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Occasionally, a scene is both interior and exterior, as in a doorway or at a window, and this is expressed as: You always need to tell the reader what time of time it is: The day or night designation is for shoot scheduling purposes and needs to be straightforward.
Subtler distinctions in time should be indicated in the text of the scene description. Occasionally, additional information needs to be included in the scene heading such as the season or year.
Put this in parenthesis after the location. It makes the action look more exciting. Use this sparingly if you want one scene to be gradually replaced, i.
Used to end all scripts. This will be formatted for you by your software. The scene description or action should be brief, powerful and, above all, visual as already discussed in Chapter 6.
Use it creatively as the layout has a great impact on the way your description reads. Develop your own strong individual style which is clear, concise and visual.
Thereafter, in the descriptive passages, their names appear in upper and lower case. This serves as a device to assist casting directors, script supervisors and performers.
This is used to denote a small pause or hesitation in a speaker. Some basic rules for dialogue writing to remember: However, the use of MORE seems to be slowly disappearing.
His overjoyed mother hugs him. His exhausted mother slumps on a settee, watching him. If a character is reciting some poetry, or singing a song, you need to write the dialogue in short lines as follows: Song lyrics are typically written in all caps.
Writers are often confused as to how telephone conversations should be written. She carries on typing. Sighing, she picks it up. You promised to pick them up this morning!
The boss has just given me this deadline. The answer is no, unless there is dramatic tension if you cut back to the second location.
He responds, then pushes her away, playfully. She walks behind his desk. He suppresses a laugh. Now, the scene has a great deal of tension.
Think carefully what you want to show the audience and what you want to leave out. Often the Intercut will end at the next Scene Heading.
Debbie strides across the road as the man turns a corner. The man is nowhere to be seen. Fees depend of the level of membership you require.
See the website for more information. Archived material is accessible via curated exhibitions and screenings in cinemas. It runs courses in scriptwriting in the UK and abroad and has a consultancy service through which writers with money!
Second prize is an in-depth script report, plus e-mail and telephone support. The three winners of the third prize get a bullet-point script report on any of their scripts.
For consultancy fees see their website. Writers pay to post details of their scripts on the site. Have a look at the site and decide if you want to pay to have your synopsis and logline.
They run regular events for screenwriters and emerging producers. Check out their website for more details.
They run numerous courses on writing, directing, producing and editing. A narrator sets the piece in context and the extracts are then performed to an industry audience of producers, development executives, directors, actors and literary agents.
This could be an invaluable experience for you, but be prepared to hear criticism and answer questions. If you want to reserve a place to go on the evening, e-mail: Contact them for new dates.
Here are some of the activities they run: X training for screenwriters and script editors, both in the UK and abroad; X master classes with professional screenwriters, actors, etc.
It is also well worth checking their website for more information. It informs members about industry news, gives opportunities for alliances with industry professionals and tries to help writers get to the next level of their career.
Shooting People also run a screenwriting pitching network. For more information, log onto the website. Their very useful website is well worth studying.
However, this site is free. The Library is the largest of its type in the world. Scripts are indexed under a huge variety of genres.
This has allowed them to forge tight bonds with regional broadcasters while reaching as many writers as possible.
The Film Company Warp X is involved with this scheme. They have over members covering a broad spectrum of skills and job descriptions, including, among others, lawyers, writers, accountants, directors, producers, DPs, composers, actors, make-up artists and casting directors.
See their website for more details. It is famous for its registry service and registers 55, pieces of literary material each year. There are three types of membership.
This entitles you to support and advice, the free quarterly UK Writer magazine, access to frequent Guild events and a weekly e-bulletin.
It is vitally important that writers have a trade union so it is important that UK writers join this great organization.
What needs to be remembered is that there is no copyright in an idea so the existence of two screenplays with remarkably similar plots or settings or characters does not in itself equal plagiarism.
There are a number of ways to do this. X You could send the script to a solicitor who will lock it up in their safe for a small fee.
X You could register your script with an acknowledged body. This is not a fool-proof method. Professionals will argue that packages can be steamed open.
For more information log onto the website. The Script Factory Website: This registration can prove to be invaluable in the event of a copyright dispute.
While someone else may have the same storyline or idea in his or her material, your evidence lies in your presentation of your work. Registering your work does not disallow others from having a similar storyline or theme.
Rather, registering your work would potentially discourage others from using your work without your permission.
British writers will be billed in UK sterling. I naively thought it was all about creativity and talent. How you market your script and yourself is just as important as writing a good script.
Before you send your script out into the marketplace, put it in a drawer for at least a month and then re-read it.
Does it read as well as it did a month ago or does it need another draft? However, if you do send it out, be prepared for rejection.
One way to overcome rejection is through constant writing. By the time you receive an answer from a production company you should be deep into your next script.
How did he overcome them? It is a vitally important selling tool, so below are some pointers to make sure that your pitch packs a punch.
Always start your pitch with your genre. For example, if your script is a dark comedy, give the audience a darkly comic overview. In the above pitch, I would want to know what happened to the jazz singer that was traumatic.
