Screenwriting : Am I arrogant? by Eli Jakeman

Eli, write the shot as description WITHOUT telling the camera what to do. This way the reader SEES what you intended but it doesn't come across as direction.

As a screenwriter your responsible for telling the story and director is the person responsible for how it should appear on film.

Words of screenwriting wisdom: "Its the director's job to direct, not the screenwriters."

If you are writing a "spec" script, then "no" you do not put in shot and angles. "Wide angle" or "Bird's eye view". If you really have a clear picture of how you want it to look, then you should write the scene description in such a way as to suggest that it be shot that way. "Overlooking a hill, the town in the distance is on fire" or "their leg swishing to keep them afloat as a shadow swims beneath".

I couldn't agree more with Robert Petrecca

Do Directors find this annoying? The basic answer is yes.

Thank you for all your responses.

If you are not a director and therefore not directing it, NEVER include shots or camera moves as it is the kiss of death with spec scripts. ...no matter what anyone says. No studio or series, legit reader will get beyond page 10 and it will be in the bin.

Do you find it annoying when people give you well intentioned advice? Or do you just ignore them and think they should have kept it to themselves.

It depends on the director I would assume.

You would have to be sure what you are putting in is so important to the story telling that the script makes no sense without it. Otherwise it is a waste of keystrokes.

Professional quality spec scripts do not include camera moves or descriptions of shots, with a very few exceptions, but only if absolutely necessary (and as rarely as possible if possible): such as CU or ANGLE ON...or, if absolutely need be, WE SEE. This is fact, not opinion. In one's spec screenplay, what is essential is the Story, plain and simple. Specific shot descriptions go in a 'shooting script' which is a production document, one the proceeds a spec script which is a development document. Shooting scripts are sometimes written by the original writer(s) in collaboration with a director (it depends on the deal that is negotiated with the producer(s) and the writer(s)) ...and perhaps other production crew i.e. First AD, Production Designer, Story Board Artists. But one can ignore all of this if one chooses, and most likely pay a price - that being not selling one's script.

Ali, Jakeman, I hope this article is of benefit to you re your query ..and, of course, to other writers here.

https://scriptmag.com/features/screenplay-format-use-camera-directions-f...

This may be outdated but I have seen pro scripts that simply say, in a SHOT .... ANGLE. Then the director can decide. I use that very sparingly.

More suicidal than arrogant.

It's like shooting yourself in the foot. I guess some might find this pretty annoying as they might feel like you're taking their job. You know what we say about having too many cooks in the kitchen.

That's one of the big differences between spec scripts and shooting scripts.

thank you for all your responses.

Let's look at it from a different perspective: What happens to your film experience when you catch a boom mic or the reflection of a camera in the shot? You LEAVE the realm of the film, no? So, with that in mind, don't take the reader away from what he/she is WATCHING in their minds by taking them out of the realm of the script.

I find that if you are using certain angles in a scene, it's best to use those for the opening establishing shots.

My constant fear when writing is "taking the reader out of the realm of the script.'" One single stupid typo can do that. One egregious format miscue can do that. Which is why I suffer "Fear of Submission Syndrome". Hmm. A double entendre. Like in the Wizard of Oz, I sort of imagine the reader as the scary wizard when first encountered. "Come forward Scarecrow so I can belittle your puny futile attempt and dash your dreams of becoming a working screenwriter. I said COME FORWARD." On the one hand, that fear of the almighty and powerful reader serves a purpose. On the other hand, it can be crippling. No doubt there are readers who are easily taken out of the realm of the script by trivial infractions. One can only hope you 'submit' to those who aren't. I'd just like to add, I am not one of those who thinks trivial format violations supersedes good storytelling and most readers do understand that.

You're better off not doing it. Use screenplay techniques to heavily imply how to shoot it. For example, if I say "A hand grabs a fork" obviously the director will think a close up of a hand grabbing a fork.