Formats and conventions of scripts for media products
- 1. Formats and Conventions of Scripts for Media Products Master Scene / Spec Script: Jurassic Park (1993) - https://sfy.ru/?script=jurassic_park The Master Scene script is the standard and accepted format for film production, being specially designed to offer a straight forward and accessible format for producers to show to investors. This script format offers a mix of description and dialogue, allowing the reader to easily follow the story – which is obviously the most important element of a screenplay. It always follows the distinct formatting which of Master Scene Script - which is split into; scene headings,narrative, description and dialogue blocks. The Master Scene / Spec Script that I will be using as an example is that of the 1993 Steven Spielberg film Jurassic Park. Narrative description is the telling of the story as it unfolds on screen, it begins directly below the scene heading. The writing should be lean and visual, focusing on action that continues the story. Though concise, it should still engage readers. Unlike a novel, everything in a screenplay must be recorded in terms of picture and sound. Therefore, narrative description should never include anything that cannot be seen or heard. This is to describe the scene through clearly conveying to the audience what is happening. Furthermore, the description of characters is also important, as can be seen in the screenplay, the character of John Hammond is described as “seventy-ish, is sprightly as hell, with bright, shining eyes”. This clearly displays this character’s traits as being lively and enthusiastic about whatever it is that he has to show the other characters, engaging the audience also. Timing in the movie industry is that approximately one page of screenplay equals 1 minute of time on screen. This is for planning purposes; since the average feature is 120 minutes, the average script should be about 120 pages in length. If the aforementioned script is either below or above this amount, you could face issues regarding the finished movie being too long / short. Due to this convention being in place,description passages shouldcover as many pages as the scene is expected to run in real time. For example, if the writer believes that an action scene will take a minute of screen time, it should be written to cover 1 page, rather than 1 line as it perhaps would generally. Dialogue blocks or ‘speeches’ are composed of three parts; character name, wryly and dialogue. Just like the scene below character names are written in upper case, wryly lines are written in lower case and the dialogue spoken is in the format of a generic sentence. A wryly indicates how a line should be said.It was named after novice screenwriters whose characters would say things in a “wry” way. Wryly should only be used if the subtext of the dialogue is not clear.
- 2. Conventions of Master Scene Scripts: The font used is always Courier and size 12 Sluglines and character names are always written in block capitals Voiceover and off screen used are abbreviated to within screenplays (V.O. and O.S.) Footers at the bottom right of a page say (CONTINUED) only where a scene moves from one page to the next. Elements that should not be incorporated into a Master Scene Script: Scene numbers Camera angles Descriptions of sound effects within the narrative Character names showcased alongside dialogue (barring first appearance) third person use of “we” (for example, “We see Hammond look around the trailer approvingly…”) Title Page: Every screenplayfeatures a title page. The title page is vital as it has the key information about the script such as, not surprisingly, the title, as well as the name of the screenwriter and / or co-writers. The title page of Jurassic Park tells us the script was written by David Koepp, however based upon the original novel by Michael Crichton, which has been adapted by himself with the assistance of Malia Scotch Marmo. In this case, as the example is an adaptation to a screenplay, the title page is formatted accordingly - reading “based upon the novel by…” followed by the aforementioned credits, this can be seen on the script itself.
- 3. Sluglines: Screenplays notify the reader of a new sceneby having what is referred to as a slugline,which are generally placed before most script go into dialogue etc. Sluglines within a screenplay establish the location of the story, helping anyone reading it to better imagine the scene within their head. For example, this tell anyone reading the script whether the scene is an exterior or interior scene, where the scene takes place in general, and at what point in time / the time of day it takes place, of course depending on which of these elements are required for the purpose of the storytelling. Action / Text: Conventionally, the action is described by text directly underneath the slugline, as well as in between dialog. The action is generally self-explanatory due to it describing the actions of characters, but it also covers other elements such as the mise en scene present within the scene.Examples of mise en scene include what the characters are wearing, vehicles,weapons and other props that help to tell the desired story across the script. In the case of a shooting script, the text can include info to be applied during the editing process, such as particular sounds etc. However, these directions are not present in the Master Scene Script. Characters: Before any dialog is spoken, the character speaking has to be identified, which is showcased to the audience through a character line, simply consisting of the character's name in block capitals, followed by their respective speech. This line can potentially provide information regarding whether the character speaks off screen (O.S.), via a voice-over (V.O.), or if the line is continued from another (cont’d).
