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Search Results for: courier

Sensible sluglines

April 5, 2005 Formatting, QandA

questionmarkThank you for keeping your site up to date and offering so many great resources, not the least of which: your scripts. I have read your scripts, Rawson Thurber’s Dodgeball, and many others.

I have a question on the usage of slug lines and pacing.

A quick example:

TOM

carefully turns the dial a tad.

THE MACHINE

Hums, LIGHTS UP!

TOM

grins and turns the

REMOTE to the maximum level.

I am afraid I am overusing this technique, but would like your
professional opinion.

–Brandon Walowitz
Los Angeles

Yes, you’re overdoing it, at least to my taste. I suspect you could find successful screenwriters who write very much the way you describe, but to me it feels like padding.

Just as you wouldn’t want to read a solid page of 12-pt Courier, you don’t want to read a series of short sluglines. There’s no flow. Think of these short sluglines as punctuation, little guides to help you make your way down the page.

Some suggestions:

* Use a slug only if we’re going to be looking at something new to the scene, or if we’re cross-cutting between simultaneous action. In your example, “TOM” is the same guy both times, and “THE MACHINE” is probably already established in the scene.

* After a slug, I usually start the next line lower-case, particularly if it’s the continuation of a sentence.

* Try to have at least three “normal” lines between slugs.

* Avoid mixing slugs and dialogue. It gets messy on the page.

Cover page artwork

December 26, 2004 Formatting, QandA

Is artwork that only appears on the title page of a screenplay frowned upon?

— Darryl McD

Yeah, that’s kind of cheesy. If I had to choose between two scripts in front of me, I’d probably pick the one without the artwork.

That said, if you look in the Downloads section, you’ll see that I used a circle around ‘Go’, largely because the word itself is so small. And the cover page for Prince of Persia has the title in the logo font, but since it’s based on a hugely popular videogame, there’s a good reason for it.

For the other 20 or so scripts I’ve worked on, there hasn’t been any artwork on the cover. I’ll occasionally use a font other than 12pt Courier for title itself, but always something simple.

Discover the basics of title page formatting here!

How many lines per page?

November 12, 2004 Formatting, QandA

Today’s question isn’t really a question at all, but rather an investigation into how many lines of type should fit on a standard screenwriting page. While this may seem frivolous — a little like “How Many Angels Can Dance on the Head of a Pin” — almost every screenwriter has tweaked and shuffled, nipped and tucked to get a draft a few pages shorter.

Lines-per-page translates into lines-per-script, which is arguably a better metric than page count for how long a script “really” is. So I applaud Jeff trying to figure it out.

questionmarkI have a seemingly simple formatting question that I cannot find the answer to anywhere: How many lines should fit on a page?

I don’t ask for help with out trying to help myself first, but believe me, this one has got me stumped. My research yields vastly different results and even an interesting (disturbing?) modern trend. (I know it’s a long read for an e-mail, but I’ve done the research and I would really like your thoughts.)

I know all about setting margins and screenwriting software, but even following those suggestions, there appears to be a large discrepancy in the actual number of lines per page from script to script. Here’s how I have counted lines per page for purposes of this research:

Open a screenplay up to any page, start at the first line of screenplay on that page (a scene heading, character name, dialogue, action; not white space or a page number) and count that as ONE. Then, count every line after that (including white space) all the way to the last line of screenplay on that page (not including bottom CONTINUEDs if the script has them). The number you end up with is what I call Screenplay Lines per Page.
[Read more…] about How many lines per page?

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.

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