Screenwriting: Step-by-Step | 3 Manuscripts in 1 Book | Essential Screenwriting Format, Screenwriting Structure and Screenwriter Storytelling Tricks Any Writer Can Learn

Introduction

I want to thank you and congratulate you for purchasing the book "How to Write a Screenplay: Step-by-Step | Essential Screenplay Format, Scriptwriter and Modern Screenplay Writing Tricks Any Writer Can Learn".

In this book, you will find all of the information you need to begin writing a screenplay, the details on the specifics of the most common types of screenplays, tips on creating believable characters in your screenplays, how to create a first draft and get to work on editing and tips that have worked for the experts.

You will need the information in this book if you want to create a successful script that will catch the eye of producers to get it to the big screen.

To not develop your ability to write a properly formatted screenplay would be Hollywood murder to your career. Style is everything, and this book covers that.

It’s time for you to create an amazing screenplay.

Chapter 1: What is a Screenplay?

A screenplay (also known as a script) is a written output made for a television show, a movie, a video, or a game. When it is written for television, it is also called as teleplay.

Screenplay consists of action and dialogue. Action is where a character is noted to do an action, and a dialogue is where the character is speaking. These two components make up around ninety percent of a screenplay.

What sets a screenplay apart from a stageplay are the use of sluglines. This designates where the scene takes place, and what time of day it is, along with the weather that is occurring at the time. These descriptions are important so that the director can make sure that the scenes are set up properly.

Physical format

Screenplays are printed very specifically. They are also all put together specifically as well. This makes it easier for a producer to get through a bunch at one time. They are generally bound with a cardboard cover and a back page to protect the script when it is handled. Oftentimes, the first copy of the script is the only copy. While it is backed up, it takes a lot of paper to print a script most times, so it is important to save where you can.

In America, the script is usually printed single-spaced on letter size paper. It is printed using 12 point courier font. When it is bound, it is bound using a three-hole punch and held together with two brads. One at the top and one at the bottom. This makes it easier to flip through the script quickly.

Reading copies, those which are distributed, are often printed double-sided to reduce paper waste. This is because there are often more copies that will need to be printed later on, and scripts already take so much paper to print anyway, that finding ways to cut down is a must.

Scripts can often be delivered electronically, but many companies require that a certain amount of copies be handed to the company, or at least mailed if travel is not possible.

Screenplay formats

Screenplays come with a certain set of standards that must be met. These standards are ones that help keep everything uniform and allow for easy reading. They form a sort of blueprint for movies and other screenplays. This also allows a company to distinguish those who take things seriously, from those who have a more laissez-faire attitude. There are software packages out there that can help assist with the formatting of screenplays. This makes it easier to ensure that you will have a professional looking piece to show prospective producers. SmartKey, the first screenwriting software, sent codes to existing word processors. However, the ones today have their own macro entities.

Feature film

If you intend to get a motion picture on the big screen, there are a lot of stipulations for how you have to write your screenplay. The headings, formatting, and spacing all have to meet a specific set of guidelines. While the guidelines may vary from country to country, they are all pretty similar in the fact that they have to be uniform. This is because the rate of transfer from page to screen remains around one minute. This gives a rough estimate of how long the piece will run when taken to the big screen. However, some things often get cut, so it is a very rough estimate.

Nevertheless, if you ever want anybody to not only read what you have written, but to truly take it seriously, you will need to stick to the rules in order to ensure that they have as few obstacles between them and getting to the heart of your story. In general, you can think of the concept of screenplay formatting as mainly an aesthetic choice to ensure that every page of your screenplay is as clear and legible as possible. Each script you turn in should always be written in 12-point, Courier font. This goes for movies or television.

The Slug: Luckily, the Hollywood script format is simple once you learn the basics. Every screenplay is divided into different scenes, each of which represents a different location that the story is viewed from. When a new location is introduced in a screenplay, it needs to be described in a specific way so that the person reading it can automatically picture three key pieces of information. They will need to know whether the scene is taking place inside or outside, the time of day it is and the actual location. Together, these three things form what is known as the slug.

Each scene introduction is going to be written so that it appears on a single line, which will include the location details as well as relevant information about the time of day. The majority of slugs will start with either EXT. or INT., meaning exterior or interior respectively. In general, a slug with start with EXT. or INT. and end with either NIGHT OR DAY unless the specific time of day is crucial to the scene. The only time this will not be the case is during parts of the script where the action is repeatedly cutting between two places or is moving through a number of locations, following a character who starts out from a location that has already been defined. For example: EXT. CAVE – DAY

If you have already introduced the cave in the previous example, then you could simplify by writing BACK TO CAVE. If a character is moving throughout multiple locations inside a predefined location, such as a house, you can write the intervening slugs as KITCHEN or BEDROOM to maintain the flow of the story while still providing the reader with the details they need.

While not required, the slug often also includes the indicator SUPER which is followed by identifying information and indicates what would be superimposed on the screen for example SUPER: 10 years earlier.

If you are writing a conversation between two individuals who are not speaking to one another directly, you can use the indicator INTERCUT BETWEEN after both of the settings have been determined with a standard slug.

The shot: While the shot will also appear in capital letters with a similar type of formatting, it serves a different function when compared to a slug and shot not be confused with it.

As an example: ANGLE ON JACK, C.U. ON GUN. When writing your screenplay, you will use this technique to draw specific attention to an element of the action. It is typically followed by its own description, almost written as an aside, that is always ended with the indicator BACK TO SCENE before the action from the main scene resumes.

Action elements: An action element is going to come directly after the slug and is preceded by a blank line that runs the length of the page. The action element is responsible for setting the scene, literally, as it describes the setting. In it you will introduce what your characters are doing in the scene that will ideally naturally set the scene for what is going to come next. Any action written in this section should be written in real time, which means you are going to want to write as crisply and cleanly as possible in an effort to convey exactly what the audience will see on screen.

When you write your action elements, it is important to leave out as many extraneous details as possible as this makes the script easier to shoot as fewer unique props will be required. The only time you are going to want to  go over the top with atmospheric descriptions is when the atmosphere is crucial to what is taking place on screen. For example, if you picture your favorite horror movie, you can bet that the scene that introduced the main location contain an action element with descriptive text.

However, if you are writing scenes that include lots of tense, back and forth dialogue, or action, then you are going to want to do your best to ensure descriptions are kept to an overall minimum. This will help to create an overall feeling of watching the scene play out in real time which naturally makes your script feel as though it could easily be adapted to the big screen.

In order to write action that plays on the page, the easiest thing to do is picture yourself having coffee with a friend and discussing something interesting you saw on your way to the café. This way you will be sure that you cut out all the filler and only focus on the parts that really matter. During these scenes, you are going to want to keep your paragraphs short, no more than five lines in a paragraph, no matter what. Be sure to capitalize any sound effects that are used. Between each paragraph you are going to want to leave two blank lines. By splitting up your descriptions and your action, you are adding an overall visual emphasis to your story, making it feel more like a movie throughout.

When introducing characters, capitalize the entire name, you are also going to want to include a specific gender as well as age. This information is not only going to be crucial when it comes to understanding what is going on in the story, but when it comes to things like budgeting and casting as well. Make sure you don’t go so far as to describe specific hairstyles and clothing, except in situations where it is crucial to the plot. You are also going to want to avoid using parenthesis to indicate action when