Archive for September, 2009

10 Screenplay Formatting Rules To Help You Stay Out Of The Rejection Pile

Ensuring your screenplay is professionally formatted is essential if you expect to be understood in Hollywood and avoid the rejection pile. Here are 10 tips to help you format your ‘spec script’ correctly.

1. READ SCREENPLAYS
The best way to understand correct screenplay formatting is to read professional scripts. Check out: Script Fly, Script City, or Simply Scripts for screenplays.

2. PROOFREAD & EDIT
Typographical errors and poor grammar and punctuation are major no-no’s. Proofread and edit, then proofread and edit again.

3. THE TITLE PAGE
* Plain, no graphics, two brass brads or Chicago screws.
* Title should be in all caps, 1/3 of the way down the page followed by “By” or “original screenplay by”
* Contact information is inserted in the lower right hand corner of the page.

4. MARGINS & FONT SPECIFICATIONS
* The body of the script should be Courier 12, Single Sided, Plain paper
* Margin 1”, 1”, 1”, 1 ½” – leaving a “GUTTER” on the left.
* Page numbers are placed in the upper right corner. The Title Page is not numbered. Page numbers are ½” from top and 1” in from the right side.
* Scene headings and description (action) is left justified to the left margin.
* Left Margin (“Gutter”) approx. 1 ½” (to allow for three-hole binding)
* Top, right and bottom margins = approx. 1”
* Dialogue starts approx. 2 ½” to 3” from the left edge of the page and is always left justified.  A dialogue “block” does not exceed 3 1/2” in width.
* Parenthetical starts approx. 3” from left edge of page and does not exceed 2 1/4” in width before “wrapping.”
* Transitions start approx. 6 ¼” from left edge of the page, or just “outside” the dialogue block.
* Character names to indicate dialogue are not centered, they are about 4 inches from the left side of the page.

5. SCENE HEADER FORMAT
* Scene headers or Sluglines are capitalized.
* If you use the same header twice, it should be identical throughout the script.
* INT/ EXT. is only used for scenes in vehicles.
* Triple space between the end of a scene and the next slug line (scene heading)
* Do not widow a scene heading (do not break it at the bottom of a page.)

6. NARRATIVE FORMAT
Narrative (also referred to as action or description should be short paragraphs written in present tense. CHARACTER’S name is capitalized the first time he is introduced. SOUNDS are also capitalized.

7. DIALOGUE FORMAT
The use of “Cont’d” is optional when a character speaks over and over. If a page break interrupts Dialogue, use “CONTINUED” or “MORE”. In dialogue, spell out times (five-thirty), personal titles (except Mr., Mrs., and Ms.) and one and two digit numbers (three or more digits can be written numerically.

8. USE PARENTHETICALS SPARINGLY
Parentheticals (wrylys) are placed below the character’s name before the dialogue. They should only be used for clarity, to indicate another language or as a beat (On the phone).

9. AVOID CAMERA DIRECTIONS
Avoid technical terms and camera directions such as WIDE SHOT, CLOSE UP, ANGLE, INSERT. POV (P.O.V.) is acceptable. The use of “FADE IN:” on page one and “FADE OUT.” at the end of the script is still a standard convention.

10. EXTRA TIPS
*Don’t break a sentence from one page to the next.
* Don’t over-use ellipsis (three periods) to indicate pauses.
* Scene numbers aren’t required in reading drafts.
* Don’t cheat the page count by adding extra space to increase your page count, or cram more on the page to decrease the count.
* Avoid excessive use of bold, underscore,  & italics .

Adaptation Sales: The Host

Genre: Science Fiction-Romance

Author: Stephanie Meyer

Screenwriter: Andrew Niccol

Logline: Set in the near future on Earth, which has been assimilated by an alien species of well meaning parasites that call themselves “Souls”, one “soul” is fused with a dying human in an attempt to locate the last pocket of surviving humans on Earth.