- 4. Dialogue: Dialogueis akey part of ascreenplay. Dialoguecan be shown as either singledialogue; spoken by one person at a time, or dual dialogue – which refers to the instance when two people speak at the same time. The lines of dialogue are always placed directly underneath the character's name, in the centre of the page.
- 5. Parentheticals: Parentheticals are used to give extra information to the reader about the dialogue. The type of information given in these are things such as whether a character begins talking to another character. Examples of Parentheticals within scripts include; in what manner the character reads these lines (for example – excited), or if they are speaking from another location within the script; which allows the script to be translated into the final production piece with further ease. Jurassic Park – Extract Analysis:
- 6. Above is an extract from the master scene script of Jurassic Park, this portrays what would become one of the film’s final and most iconic action sequences. The extract starts by referring to the film’s most prominent dinosaur – the Tyrannosaurus Rex, as simply “The Rex” in order to simplify the reading of the script for others. This is due to the master scene script being presented in a more reader friendly format than the shooting script, which is more abrupt and to the point. The rex is then described as “whirling around”, which translates perfectly to what the creature is seen doing in the final version of the film. The fact that this description can be easily applied to the respective part of the filmshows the authenticity that went into the film’s production, in regard to making it as similar to the script as possible – creating the desired end product. The detail of “its heavy tail counterbalances” helps to give a sense of scale to the beast, which great attention must be paid to in order to accurately depict the large animal moving in an appropriate manner. This is a detail that could potentially be pushed to the back of the mind whilst reading a full script, however it is an important aspect when the script is being envisioned by whoever reads it and should be made a simplistic as possible to translate to the big screen. The adjective “snapping” reminds the reader that although the animal is large and should be made to realistic standards, this particular motion is performed swiftly, most likely for the purpose of dramatic effect to add to the high tension of the final major scene. The following adjective used is “sweeping”, referring to the Rex’s tail across the floor of the visitor’s centre, this creates a clear picture as to what the motion entails,as it can be assumed that parts of the collapsing building and deceased raptors could potentially collide with the object as it does this, giving an estimate to the speed and weight also. This line is finished off by describing the tail straight-up “smashing” through the T-Rex skeleton that was a former display piece in the location, the short and to the point, although clearly understandable description used here portrays this information to any potential readers of the script in a simplistic manner, whilst hopefully implanting the idea that the on screen translation of this will be similarly prominent. This particular motion’s prominence in regard to the lore of the film itself is that the Rex destroying the skeleton implies that dinosaurs are no longer an echo of the past, but now exist in the fiction of the film, and the characters within this world will have to get used to the idea sooner or later. This makes a statement for this filmon its own, whilst warning of similar events that could occur in our own world if science is used unlawfully, and perhaps most importantly from the perspective of the film creators, paving the way for any potential future sequels - with a wide variety of options concerning the direction in which these could be taken. The following line “The skeleton collapses in an explosion of bones, falling to pieces around the living rex” backs up the points previously made by emphasising the fact that the Rex is “living”. The fact that the bones “explode” could be linked to the finales present in many films being somewhat explosive, in order to emphasise their end in an impactful manner, which often stays with the eventual audience if performed correctly.