How did she overcome the trauma? What unusual methods did she use to get rid of the boyfriend? How did she get the money to buy a jazz club?
Of course, you must have some interesting, credible answers to such questions. Attending pitching sessions The Raindance Organization runs regular pitching sessions throughout the year.
However, they are not for the faint-hearted as they are conducted before an audience of up to people and a panel of well-established producers.
After the pitches, the panel confers and selects the best pitch of the night. The winner takes all the cash and one or two producers will ask to read the script.
Here is what Raindance say about their pitching sessions: These are the people who matter. This is an incredibly useful exercise as it not only improves your writing skills, but prepares you if Raindance change the length of time you have to pitch at the last moment.
This always throws the unprepared. X Make eye contact with the producers and the audience. X Convey your passion about your project.
X Make your project sound exciting. If you follow these points, you could get your script read by an established producer with powerful industry contacts.
The way to avoid both of these problems is to practise: Look at their eyes and body language. They will tell you more than their lips.
Do they want more of the story? If neither, you need to rewrite your pitch. Pitching one-to-one Of course, you could have a one-to-one pitching session with a producer.
Here are some tips to prepare you. If so then mention them. Contact a company via e-mail or letter and include a great pitch to hook them, using a written pitch rather than a verbal one.
Once they are interested, they will ask to see your script. It then becomes a solicited script! You will discover an immensely valuable database with a wealth of information such as: Compare them to yours.
Another database which is invaluable to screenwriters is the International Movie Data Base www. Click on their database of directors.
A long list will appear. Send the script to him or her. Contacts is the essential handbook for anyone searching for an agent or casting director, a theatre or a rehearsal room, a photographer or a voice coach, wigs or props.
The edition contains revised listings for over 5, companies, services and individuals across all branches of the industry. If you are feeling isolated as a writer, this organization will make you feel like part of a supportive community.
Send your pitch to her, asking if she thinks her boss might like your material. Remember, a query e-mail or letter should immediately capture their attention with a succinct, interesting pitch.
This includes a a full report by a professional script editor; b the opportunity to discuss your work with your editor; and c help in placing your work with an agent if appropriate.
Log on to their website for more information and dates. They also run occasional free networking parties.
The producer will usually give it to a script reader who will have an immense amount to read. Everyone likes to know that their work is appreciated, so tell them.
Here are some networking tips. Print some professional looking business cards to give to people. And ask for theirs. Make notes about anything important after the event.
You will forget details a couple of weeks later. People feel great if you look and are! Too often writers moan about agents and producers at networking events.
People will remember your negativity, not your writing. You never know who might be standing beside you at the bar. Do your research about any professionals coming to the event so that when you speak with them you sound like a knowledgeable professional yourself.
It also has a directory of agents. This is the kind of practical feedback that all writers need, but few ever receive.
Uniquely, members can pitch here directly to leading literary agent Peter Cox. Peter is also freely available in another area of the Colony called Ask the Agent.
Check out the site and see if it interests you. The Spec Script Library Website: The Spec Script Library was established in to connect those who write scripts with those who source scripts.
Screenwriters compete against thousands of other contestants to be the one screenplay chosen for production by Project Greenlight.
However, some not only charge a fee for analysing the script, but also a percentage if your script is sold. ScriptShark Spec Market Website: However, you will discover that this is not a cheap service.
The Pipeline into Motion Pictures Website: They currently have over producers who provide them with details of their production agenda.
This insider information enables Pipeline to send these producers exactly the type of script they are looking for. They are already working with a dozen new writers in the development of their movie scripts.
They also have a database of 1, listings of managers, agencies, producers and production companies. We recommend that your query letter be short and to the point, which generally means no longer than a page.
The goal is to create a compelling reason why this story needs to be told! Try to avoid writing overly long paragraphs.
It is important to present your query letter in a format that is clear and easy to read. An award, education, option agreement and produced works can be mentioned, everything else, leave out.
Words of caution One or two of these services might fast-forward your career as a screenwriter, but before your sign up for anything: Make sure that your script is ready for the marketplace.
Read the small print on the sites carefully. Red Planet Competition Website: Red Planet is committed to discovering new writing talent each year through an annual competition.
Euroscript Screen Competition Website: Working one-to-one with a script consultant they receive as much face-to-face and written feedback as is required to complete each of the three drafts.
Here are the log lines of three winners of the competition. Geraint Horwood, Buckinghamshire, UK for Knight Knight Two saddle-sore knights go on a quest for love, adventure and comfortable underwear.
The damsel bullies them into rescuing her and soon it is they who are in distress. All his life, he remembers the results of an experimental therapy that kept his mind alive while his body healed.
Entry scripts must be the original work of a sole author or of two collaborative authors. Entries must have been written originally in English.
Adaptations and translated scripts are not eligible. This is what they say about scripts: The writer, especially the beginner, needs to love her story, to know it inside and out, and to be passionate about her characters and their problems.
When the writer is connected to material in this way, the energy and emotion will more often come through to the reader.
If you really care about your story, maybe a reader will too. Log on to the website for more details. Scriptapalooza Screenwriting Competition Website: Scriptapalooza supports 13 of the top winning writers months after the competition is over.