Creating The Hero And The Villain

The last post posed the question “Does understanding character archetypes help you write a better screenplay?” Understanding what compels a reader or audience to follow your protagonist on his journey and to root for the antagonist’s defeat does, without a doubt, help you write a better story; one with unforgettable and enduring characters.

Viewers are drawn to the antagonist’s journey when they feel a connection to the character and catch a glimpse of themselves reflected in the hero. Villains enthrall audiences and provide a counterpoint to the hero’s character, clarify the significance of the hero’s journey, and act as a catalyst or vehicle for the hero’s transformation.

UNDERSTANDING MOTIVATION

THE HERO’S MOTIVATION
The protagonist is incomplete – he sets out on his journey because he must fill the void he feels. When a hero begins his journey, he is missing something significant. By the end of the story, he is complete.

In Gladiator, Maximus is incomplete without his family and begins the story with a desire to journey home. In Aliens, Ripley is incomplete if she does not act on her maternal instincts – she begins the story learning of the death of her daughter.

THE VILLAIN’S MOTIVATION
Villains may feel superior and desire the accolades the hero receives, but what they crave most is acceptance. They are complex emotional characters, as strong as, or stronger than the heroes they oppose. They believe their actions should be praised. Villains are the heroes of their own movies.

In The Godfather trilogy, Michael Corleone’s goal is to legitimize the family business. In Wall Street, Gordon Gekko comes from a poor background and was forced to attend city college; he contributes $1 million dollars to obtain a seat on the board of a non-profit organization – not because he’s a generous, civic-minded guy – but because he wants to be accepted and legitimized by the upper echelon of society.

CREATING THE HERO
The hero requires a clear goal, obstacles and stakes. In Raiders of the Lost Ark, Indiana Jones’ goal is to find the Ark of the Covenant, his obstacle are the Nazi’s, what’s at risk is his life and those of his associates. In Aliens, Ellen Ripley’s goal is to kill the Alien and save herself and Newt, her obstacles are the Alien and the corporate guy Burke, and what’s at risk is her life and Newt’s life.

GOAL + OBSTACLE + RISK

Elements Of A Compelling Hero
* He sacrifices himself in order to feel complete
* He has a clear goal and is determined to achieve it
* He overcomes obstacles that make him stronger and allow him to achieve his goal.
* He risks “all” for the common good

CREATING THE VILLAIN
When constructing the villain, consider his internal and external motivations. In Silent of the Lambs, Hannibal Lector’s external motivation is to be free of prison and to help Clarice, his internal motivation is to be understood and accepted as a brilliant man. In Die Hard, Hans Gruber’s external motivation is to acquire $640 million worth of bearer bonds, his internal motivation is to be respected and accepted as a criminal mastermind.

EXTERNAL MOTIVATION + INTERNAL MOTIVATION

Elements Of A Captivating Villain
* He has a clear goal, which he attempts to achieve without regard to the well being of other characters or the morals of society
* He longs for legitimacy
* He is multi-faceted
* His evilness is identifiable

(Note: sometimes the antagonist is not a separate character but the shadow side of the hero. This post focuses on constructing the antagonist as a villain.)

Check out AFI’s 100 Years…100 Heroes and Villains for a list of memorable good guys: Indiana Jones, Ellen Ripley, Norma Rae, Harry Callahan, Clarice Starling, Erin Brockovich and Karen Silkwood… and the worst of the bad guys: Hannibal Lector, Norman Bates, Nurse Racthed, Michael Corleone, Gordon Gekko, Hans Gruber, and Verbal Kint.

Adaptation Sales: Strange, But True

Genre: Thriller

Author: John Searles

Screenwriter: John Searles, Eric Garcia

Logline: Five years after the death of her boyfriend, a young woman tells his parents she is pregnant with his baby.

Adaptation Sales: “Netherland”

Genre: Drama

Author: Joseph O’Neill

Screenwriter: Christopher Hampton

Logline: Set in New York City, a lonely Dutch expatriate becomes drawn to the sport of cricket and forms an unlikely bond to immigrant culture.

Adaptation Sales: “A Moveable Feast”

A Moveable Feast

Genre: Drama

Logline: Young Ernest Hemingway in post-WWII Paris in the 1920s.

