ࡱ> ܥhc e`@)C&&(((((.(.(.(.(.( :( D(.(|(C`(d(z(z(z(z(z(z(z(|(|(|(|(|(|((X))|((z(z(z(z(z(|(z(((z(`(z(z(z(z((z((z(z(X.(.(((((z(z(z(z( All scripts start four lines down with FADE IN FADE IN INT. writers workroom - DAY The WRITER sits slumped over his computer, a tousled young man with a certain air of genius about him. But just now things arent going too well. writer Oh, God! writers friend Problems? A figure stirs in the corner - the WRITERS FRIEND - an older, wiser, man with a twinkle in his eye. writer My scripts brilliant. But I dont know how to lay it out, to make it look professional. If I dont -- writers friend Relax. Its easy. There are general rules, and more specific ones. He walks over to the computer and taps the keys with confidence. writers friend (cont.) First the specific. The Writer says nothing. The Writers Friend is absorbed in Stage directions what he is doing. He types stage directions. He lays them out with care: 1- 2 from the left (USA: 2). Characters Name writers friend (cont.) Dialogue Dialogue goes here, indented another 1 from the left and a bit from the right. The characters name goes above the dialogue, in capitals and indented another 1. He swiftly adjusts the font to Courier, 12pt. writers friend Thats the one that looks like a typewriter. And left aligned, not centred or justified. Use A4 paper for European scripts, Quarto for USA. EXT. garden - day Slug line Writer and Writers Friend walk across the lawn together. writers friend At the start of each scene you have what we call a Slug Line - like the one at the top of this page. This introduces the scene, in capitals. writer Capitals? writers friend Always. Start the slug line with INT. or EXT. then the place and finally the time OF DAY - use only DAY, NIGHT, DAWN or DUSK or very, very rarely CONTINUOUS if theres no break. (But no scene numbers unless youre about to shoot). Single space scene descriptions and dialogue, double space between paragraphs, and three spaces above the slug line. These specific rules help ensure that the script is clear and easy to read. Now for some more general rules. int. writers workroom - night The Writers Friend retypes the stage directions. He always starts a scene with directions (not dialogue) mentioning the name of any speaker before they speak. He puts them into the present tense - and makes sure they describe only things we can see or hear. He writes that someones angry or happy but deletes hes silently remembering his fathers sharp wit and strange smell. writers friend (mutters to himself) You can put extra dialogue description in brackets, to the left of the character name, as above. But use this sparingly, or it becomes irritating. SUDDENLY He SPEEDS up. HIS FINGERS - a blur on the keyboard. ...you can be creative with layout - within limits - using caps and shorter or longer lines (for example) to bring out the rhythms of different scenes. MIX TO: A Transition INT. KITCHEN - day The Writers Friend puts transitions in caps, FADE OUT., MIX TO:, WIPE TO:, etc, on the right. And CUT TO: if the cut is dramatic. writers friend Some people get very confused about when to use capitals. Capitalise a characters name in the stage directions for the first appearance only. You should give a brief, New character evocative, description at this point, as per: GERALD, a short, unshaven, evil-looking police detective climbs in through the window. This is a man you would not want dealing with your parking ticket. From now, Gerald will not be in caps unless hes a speaker. Gerald Quite right, too. TRACK in to his glass eye... which winks. Use caps for TECHNICAL directions, which should only be included when absolutely essential. The same with SOUND and MUSIC. Gerald (o.s.) You can use (o.s.) to show Im speaking out of shot, or (V.O.) for voice-over, ie: narration. He takes out his glass eye and wipes it on his sleeve with a strange SQUEAKING sound. GERALD (CONT.) And (cont.) shows that dialogue was interrupted by action, description or a new page. But dont overdo the dialogue. int. writers workroom - dusk A single candle flickers in the draught of the open window as Gerald watches the Writer dash off the pages. Tell the story through visuals, more than dialogue. Describe visuals briefly but vividly, and ensure they are always relevant to the drama. Dont put in description for the sake of description - and never tell the director, camera operator, set designer, etc, what to do. gerald Very unprofessional. Experienced writers cleverly get round this by subtly implying how the film might be shot through evocative use of description. For example... ext. swiss alps - day A vast mountain range stretches across the horizon, glittering in the sunshine. Half way up a narrow mountain path, a rickety wooden cart GROANS ever upwards. On the cart sit the Writers Friend, and the Writer, slumped half asleep, clutching his laptop and his script. Clearly, this suggests a panoramic wide shot, followed by increasingly closer shots. No need to write LS or CU. Dialogue should be brief and oblique - it should hint at the characters true feelings between the lines. writers friend In addition, old chap, follow the rule of thumb. Cover every speech with your thumb. If it extends below your thumb, (4 lines) its probably too long! He fixes the writer with an emphatic stare. writers friend (cont.) Of course, knowing you, youll want one or two longer speeches - not too many - to develop character. He thrusts the first, corrected pages of script at him. writers friend (cont.) But even then, you can be clever in the way that you lay it out. See? writer You break it up with action, like you did there, to make it look more dramatic! The Writer can hardly contain his excitement, turns on his laptop and starts to hammer away at the keys, as the cart jolts onwards up towards the snow-capped summit. FADE OUT. THE END ...and always end with FADE OUT Charlie Harris, 2001 page \* MERGEFORMAT3. .A1[ \ _ e v z fkIOCDXYZ[_`uauD^[]c12:W |}?@iz{ &-& ' ( ) -*& ' ( ) -:1& ' ( ) -"BCqr",fgw     )    V W ` a p q & ' ( ) -R(0S& ' ( ) -&q 08EY'(nomn}34DFGW:b& ' ( ) -%YC& ' ( ) -&WX_tu*+]^OP ,C]^_`B< & ' ( ) -(K@Normala "A@"Default Paragraph Font@Header]c @Footer]c">@"Title]c(O"(Frame captions],O2, Description @ ]cFOBF Number List$v[]c*OR*Ident[]c,Ob, Body Single []c*Or*Dialogue 8]c(O( Default Text]c``q W``!@CTimes New Roman Symbol "Arial1Courier New"73@:s&]. 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