How to Write a Script (with Pictures)

2024 Author: Samantha Chapman | [email protected]. Last modified: 2024-01-09 13:41

Have you ever left the cinema thinking "I could have written a better script?". The reality, however, is that coming up with a great idea for a film is difficult - and even more so is writing a great script. Writing for the screen, especially the big screen, means composing something intended for a visual medium. And while it can be difficult to get it right, a great script has the power to change the lives of viewers.

Steps

Part 1 of 3: Preparation

Step 1. Familiarize yourself with the form of the scripts

Unlike short stories and novels, scripts are based on dialogue rather than prose or description. The main rule of script writing is: write visually. Films are a series of images, so the images in the script should be striking and engaging.

Another very important rule is: each action paragraph should consist of three lines or less. This means that descriptions of what characters are wearing, or how they behave, should not exceed three lines. Use as few words as possible when describing actions and let the dialogue "speak".
The backgrounds of the characters and their motivations should show through their actions and their dialogues, and not be described. The best writers do not write action paragraphs of more than two lines for most of the script. You should use the power of dialogue to describe all the important details.
Write using the present tense. This allows the events of the story to advance, thus to perform the main function of the script: to move the action and the characters forward.
Of course, there are exceptions to this rule. The script for the 2013 film "All is Lost", for example, written by J. C. Candor, played by Robert Redford, contains only 4-5 complete pages of dialogue in the entire script. Almost all of the main character's actions are shown with long descriptive sections. These kinds of scripts are rare, however, and very difficult to make.

Step 2. Familiarize yourself with the format of a script

Scripts are formatted differently from other types of written works. The format of a script is very specific and requires a lot of tabs and indents, especially if you decide to use a word processing program. You can use software that does the formatting for you, such as Final Draft, Scrivener, and Movie Magic. You can access the basic versions of these programs for free on the internet. Take note of the elements of a script's format, including:

The slug-line: This sentence is written in all caps at the beginning of the scene and briefly describes the place and time. For example: INT. RESTAURANT - NIGHT. In some cases the slug-lines are abbreviated with expressions like "LATER" or "BEDROOM".
"INT / EXT": INT stands for internal, for example INT HOME, and EXT stands for external, for example EAST HOME.
Transitions: These phrases help you move from one scene to the next. Examples of transitions are ABSOLVE and FADE TO BLACK, which indicate the gradual opening and closing transition of a new scene, and OUTPUT, which is a scene jump.
CLOSE-UP: This term indicates a close-up of a person or object. For example: "CLOSEUP of Laura's face".
STILL IMAGE: Still image is defined as freezing of the image on the screen that becomes a photograph.
b.g.: stands for "background" and denotes when an event takes place in the background of the main action. For example: "Two people fight in b.g.".
O. S. o O. C.: These abbreviations stand for off-screen or off-camera. This means that the character's voice comes from an unmatched area. For example: "Carlo yells at Laura O. S.".
V. O.: stands for voice over (dubbing), and is used when an actor utters sentences on a scene, describing it. This abbreviation appears under the character's name, before the dubbed dialogue.
Montage: a series of images that show a theme, a contradiction or the passage of time. It is usually used to show the passage of time in a few seconds on the screen.
Tracking Shot: A tracking shot is a type of shot in which the camera follows a person or object. If the camera is not fixed and follows a subject, it performs a tracking shot.

Step 3. Read some scripts

Many scripts are considered to be near perfect, such as that of the 1942 classic "Casablanca". Other examples illustrate the different ways in which the medium can be exploited. Eg:

"The Friday Lady", a script written by Charles Lederer.
"Pulp Fiction", a script written by Quentin Tarantino.
"Harry, meet Sally", a script by Nora Ephron.
"Thelma & Louise", a script by Callie Khouri.

Step 4. Read the titles of the example scripts

The titles show the setting of the scene, in some cases with specific times.

