1. Script Formatting

2. 12-point COURIER font A fixed pitch font: one page will equal one minute of screen time. So it looks like it was typed on a typewriter.

3. 5 essential elements of screenplay format: 1.Slug Lines 2.Descriptions/Directions 3.Dialogue 4.Fades & Cuts 5.Marginals

4. Slug Lines Where & When: Tells the reader that the story has changed in location or time.

5. Slug Lines Always capped - “slugs” are single-line entries used to introduce a scene or a shot

6. It tells the reader where and when the action appears and the line comprises three parts: * INT. or EXT. - is the scene an interior or exterior scene? * Location - where does the action takes place? * DAY or NIGHT - what is the time of day?

7. EXAMPLES: INT. OFFICE - DAY EXT. 1818 TACOMA AVE - NIGHT

8. Make sure there is a SPACE DASH SPACE between the LOCATION and TIME OF DAY

9. Rules for Slug Lines 1.Slugs fit on only one line 2.Whenever you end a shot, should always triple- space to the next slug 3.Must double-space to whatever follows a slug 4.Either direction or dialogue must follow a slug 5.Put all slugs in CAPS 6.Do not use camera angles in your slugs

10. Directions

11. Step 1: Think about the action that needs describing. You cannot write a description if you are unsure about what you need to describe. Step 2: Stay in the script. Good action descriptions bring you into the world of the script and sound as if from the story, not an outsider. Step 3: Be brief and to the point. Action descriptions are the most overlooked areas of scripts because they are the most unread. Get your point across quickly and do not waste any time of the readers. Step 4: Never use exclamation points. Underline or capitalize words to stress importance. Step 6: Only write what can be seen on-screen. Viewers cannot visibly see interior motives, so they should not be made to read about them. Step 5: Never use the phrase "We See" or describe any type of directing shot in the script.

12. Characters All NAMES are in caps. Character cue begins 4.1 inches from the left edge of the paper, or at space forty-one.

13. Dialogue Begins 2.8 inches from the left edge of the paper, or at space twenty-eight.

14. Dialogue must be read down the center of the page. Left margin is 2.8 inches (28 spaces) AND the right margin is set at 5.6 to 5.8 inches (fifty six / eight spaces) from the left edge.

15. The Parenthetical a.k.a personal direction - refers to the instructions to the actors (the way they should say, emote or render the line of dialogue) enclosed in parenthesis and placed directly beneath the character cue

16. The Parenthetical When the parenthetical appears directly beneath the character cue, place the first parenthesis at 3.5 inches, or thirty-five spaces, from the left edge of the paper.

17. V.O. / O.C / O.S. V.O. (voiceover) is used for offscreen narration that characters can’t hear O.C. (off-camera) and O.S. (off-screen) is used when the speaker is present in the scene, but not in the shot. Type in CAPS and in ( )’s after the speaker’s name: Ex: LUKE (O.C.)

18. Dialogue When you break dialogue at bottom of page, only break it at the end of a complete sentence. On the following page, add (CONT’D) directly after the character cue.

19. All slugs, directions, FADE IN:, and the top-of-the-page CONTINUED: begin 1.4 inches from the left edge of the paper, or at space fourteen.

20. Marginals

21. The two cuts (CUT TO: and MATCH CUT:) the bottom-of-the-page (CONTINUED), and the closing (FADE OUT) begin at 6.1 inches from the left edge of the paper, or at space sixty-one.

22. Most times CONTINUED show up at the top and bottom of the page. The rule is: except for page one, the top of each page in a screenplay begins with either a CONTINUED or a slug.

23. If you end a page, but the shot that you are writing has not ended, then the next page is a continuation of the same shot. To show the reader that the shot is continuing, you write CONINUED on the top of the page. When shots end at the bottom of the page, the following page begins with a new slug.

