Screenwriting : Need some Clarity by Jared Moses

Hi Jared, here are the ones I go by.

12pt courier and no other font EVER...

NO Camera angles such as CLOSE ON: WIDE: ANGLE ON: Are you directing your script? If you are the great if not. Don't use them!

CUT TO: DISSOLVE TO: I never use these either. I have seen it used in spec scripts to emphasis the next scene. But I stay away from using it.

I would use FADE IN: at the start of the script before the first slug line, however I believe the industry is beginning to accept that this not necessary.

IN the same way I would use FADE OUT: at the very end of the script. But nowhere else.

MINIMAL amount of parentheticals, and I mean as few as possible. You shouldn't have to tell actors how to act unless it's something that is NOT OBVIOUS to the actor/reader

I would also AVOID completely telling the reader what particular song goes where. It's not our job to choose the music for the film especially on a spec script. I simply describe the type of music in the action.

CAPITALIZATION in action I use very sparingly too. It makes the read Jarring and tells the reader that you don't know where the dramatic emphasis is. Again disrupting the read.

The correct use of (V.O.) (O.S.) or (O.C.)

Completely agree with the previous comment, keep things simple, the less camera angles and direction etc, actually encourages you write better action. Also avoid 'we see' it's a big no no in a spec.

"The Screenwriter's Bible" by David Trottier is a great reference.

Here's my thoughts on this. No amount of direction for director or actors will detract from a great story. If your story grips them, is entertaining and engaging and pulls them in, you could have CUT TO after every scene and it wont matter. Focus on crafting the best story you can. If that means a random CUT TO in order to propel your story forward in the best possible way, our that damned thing in! Professional scripts we read and study are written by people who know and break "the rules" in favor of telling their story the best possible way they can. I think we get caught up in the technicalities of formatting that we forget that it's the story that matters most.

Lots of nonsense about writing scripts from experts selling books & webinars.

Spend some quality time face to face with working writers. Readers talk about format when the script stinks and they don’t want to read anymore.

Jared: As far as camera direction from scripts written by professional for well-known films, a lot of what's posted online are shooting versions of scripts rather than spec versions. If you're righting a spec script it's really a waste of time. Beyond that, I agree with Dan MaxXx. Check out the Nightcrawler script I posted on the forum. Dan Gilroy doesn't use normal scene headings, plays with fonts and does other things many folks frown upon. But that script made a spectacular film.

Jared, yes, read a ton of professionally written screenplays. Why? Because they are solid examples of great writing. They show how effective writing works and looks. They show real-world use of writing tools—in actual practice, not just in theory. They help you see and experience structure, voice, pacing, dialogue, subtext, how things work on the page. How to be entertaining on the page. Pay attention to bigger elements not just the superficial ones and how it all works together. The whole is greater than the sum of its parts. Learn the slight differences between a shooting script and a spec script, and their purposes. Talk to and listen to working writers. There is a lot of draconian nonsense out there. With a spec, the focus is more on story, creating an easy read, not so much as a techinical document. So as you are reading these produced, professionally-written shooting scripts do keep that in mind. A spec script is a calling card for the writer. You are trying to capture the attention of a reader—an audience of one at a time. With a spec you are evoking what could be, not what should. You are trying to get people interested in the possibility of a project or you as a writer or both. Lol! And a screenplay is a flexible document. Nothing is carved in stone. If/when your spec script goes further into development, then others will come onboard and make changes as they see fit. :) Meanwhile, to better arm yourself with good information, do get yourself a good reference book for any formatting questions that you might have— the already mentioned Screenwriter's Bible is a good resource to have. I keep mine on my desk. But do not get the e-book. Get the hard copy. Hope that helps! ;)

If you use transitions and camera directions you are telling the director how to do their job. Some people do ALL CAP non-human sounds or things they want to draw attention to. That always seemed like more work for me so I don't do it. If someone doesn't know what the difference is between a spec and production script they should read a good how to write a spec screenplay book so they know the difference.

Do what works. Period. You're job is to move the story along in an informative and entertaining way. You're trying to get from Point A to Point B so that it all makes sense, not only along the way but at the end. If that means using "we see" or bolding or a different font color for a section of the script that is core to its plot, then use it. Read screenplays from pros. They know a helluva lot more about good writing than screenwriting gurus who've never sold a single script.

Saw a video on YouTube a way back by two award winning writers (I forgot who they were) They were giving a free seminar in LA. One of the participants asked why they didn’t charge. They said there was so much bad info out there by writers who never got optioned or produced and didn’t have a clue they wanted to give back with some free real info. Was a great seminar - opened my eyes to some things. Basically they said as trottier did - do what works as long as its visual. (I.e. instead of a POV heading - you can get your point across with “John sees” in the action line.)

Dash. Just because someone is pro doesn’t mean they know more than a guru. They got paid because they probably knew someone not because they know more than someone.

Dan G., I respectfully disagree. If they knew more than the pro, then they'd be making their primary income as a screenwriter, not a "guru". I mean, don't you find it...strange...that people who have NEVER sold a single screenplay (and not for lack of trying, either) are getting paid to instruct others on how to sell a screenplay?

Dash. I would agree except for the fact that Lady Luck and who you know plays such big roles.