- 7. The stance of the Rex in the following line is described as “majestic”, implanting the idea of an iconic shot in the readers minds, with the previously destroyed skeletons being “swept away” to the back of the shot in order to set up an almost picture-perfect shot in the final product. This is followed by the description “snapping like matchsticks as they settle around the animal”, with the word “snapping” being a previously used adjective, which helps to reinforce the manner in which the bones collapse. The line “settle around the animal” once again hints towards the image of an iconic shot, with all elements in the scene accounted for and placed accordingly in the eyes of the creators. This is followed by “the rex draws itself up to its full height” and then two spaced out dashes, indicating a long pause for suspense and the time it would take the animal to do this. This extract once again emphasises the size of the animal, appearing more intimidating than ever as it rears itself higher than has been seen across all previous scenes in the film, highlighting the creatures growing superiority in comparison to the fleeing human characters also – which is obviously a message the writer wants to get across to the audience in the final product, with it clearly being achieved. This is followed by a further ellipsis, represented once again by dashes, leading into the text “it roars”, the latter of the two words is written in distinct block capitals, emphasising its importance and / or physical volume within the text. This is then emphasised further in the following line, reading “The sound is deafening, and the vibrations rattle the entire Visitor's Centre”. Very specific descriptions have once again been used here to appropriately describe the colossal sound, such as “deafening” and “vibrations”, the sound created in the end result would go on to become one of the most iconic and recognisable in the movie industry. The infamous banner reading “When Dinosaurs Ruled the Earth”, is intricately described as “clattering” to the floor at the rex’s feet. This is the consolidating symbolism that the dinosaurs have broken free and could potentially rule the earth once more, with them being a symbol of history now itself in the past. The use of the banner is perhaps the clearest way in which this message is communicated to the audience in the final product, hence why it is emphasised in capitals here in the master scene script. Shooting Script: The generic shooting script is a more elaborate, precise and in some ways an overwritten version of a screenplay. In contrasts to what may first be assumed, the shooting script is not written by the screenwriter. It is in fact written by the director, usually alongside the respective cinematographer, as both discuss their ideas and shot plan desired for the movie. The main and therefore most essential difference between a screenplay and shooting script is that the former is a selling tool, whereas the latter is a tool used within production itself. When a screenwriter produces a screenplay, he is trying to sell, most importantly, the story. Therefore, he has to create a smooth read with a harmonious flow, otherwise the writer’s screenplay and hard work could end up being rejected. Screenplays should contain little to no direction whatsoever. Directing the movie and calling the shots is not the writer’s task; as this is up to the director.
- 8. Ideally, right after a screenplay is purchased, the movie should enter pre-production. The director will then alter the story as he feels necessary and eventually craft what will become the shooting script. This form of script is normally broken into shots, featuring precise cinematography terminology such as close-ups, dolly in and overexposed. The purpose of these directions is to clearly inform the crew what is going on and when. Before principal photography starts, the shooting script will be divided into dates, to further assist with the flow of the production amongst the cast and crew. Although unpleasant to read from the perspective of an audience member, the shooting script is essential to the complicated production of feature movies amongst other formats. The primary goal is to alert all of the crew members as to what they will need to bring to the production or arrange beforehand. Scene numbers are also added – these remain consistent throughout any revisions that may take place (which are always printed on coloured paper). It’s worth noting that various techniques are also included throughout the shooting script to help the crew shoot on set – these can include camera composition/movement, and editing. As an example, the shooting script for The Matrix, written in March of 1998 is shown below. Radio Script: Radio scripts differ from film scripts as none of the narrative can be told visually, due to the radio format obviously being allsound. Some examples of terminology used within this format include: (OFF) Indicates that the actor should speak away from the microphone. The audio equivalent of “off-screen”.
- 9. (V.O.) Voiceover indicates a character who is narrating over sound, music or dialogue. (D) Distort indicates a character who is speaking via a mechanical device like a telephone or radio. (LOW) Indicates that the actor should speak quietly, almost in a whisper. (CLOSE) Indicates that the actor should be in close proximity to their individual microphone giving an intimate feel to the dialogue, in some cases to further portray emotion etc. An example of a radio script, entitled Goal Difference, from the BBC Archives: Almost all radio is scripted before broadcast, even if it seems conversational and off the cuff. Due to the wide variety of radio types, there has to be several different types of script writing. Each type of script has its own set of conventions linking to the purpose. A link being scripted ensures that everything is covered and fits into the allocated timeslot. It also ensures that links don’t run long or fall short. The definition of a linguistic convention is using the beginning or ending of a word instead of the full word itself. For example, “cause” would have a more conversational style than “because” and would therefore fit in with the identity of most radio stations.
