![WHAT ARE THE ELEMENTS OF A SCREENPLAY?
Scene heading (slug line)
- Scene number
- Interior/exterior
- Location
- [flashback/dream sequence]
- Day, night, dawn, dusk
Big print
- Present tense
- Avoid ‘we see’, just state what is happening
- Be sparing, don’t overwrite](https://image.slidesharecdn.com/contentlab-april-screenwritingbasicsppt-150508032705-lva1-app6891/85/Content-lab-April-Screenwriting-Basics-3-320.jpg)
Content lab April - Screenwriting Basics
- 1. CONTENT LAB April 2015 Screenwriting: the basics
- 2. WHAT IS A SCREENPLAY? - A written representation of what will be on screen
- 3. WHAT ARE THE ELEMENTS OF A SCREENPLAY? Scene heading (slug line) - Scene number - Interior/exterior - Location - [flashback/dream sequence] - Day, night, dawn, dusk Big print - Present tense - Avoid ‘we see’, just state what is happening - Be sparing, don’t overwrite
- 4. BIG PRINT: GOOD EXAMPLES First paragraph is broad. The specifics of what the extras are wearing etc. is decided in pre production, not the writer’s job! Second paragraph is specific, because it addresses main characters. It is showing us what we would see, not what anybody is thinking. Muriel’s Wedding
- 5. BIG PRINT: GOOD EXAMPLES This is good script writing, because it tells us about her character through her actions. It doesn’t tell us what shots would be used (that it the director’s job), it just shows us what is in the shot. The writer can guide the director towards certain shots. For example: describing the photo in the big print means it is important to the story, so it would most likely be shown in a close up. Muriel’s Wedding
- 6. BIG PRINT: BAD EXAMPLES Problems: 1) Use of passive language: “Selena is unpacking”. Write “Selena unpacks”. 2) Overwritten first sentence. Only provide necessary detail. 3) She reminisces? We can’t see that. Either show it in a flashback or better yet, describe her expression/posture so the actor and director know what you are trying to convey. 4) We can’t smell the toast, it’s a film.
- 7. BIG PRINT: IMPORTANT DETAILS Reading a screenplay should be like watching a film. Each passage of action should be four lines or less in length. Put a blank space after each one. Only write what can be seen or heard.
- 8. BIG PRINT: IMPORTANT DETAILS Get into your scene as late as you can, and get out as soon as you can. Too much action Good Examples from Billy Marshall’s ‘slideshare’ on screenwriting. http://www.slideshare.net/BillyMarshallStoneking/the-bg-print-showing-the-action
- 9. BIG PRINT: GUIDING THE VISUALS It is not your job to decide what the film will look like (unless you are also the director) - BUT, writing in this way helps people who are reading your script see the world you are creating. Some people this might be useful for: - Potential investors - Potential team members (producers, directors, actors etc.)
- 10. DREAM SEQUENCES AND FLASHBACKS Think carefully about using a dream sequence. Do you really need it? What it is showing? Why can’t you show it somewhere else? How to indicate a dream sequence How to indicate a flashback
- 11. DIALOGUE Basic rules: - Try to write how people speak. Listen to conversations on public transport and write them down. How do they flow? - Show don’t tell (avoid exposition). Show as much as you can in people’s actions.
- 12. STAGE DIRECTIONS (PARENTHESES) Don’t overuse them!
- 13. USEFUL LINKS Annotated script: http://www.harringtones.com.au/pdfs/annotated_script.pdf Screenwriting tools and templates: http://www.harringtones.com.au/index-tools.htm SCREENWRITING TEMPLATES Formatted word document Celtx Final Draft