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Formatting

New CSS template for screenplay formatting

October 20, 2004 Formatting, Geek Alert

UPDATE (2/26/09): This is an early draft of what would later become [Scrippets](http://scrippets.org). Check out that site for more up-to-date information. And you’ll notice that I ultimately did go back to using paragraph tags, rather than list items.

One frustrating part of discussing scripts on the internet is that the formatting is always wrong. Changing the typeface to monospace (such as Courier or Monaco) helps a little, but the indentations are still wonky.

Beginning with [yesterday’s post](http://johnaugust.com/archives/2004/avoid-cut-tos-in-a-busy-sequence), I’m using a new CSS style template I created to handle screenplay markup on the site. If you know know about CSS, it’s the way modern web pages are built, separating content from formatting. The rest of this post gets kind of technical, so you may want to bail out now.

Okay, geeks who are still with me:

Doing screenplay in CSS seems pretty straightforward. The base class (Screenplay) would handle the width of the virtual page, and make everything 12pt Courier. The individual elements would be .sceneheader, .action, .character, .dialogue, .parenthetical, and .transition.

My first instinct was to handle the elements with paragraph styles, like this:

<p class="sceneheader">INT. BOB'S DINER – NIGHT</p>

Unfortunately, paragraphs carry with them a bunch of problems. First, they’re the bread-and-butter of blogging programs like [WordPress](http://wordpress.org), so odds of choking the interpreter seem pretty high. And in order to use them, I would have to wrap them in <div> tags, which is another potential boondoggle.

So instead, I decided to define a new class of unordered list for the container class, and define each of the elements as list items. One issue that quickly comes up is line spacing. For screenplays, you need one blank line after a line of action or dialogue, but none after a character name.

EXT. FOREST / ELSEWHERE - DAY

Susan is on a cell-phone call. She smiles at Melissa, who walks by with two cups of coffee.

SUSAN (V.O.)

Right now, this is probably our top pilot. But things change.

In markup, this looks like this:

<code>
<ul class="screenbox">
<li class="sceneheader">EXT. FOREST / ELSEWHERE – DAY</li>
<li class="action">Susan is on a cell-phone call. She smiles at Melissa, who walks by with two cups of coffee.</li>
<li class="character">SUSAN (V.O.)</li>
<li class="dialogue">Right now, this is probably our top pilot. But things change.</li>
</ul>
</code>

Here’s the CSS code that does the job:

.screenbox {
	list-style: none;
	width: 420px;
	background: #eee;
	border: 1px solid #333;
	padding: 5px 14px;
	
}

.screenbox li {
	font:  12px/14px Courier, fixed;
}

.sceneheader,
.action,
.character {
	padding-top: 1.5ex;
}

.action {
	padding-right: 5%;
}

.character {
	margin-left: 40%;
}

.dialogue {
	margin-left: 25%;
	padding-right: 25%;
}

.parenthetical {
	margin-left: 32%;
	padding-right: 30%;
}

/* special case: dialogue followed by
a parenthetical; the extra line needs 
to be suppressed */

.dialogue + .parenthetical {
	padding-bottom: 0;
}

.transition {
	padding-top: 3ex;
	margin-left: 65%;
	padding-bottom: 1.5ex;
}

I used a fixed width for the .screenbox (420 px), but the formatting looks okay for anywhere between 300 and 700 pixels. Everything else is handled by percentages for horizontal spacing, and ex heights for vertical spacing.

You’ll notice that .sceneheader is really no different than .action. I defined it so that if at some later date I decided to tweak it (for instance, adding scene numbers), the markup would already be there.

As always, anyone is welcome to use and modify this template as they see fit.

Avoid CUT TO’s in a busy sequence

October 19, 2004 Charlie's Angels, Formatting, QandA

I’m piecing together a climax sequence that takes place in a park,
with dozens of cuts back and forth between four main characters as
they perform different activities at different locations within the
park. Is there an efficient way to format this without creating a new,
full slugline for each cut, and without using too many CUT TOs?

— Joseph
Uppsala, Sweden

Make friends with the slugline. That’s a single line, all in caps, which tells the reader that you’re focusing on something new. Here’s an example from [CHARLIE’S ANGELS: FULL THROTTLE](http://imdb.com/title/tt0305357/):

(Note: If the following text has bullet points, you need to clear your cache. On the Mac, hold down the command key while you press the Reload button on the toolbar.)

All eight "real" RACERS attack the course like modern-day charioteers, SLAMMING down each hill and SPRAYING dirt like shrapnel.

Some OFFICIALS try to stop Dylan, but she ROARS onto the course.

IN THE STANDS

Alex sloughs off her cotton candy and runs along the lowest walkway, trying to keep Dylan in sight.

ON THE SIDELINE

Natalie grabs an available bike and helmet, ready to join in the race.