- 10. With regards to writing numbers, for example, instead of writing 9000, you would write out the words nine thousand. This is because people might stumble while reading out numbers , so rounding up and spelling them out will help the flow of speech. Changing “you are” into “you’re” is known as contractions, this allows for a smoother flow in script writing. It also removes the need for the presenter to alter the word to a more conversational style of speech in their head whilst on air. Expanding acronyms are present in order to tell the audience what the acronym stands for could better explaina news story and inform listeners who aren't familiarwith it.For example, “Interpol” - International Criminal Police Organization. Other acronyms, for example the BBC would not need explaining. The use of punctuation ensures that the presenter pauses at the correct point in a sentence and does not allow one sentence to run into another. For example, if this sentence was in a script the presenter would have difficulties. A script which uses more formal language would generally be targeted at an older or more educated audience. Less formal colloquialisms are only used in conversational or informal language. An example of this would be “Nee Good Mate‟ which is used in the north east. Jargon is the language used by people who work in a particular area or who have a common interest. This can develop into a kind of shorthand. In the radio industry “cans‟ means headphones and “bed‟ is a section of music talked over by the DJ. Phonetic spelling is when script writers will spell out hard to pronounce words so that the presenter can easily read it out and not stumble over or get the word wrong. This often happens with names. Writing for the ear is a more conversational style of writing, which avoids the use of long complex sentences. Formal language would generally be avoided, with local colloquialisms generally sounding better to the ear – whilst simultaneously aiding the flow of speech. Signposting is the term used for the background noise used to set the scene. For example, if you were doing a report on schools, you might have an introduction or background noise of children in a playground. For language style, you’d think about your programme and target audience, before tailoring your speech towards them. For example, a chat show would have an exciting feel about it, however a late-night chat show would be more relaxed. Considering how fast people talk and their style of talking. Usually scripts would be written for an average of 3 words a second. A link of around 90 words would take about 30 seconds. Making the overall feel of a link or news piece appropriate for the context. For example, a news story about the war in Syria wouldn't sound light hearted or jovial to the listener. Likewise, a funny breakfast show wouldn’t be downbeat. Continuity links – These are the short station ID‟s you hear such as “we are metro radio”. This re-enforces the stations brand and can allow time for breaks between songs.
- 11. Video Game Script: Video game scripts are different to both film and radio, in that they often exist within interactive worlds with multiple options. Scripts are often branching – this means that certain elements are optional, so may or may not have an impact later. Writers must produce scripts in order to consider the variables that their world has created, along with the assistance of a flowchart. This can consist of incredible detail and be very time consuming, depending on the depth and complexity of the interactive world in which the game is set. Reviewing a script following its creation means the writer shows it to their team, managers, or potentially friends. If the writer is creating a game independently, they should look over it as though they are a gamer with a short attention span, in other words from the perspective of the audience. Questions should be asked such as; Is it gripping? Is it new? Does it have a Hero character that would be engaging and potentially fun to play as? Anything that doesn’t make sense should be rewritten. Make sure that important plot points are repeated throughout the game. Many audience members will drop a game half way and not come back to it for four months. If you’ve written an incredibly long and complex RPG (role playing game), people may not remember a particularly important detail that is required to be retained for the final moments of the game, as an example. The writer should continuously ask themselves if they would want to play the game that they are writing the script for. There are hundreds of corporate created games worldwide, with invested money – leading to higher overall production values. So, as with the previously analysed genres of scripts, a gaming script should be engaging and overall a unique story in its own right. Flowchart: This documents every major decision the player faces, and the results of the decisions the player makes. It should consist of text boxes with arrows to indicate what happens when a particular action is performed. If there are multiple decisions the player faces, yes and no, left and right, etc. can be used to indicate where the chart branches. The more choices in the game, the bigger the chart. Considering that technology is constantly evolving, video game scriptwriters must be open to change and adjustment. Currently, scriptwriting for games has developed into something much more complicated than it was originally intended to be, due to the aforementioned advancing of technology. An example of a video game script flowchart will be displayed below: