Screenwriting : What does this really mean? by Steven Michael

It means get rid of all transitions! They are not needed, nor are they even the writer's job to indicate.

I'm new, but have never heard that before. Why do screenplay softwares have transitions available?

Take a closer look at Mr. Miyamoto's article. He's quite clear; "unnecessary transitions". And then he highlights CUT TOs. As I read this I think he means take out unnecessary transitions (not all transitions) and take out all CUT TOs. How else do we change locations? We use the Slug Line. Every time we use INT or EXT and the location mane the screenplay reader understands that the scene location has changed. No need to also include "CUT TO". Some transitions may be visually interesting and acceptable in a screenplay. But Travis is also correct; transitions are usually not the writers job. Again, that's why Mr. Miyamoto wrote "unnecessary" and didn't write "all". Be careful when using transitions in a script.

A new scene heading indicates a change of location. CUT TO also eats up page space. EXT-HOUSE-DAY Bob walks to the front door and enters. INT-BEDROOM-DAY Bob enters and is surprised to see his wife in bed practising yoga with his brother.

Thanks guys! Only use transitions when they contribute to the texture of the story/plot. What's the best way to show the passage of time?

"I'm new, but have never heard that before. Why do screenplay softwares have transitions available?" The reason they are there is for shooting scripts which is different from a speculation script. A shooting script is one that is in or going into production and would generally have been bought or commissioned already. The speculation script is one a writer hopes to sell one day to be made into a movie/tv etc. Of course FADE IN: and FADE OUT: at the end can be used.

1) CUT TO is implied simply by putting a new slug line, because a cut is the "default transition" used to begin with. 2) I say you should cut ALL transitions... UNLESS the transition is vital to the scene and/or script OR to make something within the script more clear. For instance, in the screenplay for CHRONICLE (a found footage sci-fi), they used CUT TO transitions whenever the camera would jump but we're in the same location... Like when the character was at a party and we see various quick shots at the same party. BUT, as a general rule, transitions are almost never "needed". 3) How do you show a new location or passage of time? With a new slugline. 4) why does screenwriting software have transitions? a) because it USED to be the industry standard to include transitions, b) because some directors/producers want it in the shooting script (which I'll never understand). Big lesson: transitions are the job of the movie's editor. The screenwriter shouldn't tell the editor how to do his job unless it's vital to the story. Likewise, a screenwriter shouldn't tell actors, cinematographers, etc. how to do their jobs. A screenwriter's job is this: tell the story and develop the characters. The end.

But Von , if your script is littered with CUT TO and DISSOLVE TO, a reader once taking your script serious, can now turn into a reader knowing she or he is reading an amateur's script.

The passage of time is given in the slug at the end (day, night, etc), but can also be inferred within action (i.e. the deposition scene in Body Heat, which used cigarette smoke transitioning to a finished cigarette/end of deposition).

I do minimal transitions in my scripts but agree with the others who have said if it makes sense put it or leave it in. With all formatting the #1 thing is that your reader understand what's happening, where we are location wise, who's speaking, all that good stuff, so if a transition is needed for that, go for it. Where you find trouble is when you have so many transitions in you're basically doing the director/cinematographer's job. Same goes for parentheticals, there are times when they're needed but if you have so many in there your actors feel like they have no freedom to play and interpret, that's a problem. Use your judgement.

Thanks everyone - I get the idea of transitions and sluglines. BUT, if I want to indicate several days or weeks of time passing, should that information be in the next slugline? Or is it put somewhere else? Or left up to the reader to decide?

I suppose I can get creative with the action to indicate multiple days/weeks passing (as Jim J. stated). How does everyone feel about collages for long periods of time passing (as long as the collage pushes the plot)?

Steven, for your example of "indicating several days or weeks passing", I'll answer your question with a question of my own: Do you want the audience watching the movie to know that much time has passed? Because yes, a script gets read by the people who will make the movie, but the audience watching the movie aren't doing so with the script in their hand. SO, if it's important enough to tell the audience the amount of time has passed, maybe you want "2 weeks later" to appear on screen as text the audience can read? If that's the case, you would, after the slug for the new scene, write: SUPER : 2 Weeks Later This means that "2 Weeks Later" will be superimposed on the screen.

A great place to ask these questions is on David Trottier's (ala screenwriter's bible) facebook page. Steven, this is what I think Trottier would say: in a spec script, to indicate a passage of time within the same scene, just start a new action paragraph with the word Later, e.g. Later, John is asleep on the couch. To indicate a longer passage of time, use montage: MONTAGE: JOHN SLOWLY STARVING OVER SEVERAL WEEKS -- John sits at his kitchen table, doesn't touch his food -- John opens the fridge, the food is moldy -- John walks past a restaurant window, noticeably thinner -- John opens his fridge, it is empty -- John in the shower, we see the bones of the frame of his body. Staying away from overuse of 'shooting script' transitions, even an overuse of slug lines, will help your script read in a more flowing way, whether the people reading your spec are novice or experienced. For an example of how to clean up/streamline slug lines, think of MASTER SCENE and minor locations within that master scene. INT. JOHN'S HOUSE, KITCHEN - DAY John looks in the fridge LIVING ROOM John sleeps on the couch BEDROOM John tosses in bed, can't sleep well BATHROOM John's bony frame in the shower shows us how much weight he's lost. Doesn't that look better than this: INT. JOHN'S HOUSE, KITCHEN - DAY John looks in the fridge INT. LIVING ROOM - DAY John sleeps on the couch INT. BEDROOM - DAY John tosses in bed, can't sleep well INT. BATHROOM - DAY John's bony frame in the shower shows us how much weight he's lost. ?

Thank you Travis & Sarah. That helps out very much. Now back to my project where 85 pages become 60 (lol). And my story could use the extra pages.

How do you change scene locations? A new slugline.