In "Thelma & Louise", the first scene has the slug-line: INT. RESTAURANT - MORNING (PRESENT).
In "Harry, Meet Sally", the first scene has a slug-line that doesn't refer to a specific place or setting: "DOCUMENTARY VIDEO". This indicates that the film will start with a documentary footage and not a specific setting.

Step 5. Note the descriptions of settings and characters

These elements should be completed with as few words as possible, but with a lot of detail.

In "Thelma & Louise", here is the introductory paragraph on Louise:

LOUISE is a waitress in a cafe. She is in her early thirties, but she is too old for her job. She is very beautiful and well-kept, even at the end of her shift. He slams the dirty cups off the counter into the tray underneath it. It makes a lot of NOISE, without realizing it. In b.g. he plays some COUNTRY MUSIC, which she hums.

The screenwriter offers a clear description of who Louise is thanks to her profession ("waitress in a cafe"), her clothes and her appearance ("a little over thirty, but too old for her job", "very beautiful and well-kept ") and his actions (" slams the dirty cups "," without noticing "the noise). The addition of sounds (which appear in capital letters in the script) such as country music, allows you to create a very clear setting with a few words.
In "Pulp Fiction" we find an introductory paragraph on the setting:

A regular Denny's, a Spiers-style cafe in Los Angeles. It's about 9 in the morning. Even though the place isn't packed, there are several people drinking coffee, chewing bacon and eating eggs.

Two of these people are a YOUNG MAN and a YOUNG WOMAN. The Young Man has a slight accent of the English working class and, like his compatriot, smokes cigarettes as if they are going out of style.

It is impossible to tell the age or origin of the Young Woman; everything he says contradicts what he does. The boy and the girl sit at a table. Their dialogue should be pronounced at a rapid pace, imitating "THE LADY OF FRIDAY".

Tarantino gives us some basic details on how many people are in the scene ("different people", young man and young woman), and offers short but specific descriptions of both characters. It also refers to "The Lady of Friday", a 1940s film famous for its fast-paced dialogue. All these details create a basic sense of the description and characters, which will then be better delineated by the dialogue.

Step 6. Pay attention to the dialogue of the example scripts

In almost all scripts, dialogues are predominant for a reason: they are the main tool available to a screenwriter to tell a story. Notice how some characters use language in their dialogues.

Tarantino, for example, makes Jules use expletives and dialect phrases. This helps create Jules' character and personality.
In "Thelma & Louise" the character of Louise often repeats "Jesus Christ" and "For God's sake". This contrasts with Thelma's dialogues, which are more correct and sober. In this way, screenwriter Khouri distinguishes the two characters and shows the audience how they think and act.

Step 7. Note the use of descriptions or visual cues in the dialogues

Visual cues are small descriptive notes that precede the dialogues. These notes appear in parentheses before a character's dialogue.

In "Harry, Meet Sally", for example, Ephron writes "(makes a button sound)" before a dialogue from Harry. This is a small detail, but one that makes it evident that Harry is witty and speaks in a characteristic way.
You can achieve the same result with a single word of description between the dialogues. In "Pulp Fiction" Tarantino writes that a waitress is "(arrogant)" when addressing one of the characters. This sets the tone for the waitress's sentence and gives context to her dialogue.
Enter visual cues only if necessary. Don't depend on them to tell the story. The dialogues and actions of the characters should tell the story effectively, without the help of these annotations.

Step 8. Pay attention to how the script moves from scene to scene

Almost all scripts go between scenes with a "GAP UP:" indicating a gap between one scene and the next. You should only detach on a scene when you switch to a new setting or image, as in “Pulp Fiction,” where Tarantino features two characters talking in the car and then opening the trunk together.

You may also see the annotation: "FADE" or "FADE". These techniques are usually used at the beginning of a movie, as in "Harry, meet Sally", and at the end. Fulfillments offer a delicate opening to a scene, which gives viewers time to settle in

Step 9. Look for notes on different types of shots, such as close-ups or tracking shots

Notice how the writers use a specific annotation to create a certain image or moment for the character. Almost everyone uses shot annotations only when absolutely necessary for the sake of the story.