24. The top-of-the-page CONTINUED begins at horizontal space fourteen and is placed approx one inch from the top edge of the paper. The CONTINUED at the page’s bottom is written in caps and enclosed by parentheses: (CONTINUED)

25. The bottom-of-the-page (CONTINUED) begins at space sixty-one, as do cuts, and is double-spaced down from the final direction or dialogue on the page.

26. Some writers have stopped using CONTINUED altogether; some use it incorrectly. Use of the CONTINUED remains a courtesy to the reader because it lets him or her know that the shot is ongoing. It also show that the writer knows standard script format.

27. FADE IN / FADE TO BLACK The first and last words that bookend every script.

28. SFX Sound effects. Typed at the left margin Ex:SFX: Alarm

29. DISSOLVE / CUT TO / FADE Indicate transitions from one scene to the next. Placed at the right margin. Use only if you want a certain effect. Otherwise, simply indicate the next master scene at the left slug line.

30. CU / ECU Close-up and Extreme Close-up. Placed at left slug line. Only use if crucial to the scene.

31. Abbreviated Cues FADE IN / FADE TO BLACK INT. / EXT. V.O. / O.C. / O.S. SFX DISSOLVE / CUT TO CU / ECU INTERCUT ANGLE ON AERIAL / CRANE SHOT POV PAN

32. Intercut Allows you to switch back and forth between two locales. Mainly used for phone conversations. Ex: INTERCUT PHONE SEQUENCE END INTERCUT SEQUENCE

33. ANGLE ON Used to draw attention to a particular element in a scene. Placed at left slug line. Use only if specific angle is crucial.

34. AERIAL / CRANE SHOT Placed at left slug line. Ex:CRANE SHOT of rooftop

35. POV Point-of-View. When the camera is used as the eyes of a character (seeing something from her/his perpective. Ex: TIM’S POV

36. PAN Horizontal movement in a scene. Written at left slug line. Ex:PAN of classroom

37. 8 1/2 x 11-inch page

38. Margins 1 inch from top edge of page.75 inches from the bottom edge of the paper (with.5 inches from bottom of paper to top of page number) 1.4 inches from the left edge of the page (because scripts are re-copied onto or printed on 3-hole paper) Right margin is set at 75 spaces

39. Voice Over (V.O.)

40. Off Screen / Off Camera (O.S.) (O.C.)

41. Series of Shots & Montage

42. A montage is a series of small related scenes, grouped together. Often montages are silent scenes that have music or some other sound over them.

43. MONTAGE OF THE UFOs LANDING A) The ship settles on the Washington Monument. B) Humans are rounded up into Candlestick Park as more ships land in the parking area. C) An African tribal leader chats with one of the aliens.

44. A Series of Shots is similar to a montage, but takes place in one location during one piece of time. Think of a chase scene when you see a car racing through the street, then a baby carriage wheeled across the street, then the cop chasing the first car, then the first car narrowly missing the baby carriage and the cop car having to stop to avoid hitting it.

45. SERIES OF SHOTS A) Police swarm the Federal Building. B) Ambulances swerve into the driveway. C) SWAT teams aim their guns.

46. First Page No page number on first page First line of text on first page should begin.75 inches from the top.

47. Second Page Top of page number to bottom of page should be.5 inches (3 returns). Add a period after the number: Ex: 2. 3.

48. The Language of Screenwriting Scripts are comprised of: Master Scenes (where & when something is happening)

49. The Language of Screenwriting Scripts are comprised of: Master Scenes (where & when something is happening) Dialogue (who is talking & what they’re saying)

50. The Language of Screenwriting Scripts are comprised of: Master Scenes (where & when something is happening) Dialogue (who is talking & what they’re saying) Abbreviated Cues (how a shot is set up - including transitions and sound effects)

51. Screenwriting is an art form It requires absolute precision, clarity, and simplicity. It takes discipline. A screenplay should be specific enough to communicate exactly what you want to happen, yet at the same time manage to be open to interpretation.

52. so much depends upon a red wheel barrow glazed with rain water beside the white chickens. William Carlos-Williams, “The Red Wheelbarrow”