This is what WGC says: American Scriptwriting Competition Website: Script Pimp Competition Website: They state on their site: This is an annual screenwriting competition, so if you miss one deadline, start writing for their next one.
The festival usually takes place between June and July. Here are some reasons to attend: For further information, log onto the website.
The Edinburgh Film Festival Website: The bear is the symbol of Berlin. Take some cool clothes and plasters for skinned feet.
I got through three boxes of plasters when I went! This festival started in and is the oldest in the world.
Log on to the www. To discover invaluable information about them, log onto the wonderful www. For the American market, you must be prepared to sign a release form.
Marketing your work Even if you do get an agent, you should still market your work. Successful screenwriters constantly meet people and make industry contacts.
Can you imagine how great your relationship with your agent will be if you are prepared to market at least some of your work?
Who is the agent going to ring when a producer contacts them because he wants a good writer? The whinger who complains how little his agent does for him?
Or you, the positive professional who is prepared to work hard to achieve success? This page intentionally left blank Postscript 20 important things to check before you send out your script 1.
Have you presented your story in an original way? Does the protagonist have a clear goal or problem? Are the characters three-dimensional? Think why each character is there.
Is the dialogue individual to each character? Is the narrative action concise, descriptive and visual enough to tell the story?
Are the scene transitions smooth? Are the speeches short? No talking heads or numerous phone calls. Have you got enough twists and turns to keep the scriptreader interested?
Has this script been checked for typing mistakes, homophone confusion and spelling errors? Have you erased as many camera directions as you can?
Have you written only what can be seen or heard? Have you used the correct script formatting? Does your script evoke an emotional response in the reader?
Is your story focused, clear-cut and logical? Appendix 1 Script Websites Reading scripts is a vital part of learning to become a great screenwriter.
Read as many scripts as you can. You will learn far more from them than from listening to lecturers talk about intellectual theories related to screenwriting.
Below is a large selection of websites to help you. Many have several versions of the script. The site also contains a database of screenwriters and interviews with screenwriters.
Some shooting scripts are production drafts and will have scene numbers. Here are more general screenwriting sites that will help you. This site called, Done Deal, informs you about script sales in Hollywood, has interviews, gives advice and provides contact information for agencies and companies.
Most of these sites interconnect to other databases to increase their inventory. ScriptRight Mobile Edition Website: The version also provides an interface for developing and maintaining a step outline in conjunction with your screenplay.
Script Smart Microsoft Word templates. Click on Script Smart. A window will open with a new column on the right hand side. Another window will open and you will see a number of versions of Script Smart.
If your computer is up-to-date this is the version for you. Matthew Carliss, the creator, has provided an invaluable tool for writers and should be congratulated.
Assignment The terms of the assignment are negotiated at the same time as the terms of the option in order to avoid any dispute as to what exactly it is that the producer receives upon assignment.
The producer may well want to do more than this, for example by exploiting ancillary rights, and will have to negotiate these extra rights.
It is common for option periods to be between six months and two years long. Again, the length is for the parties to agree and it is common for the producer to have to pay a further fee for the extension.
A producer will need consent to develop the work and any rights in the work during the option period. The producer will also want to know that the copyright owner is not going to let anybody else use the work for the same purposes.
The point about having an option is that it should be exclusive throughout the option period and that the copyright owner will not do anything to the work which would prevent the producer from exercising the option if he wants to.
If in doubt then seek independent legal advice. Although there is a payment structure used by many producers it is by no means set in stone.
The following is only a guideline. If the producer wants to extend the option period then the copyright owner may expect a further fee.
This may not be the case with the option extension fee. The producer should also consider setting a cap on the principal photography fee but should expect the copyright owner to negotiate a minimum.
The terms of the option should set this out but the most common method is that the producer gives written notice to the copyright owner. Both parties should then sign the assignment and any payments that might have to be made on exercise of the option are made at this point.
Turnaround provisions are normally found in assignments of rights of underlying works. The amount is certainly negotiable and many producers expect to be reimbursed for all of the money they paid in order to buy the rights excluding the initial option fees , as well as the cost of developing them.
Subject of the Agreement 1. The revised work must be submitted to the original writer who alone can decide if his name can continue to be used] 2.
In this case the Producer is entitled to reimbursement of half the remuneration agreed in Article 4. Rights in the Work 3.
The revisions as far as possible must be carried out in agreement with the writer. He will automatically present this to the Writer and pay the amount due to him no later than the end of the following March.
The important point to remember is that all agreements should be checked by a solicitor before you sign. Nothing contained herein shall be deemed to create or constitute a partnership between or joint venture by us.
If the studio passes, the project can then be shown to other interested parties. I love the story of how this odd script direction came about.
Apparently, in the early days of sound pictures, a German director bellowed through a megaphone: You should get money for an option.
In practice, a screenwriter is often expected to do a complete rewrite of a script for the price of a polish. This could be bad or good for them, depending on what you are trying to achieve.
Act numbers are written in roman numerals, scene numbers in ordinals. The union for writers in Great Britain. Unagented writers can get their contracts vetted by lawyers for nothing if they become members!
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