ON THE COURSE

The pack is nearing the first turn. Emmers has the lead, with the Man in Black moving up quickly. Boxed in between two other racers, the Man suddenly

KICKS

one guy out of his way. The unsuspecting cyclist crashes in the dirt. This is no ordinary race.

At the fence, Stern YELLS into his wrist-mike:

STERN

Carter! Kalakana! Get up here now!

THE MAN IN BLACK

reaches into his jacket pocket, pulling out an antique revolver. As he closes the gap on Emmers, he starts to take aim. With both cycles heading up and down hills, it's difficult to get a line-of-sight, but their jumps are finally synchronized.

Sometimes, even those single sluglines can be too much, so you might consider embedding them into paragraphs.

Also from Full Throttle:

As the truck falls, we move into SUPER-SLOW MOTION. There’s a lot to cover:

IN THE CAB, we watch as the truck’s nose tips straight down to the floor of the canyon one thousand feet below. Keeping her cool, Dylan grabs the glowing tube and climbs out her door.

IN THE BACK, Alex RIPS open a nylon duffel bag. She pulls out an armful of silk. Clinging to the truck wall, Natalie KICKS loose the wheel chucks. The mysterious fan unit floats freely in the truck.

ON THE DAM, the men watch as the truck falls. The angels may have escaped their reach, but they won’t escape their death. The ARTILLERIST aims the rocket launcher.

IN THE BACK, Alex lets the silk fly. It WHIPS out of her hands, unfurling as a small parachute. Natalie pulls a ripcord, which starts up the massive fan blades.

Dylan climbs into the cargo area.

Meanwhile, the small parachute begins to pull out a much larger canopy, a massive rectangular wing of fabric.

ON THE DAM, the artillerist has a bead on the falling truck. He squeezes the trigger, launching a WHISTLING RPG.

IN THE TRUCK, the angels grab onto handholds near the fan unit. They see the missile coming.

THE CANOPY extends to full berth, yanking taught a web of cables. The whole fan assembly flies out the back of the truck just moments before

THE RPG HITS.

The truck EXPLODES in a fireball that continues to fall towards the canyon floor. We LOOK UP to see

THE CANOPY, where the angels dangle from the crossbars of the suspended fan unit. We get our first good look at the vehicle, a type of ultra-light aircraft that resembles an Everglades swamp boat gone aerial.

ON THE DAM, the men watch with furious awe as the strange craft begins to fly up from the base of the canyon, catching the rising drafts. It’s heading into the sunset.

However you choose to do it, remember that you’re writing for the reader, not the director. You want to create the action sequence that feels most exciting on the page, even if the sequence of events isn’t exactly how you ultimately think a director will stage it.

What does I/E mean?

October 4, 2004 Formatting, QandA

questionmarkDuring my screenwriting process, I have encountered something called “I/E,” which I can’t find in your glossary. What does it mean?

Mats
Gothenburg, Sweden

I/E is simply a shorthand way of writing “INT./EXT.” in a scene heading, when the action will be taking place both inside and outside of a given location, like a parked car or a garden shed. Because it’s not all that commonly used, I usually just write it out:

INT./EXT.  MINIVAN - NIGHT
Ronna knocks on the door.  A SPIKY-HAIRED GUY rolls down the window.

It’s a matter of personal preference. Many screenwriters do use I/E when the situation comes up.

Page count for animation scripts

August 11, 2004 Formatting, QandA, Television

First, I’d like to thank you for answering my last question. It was a big help and since then my writing career has been moving forward — slowly, but forward nonetheless. Also, my spine is in better shape.

My question is this: Is an animation script supposed to time out the same as a live action piece (one page equals one minute of screen time), and if not, how do you know how long a scene — especially an action-filled scene — will last on screen?

The two animation scripts I’ve read (half hour TV) are both long and short. One was 35 pages long. The other was 22 pages long, which is still longer than the 19 minutes of screen time, but not by much. Any words of wisdom?

Oh, and in case you haven’t mentioned it on the site, a great TV writing website is [TVWriter.com](http://www.tvwriter.com).

–Horace
Toronto

For starters, the one-page-per-minute rule of thumb is nothing to bank on. For me, it’s like saying it never rains in July, or that reality-show alliances only last until mid-point: while it generally holds sort of true, you wouldn’t want to stake your life on it.

Screenplays top out at about 120 pages, and most movies are about two hours long. But most one-hour U.S. television shows are really 41 minutes, although the scripts can be up to 60 pages or more. The script for a show like [ER](http://imdb.com/title/tt0108757/), with its rapidly spouted medical lingo, tends to run long. And don’t get me started on [Gilmore Girls](http://imdb.com/title/tt0238784/), where the character never seem to break for air.

As for animation scripts, I’m not aware of any particularly appropriate page-per-minute guideline. If you’re writing a spec episode of a given show, my best advice is find a sample script that’s been shot and aim for that page count. Failing that, I’d aim for something a hair over the page-per-minute guideline. It may not be right, but odds are it won’t be terribly off.

And thanks for the link.

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