interested in your general stylistic take on this and whether or not you think we’ll see this approach used in feature films successfully?

— Ashleigh
Los Angeles CA

The faux-documentary trend has detractors, but I think it works very well in the two shows you mention.

Each show will have its own house style for how they format it in the script, ((As always, if you’re writing a spec episode of a existing show, hunt down one of its scripts and follow its lead exactly.)) but it’s usually handled in the slugline when the whole scene is directed towards the camera:

INT. LIVING ROOM – DAY [INTERVIEW]

MARK

No. I’m not disappointed. Not at all. Surprised, sure. Dejected? A little. Angry maybe, but not furious. I guess I’d say I’m “disappointed” and leave it at that.

These shows tend to treat the camera as an unnamed character who either (a) is aware of something other characters in the scene aren’t, or (b) might take something embarrassing out of context unless clarified.

If a character is directing a line or a look to camera, call that out. (If it helps, think of “camera” as a producer standing right next to the lens.)

CANDY KANE

It just seems too big to fit. Maybe if we greased it up or something.

Laura gestures to camera -- see?

Reference the camera sparingly. Unless the point of your script is the documentary itself (c.f. The Comeback), you’re likely to undercut the comedy or drama by acknowledging that characters are aware their actions are being filmed.