Screenwriting : Character names by Dawn Gray

First (and all) appearances of non-speaking characters are initial cap: Fred.

Agree to disagree. OP, read scripts. Emulate.

Not sure if you mean this Tony... I think I read in "The Hollywood Standard" that you do not CAP characters when you introduce them for the first time and they don't have a line of dialog. But I can not find the passage anymore. Trying to weigh what Jack says: I am not sure if this nowadays equals caveman/woman screenwriting. If this character is very important to the screenplay and mentioned several times, why don't we CAP him/her the first time to show the reader this person matters? What do all of you think? Best, Rutger

To clarify, this character doesn’t have dialogue at the moment but joins in during a fight scene.

Rudger. I don't know where you read what you read but it is wrong. It doesn't matter if or when a character has dialogue. You ALL CAP character names when they first appear on film. You don't ALL CAP extras.

Jack. That depends if the Jerk is an extra or not. If he is an extra you wouldn't all cap his name.

Rutger, "First (and all) appearances of non-speaking characters are initial cap: Fred." That's exactly in line with what you're saying. "Fred fires a Frisbee that just misses Main Character's head." Not, "FRED fires a Frisbee that just misses Main Character's head."

This goes to breakdown/budgeting. How many speaking roles, how many far less expensive background players. Fred could easily be Frisbee Tosser, or Jock. This method signals the casting choices.

Dawn, agree with Barry except cap once. If they speak somewhere, all caps on introduction, initial cap thereafter. Don't stress on this. Just be clear... and tell us the story.

Found it. Page 66 of "The Hollywood Standard (2nd ed.): "If a character doesn't have any lines, don't capitalize his name." And then in between brackets ( a rare exception is made for a major character who doesn't speak but nevertheless has a significant, ongoing role in the story. Then some explanation: "Typing a character's name in all capitals tells production personnel that the character has lines, which has significant ramifications for casting and budget. Any number of nonspeaking characters can be introduced in a paragraph of direction without any getting capitalized, until we finally get to a speaking character.

Bingo! Thanks, Rutger.

Screenwriters should have a sense of how scripts break down and a general idea of budgets. They don't need to become a producer or AD, but a general sense of what goes into pre-production can inform writing.

Here's some formatting examples of produced tv scripts. Follow whoever makes sense to you, "How to" book theorists or working writers.

https://www.wgfoundation.org/blog/2020/10/2/formatting-your-spec-script-...

Yes, a character can be in several scenes and never have any dialogue and would ALL CAP their name when they first appear on film. That is because someone will have to hire an actor to play that role even if they don’t have any dialogue. All that counts is if they will have to hire an actor or an extra. Extras are cheaper than actors and an extra that says something is a little more expensive than one that doesn't.

SAG-AFTRA definitions:

General Background - Person of atmospheric business which includes the normal actions gestures and facial expressions of the Background Actor’s assignment.

Special Ability Background Actor

Background Actor specifically called and assigned to perform work requiring special skills like tennis, etc.

Stand-In, Photo Double

Omnies

Any speech sounds used as general background noise rather than for its meaning, aka "walla."

Therefore, any actor with lines is not an extra, they're a featured player, get a film credit and are thus capped in the script.

Crispin Glover's Thin Man in Charlie's Angels: Full Throttle (2003) speaks NO LINES, yet is unarguably one of the most compelling henchmen ever on screen. ALL CAPS for the once George McFly!

A featured player per SAG definitions. He went beyond simple expressions. ALL CAPS.

Do they do more than, "..atmospheric business which includes the normal actions gestures and facial expressions of the Background Actor’s assignment?"

Everytime a new character arrives they must be CAPITALIZED.

If they speak or are featured beyond the limits of extra as in the CHARLIE'S ANGELS scenario above.

Claude Gagne. It has zero to do with talking. It is not that hard to figure out if someone is just an extra or an actor. In your case POLICE #1 and POLICE #2 are both actors. If you have ten other police pushing back a crowed and that is all they are doing they would hire extras to do the job. It really comes down to who you will need to hire. Extras are cheaper than actors.

All of this is excellent info. Tony S., the story's basically writing itself, which is great. The character in question is one of three that engages in a fight with the two main characters, which is why I wasn't sure how it was presented. I usually CAPS all first appearances, but since he was doing more of a "fight scene," I was caught up in the rules of it.

POLICE #2 could be an extra. Depends on what they do beyond the SAG-AFTRA extra guidelines. Leaning against a prowler listening to the conversation falls within extra. Prodding COP #1, silently signaling let's get lunch, rolling their eyes in response to something the interviewee says or other extraordinary action makes them featured.

Glad it's working out, Dawn.

I go through that also, I can write screenplays but books need a lot of details

I agree with Tony.

Rutger has it right. Characters who never speak are NEVER ALL CAPS. The person (AD or LP) who breaks down the script has to differentiate between Talent (speaking) and Background (non-speaking) - different departments, pay, contracts, etc.

Of course, as with all things in this biz, if the story is awesome, nobody will care about this little formatting issue.

There is one budget with entries into category accounts where all the costs lead to a total.

I agree. However, once a script gets in front of industry eyes someone will assess the cost. Even here the execs available for reads state their budget ranges. There's a case to be made a $1M horror could be more attractive than a $10M horror script.

It's a factor that's up to the writer.

Claude. No one is saying you have to write your screenplay with a budget in mind. We are talking about formatting a screenplay properly so it will help someone breaking down the screenplay to create a budget.

Agreed, yet I am inferring writers should have budget consciousness. It's optional. I do not write to budget, never made a change due to cost but do keep it in mind. If approaching an exec who handles $1M - $5M productions I should know if the script fits.

What's the sense writing a budget-conscious, contained story that doesn't work within that limit; square peg, round hole. Conversely, why write a $200M + actioner. Some idea of industry vagaries and what's what in a volatile marketplace could be helpful if a sale or option is the goal.

hey Tony, I like to write without thinking of money, I like to write and go all out, I love my scripts

Two peas in a pod.

don't know if I will ever make it as a screenwriter but I tried

writing it takes me away

Claude - I'd bet that you're reading a lot of production scripts and the 'flaws' you see have been created by the Director, the AD and a whole bunch of other folk along the way. My advice is to first master the fine craft of script writing before delving into the complexity of story structure, content, characterization, plot... (but hey, what do I know?)

It's funny that no one can agree...

https://screenwriting.io/do-non-talking-characters-names-get-put-in-all-...

I would say if they get a name or if they are important to the scene.

If they are just background.

Two guys are browsing the shelves of the shops when WENDY enters and walks to the counter.

Vs.

A TALL GUY looks at the shelves glancing to his partner FAT GUY who is equally involved in fake shopping. WENDY enters. Tall Guy glances at Fat Guy who looks equally panicked. They discreetly leave as Wendy heads for the counter.

I believe the convention of capitalizing the names of any characters when first introduced is for the benefit of the person/s in charge of casting or assistant directing.