Adaptation Sales: “The Danish Girl”

Genre: Drama

Author: David Ebershoff

Screenwriter: Lucinda Coxon

Logline: In 1931, Danish painter Einar Wegener becomes the first person to go through a sex-change operation to become a woman.

Adaptation Sales: “Fame and Fortune” (“Elvis: Still Taking Care of Business”)

Elvis: Still Taking Care Of Business

Genre: Drama Bio

Author: Sonny West, Marshall Terrill

Screenwriter: Sonny West, Cindy Friedlander, Justin Scro

Logline: Sonny West, a personal bodyguard and close friend of Elvis Presley, lived a roller coaster ride of celebrity excess and watched as Elvis became dependent on prescription drugs.

Open Thread: Does Understanding Archetypes Help You Write A Better Screenplay?

An archetype is a prototype or model from which something is based. In screenwriting, archetype refers to the role a character plays in the story and describes the character’s function (note that characters have the potential to serve more than one function, depending on the needs of the story).

Many screenwriters refer to archetypes when creating their characters and structuring their stories. Personally, I have never considered archetypes when writing a first draft.  However, during the rewriting process when I analyze each character’s role and purpose, I usually discover they each fit into one or more archetypes.

So, my question to you, fellow writers, is: Do you use archetypes as a tool for writing your screenplay? If so, how and why has it benefited your script?

COMMON ARCHETYPES IN SCREENPLAYS:

THE HERO – function is to serve and sacrifice
Primary purpose is to answer the challenge, complete the quest and restore order.  He is driven by universal needs.

MENTOR – function is to guide
Provides motivation, insights and training to guide the Hero on his journey.  Heroes of detective stories, film noirs, thrillers and westerns are often guided by an inner-mentor.

THRESHOLD GUARDIAN – function is to test
Presents obstacles the Hero must overcome to prove his commitment to the quest.

HERALD – function is to warn and challenge
Signify change, present the challenge and announce the call to action.

SHAPESHIFTER – function is to question and deceive
Misleads the Hero, hides his intentions and loyalties, causes the Hero to doubt.

SHADOW – function is to destroy
Usually represents the enemy, villain or antagonist.  It can also be the Hero’s inner demons and fears.

ALLY – function is to assist
The Hero’s friend or sidekick – often serves as a device for comic relief and someone for the Hero to talk to.

TRICKSTER – function is to disrupt
Mischievous and rebellious, attempts to force a change, uses laughter to break tension.

ARCHETYPES IN THE FILM DIE HARD:

HERO – John McClane

MENTOR – Frequent Flyer Passenger

THRESHOLD GUARDIAN – Takagi

HERALD – Hans Gruber, Al Powell

SHAPESHIFTER – Ellis, Richard Thornberg, Hans Gruber

SHADOW – Hans Gruber

ALLY – Al Powell, Argyle

TRICKSTER – John McClane

Transcribing Screenplays

This screenwriting tip comes courtesy of Scott Myers over at Go Into The Story who posted this on his blog last week.  I thought it worthy of sharing:

I assume we’ve all heard those stories about how a young Felix Mendelssohn transcribed note for note musical scores by Johann Sebastian Bach, just to get the feel of how Bach wrote music.

And stories about how F. Scott Fitzgerald transcribed the novels of writers he admired such as Charles Dickens to get the feel of their writing.

Well, why not do that with screenplays?

If you’re struggling with any of the following:

* How to handle scene description
* How to manage transitions between scenes
* How to balance action and dialogue within scenes
* How much scene description is too much / too little
* How to write realistic dialogue
* How to use primary sluglines and secondary sluglines
* How to write series of scenes, series of shots, and montages

Sure, you can read great screenplays.
But what about typing them – word for word?

If it worked for Mendelssohn and Fitzgerald…
Don’t you think it could work for you, too?

This has been another edition of Dumb Little Writing Tricks That Work.

YOUR TURN: Have you ever transcribed screenplays as a tool to help your writing?

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