In "Pulp Fiction", for example, Tarantino opens a scene with a note on the roundup:

EAST. COURTYARD CONDOMINIUM - MORNING

Vincent and Jules, in their matching coats practically rubbing on the ground, walk into the courtyard of what looks like a Hollywood, hacienda-style condo.

TROLLEY that follows them.

This annotation indicates that the camera will move with the characters as they walk, creating a sense of movement on the screen.

Part 2 of 3: Writing the Script

Step 1. Find ideas for a story

One of the best ways to do this is to think about movies or characters that you loved and enjoyed. Do you love a particular genre, such as romantic comedies, action movies or horror? Consider writing a script of a genre you enjoy. You probably know best the genres you are passionate about and your passion will shine through in your writing.

You can also think of a childhood memory that always haunted you as an adult or an adult experience that you can't stop thinking about.
You may be interested in a specific historical period, such as 1950s Rome or 1970s California, and start generating ideas for history that involve that specific setting.
Write about feelings and people you know and are passionate about. This will help you pass on your story to others.

Step 2. Identify a hero or heroine

Create a character that you could write 300 pages about, which will grab your attention and that of the audience. Think about the people you know, those you read about in the newspapers, or those who hit you on the street or in the supermarket. Your hero may be related to a theme, such as war, loneliness, or love. Or it could be at odds with the stereotype of a genre or theme, such as a witch and heartbroken or a kind and caring gangster.

Create a profile of your main character. Character Profiles are questionnaires that help writers learn more about the protagonists of their stories.
Not all details in a character's profile need to appear in the script. Getting to know the protagonist as well as possible, however, will help you to consider him a real person. You can ask yourself, "What would my protagonist do in this scene? What would he say or how would he react?". Before proceeding with the script, make sure you can answer these questions.

Step 3. Create a log-line

A logline is a one-sentence summary of your entire story. They are usually used as a marketing tool, for example when a studio producer asks you to sell them the film. On that occasion you should pronounce your log-line. It can also help you focus on the more important aspects of the story and stay on topic. A log-line usually contains three elements:

A protagonist: your hero or heroine, the person for whom the audience will cheer and cheer, or for whom they will at least feel compassion. You can enter more than one hero, but each protagonist must be distinct and have positive qualities. In "Thelma & Louise", for example, the protagonists are Thelma and Louise, but both characters have different goals, motivations and perspectives.
An antagonist: this is the anti-hero (or anti-heroine), or the person who opposes the protagonist. In "Thelma & Louise" the antagonist is a man who tries to rape Thelma in a bar. Later in the script, however, the antagonist becomes "the law", as Thelma and Louise escape after shooting the man who tried to abuse Thelma.
One goal: what motivates and propels your protagonist forward in the story. What does your protagonist want? Thelma and Louise want different things at the beginning of the script, but after the antagonist arrives, they both want to avoid jail. They have a single goal that keeps them going.
A full log-line for "Thelma & Louise" might be as follows: "An Arkansas maid and housewife shoot a rapist and escape in a '66 Thunderbird." Note that the log-line does not use the names of the characters, but refers to their personalities.

Step 4. Write a treatment

In the film industry, treatment will let producers know if your idea is worth the investment. For a first draft of the script, the treatment can also be a useful tool to outline the story and create a first draft. The treatments are summarized over 2-5 pages that divide the story into three elements:

Movie Title: The movie title can change over time, but it's a good idea to find a working title that summarizes your script. The best titles are often the simplest and most direct, such as "Harry, Meet Sally" or "Pulp Fiction". The title should give the viewer a general idea of the script, but not reveal everything, to encourage reading or viewing. Avoid long or heavy titles, such as those with a colon. While they are common among big productions (sequels in particular), they can give the impression that you don't have a clear idea.
Log-line: take the log-line you wrote in the previous step and enter it at the beginning of the treatment.
Synopsis: Expand your log-line and include character names, brief details about their characteristics, and a basic idea of how they get from A to B in the story. A synopsis of "Thelma & Louise" might be, for example: "The mild-mannered housewife Thelma sets out with her friend Louise, a stubborn waitress, on a weekend fishing trip. Their journey becomes an escape from the law, however, when Louise shoots and kills a man who tries to rape Thelma in a bar. Louise decides to flee to Mexico and Thelma joins her. On the journey, Thelma falls in love with a sexy young thief named JD and a compassionate detective tries to convince the two of them. women to turn themselves in before their fate is sealed ".
Treatments may also include portions of dialogues and descriptions. The main purpose of this paper, however, is to summarize the story.

Step 5. Write the script structure

At this stage you will need to focus on the structure of the script. This is a guideline that will allow you to tell the story effectively. A movie script consists of 50-70 scenes. Each scene should have a setting and something that happens to the characters. These 50-70 scenes should be central to the story. Almost all complete scripts are 100-120 pages long and are divided into three acts:

The first act is about 30 pages and introduces the setting, the characters and the events that happened before the story. The events that start the story usually take 10-15 pages of the script.
Act 2 is approximately 60 pages long and contains the main body of the story. Here the protagonist identifies his own goal and encounters obstacles. His problems get worse, or the goal becomes more difficult to achieve. Throughout the second act there should be a tension that grows progressively.
The third act is often shorter than the first, around 20-30 pages. Here you will describe the climax of the story, the desperate attempt of the protagonist to reach his goal. The climax is often the end of the script. Calm the waters, your hero may ride into the sunset, or fall off his horse.
Remember that you don't have to decide exactly how many scenes the script will consist of until you have completed a first draft. But consider these numbers when writing. You will likely need to make some cuts and modify your draft to create a more structured, three-act script.

Step 6. Compose a first draft (flash draft)

A flash draft is the first attempt at a script, written quickly, without thinking too much and avoiding changes. Some scripts make these drafts in a week or a few days. If you have a great logline, good handling and good story structure behind you, you shouldn't have any trouble writing a good first draft.

Focus on exposing ideas when composing your first draft. If you stop to choose the best words or correct typos, you will slow down the creative process. Just write

Step 7. Write visually

Remember that you are writing for a visual medium. Focus on the things that can be seen or heard on the screen and that don't require explanation from the viewer.

In "Pulp Fiction", for example, Tarantino describes drug use in a series of quick close-ups that show what you see and hear on the screen.

FIRST FLOOR - THE NEEDLE

Which gets into Vincent's vein.

FIRST FLOOR - BLOOD

Squirts into the syringe, mixing with the heroin.

CLOSE-UP - VINCENT THUMB

That pushes on the plunger.

Tarantino doesn't use many vivid descriptive adjectives or notes, but the spacing on the page and the descriptions used paint vivid portraits. When using descriptions, choose specific and impactful ones, such as "splash" instead of "in" and "vein" instead of "arm".
Don't be afraid of white space on the page. Tarantino uses white space to show that each scene will hit the viewer quickly and with maximum impact. Audiences will be able to experience drug use without seeing long shots that would take up too much screen time.

Step 8. Limit dialogue to three bars or less

About 95% of the dialogues should be short and direct. The use of monologues in the script is also important, and can be elevated to art (such as Jules' last monologue in "Pulp Fiction" or Harry's monologue at the end of "Harry, meet Sally"). Most of the dialogue, however, should be made up of quick exchanges. Avoid speeches that mimic prose. The exchange of words will allow the script to proceed smoothly.

In the restaurant scene from "Harry, Meet Sally", for example, Ephron uses dialogue to keep the scene dynamic and reveal the characters:

HARRY

So why did it end with Sheldon?

SALLY

What do you know it's over?

HARRY

Because if it weren't over you wouldn't be with me, you would be with Sheldon, the Fucker!

SALLY

First of all, I'm not with you. Besides, it's none of your business.

HARRY

You are right, you are right. I don't want to know.

SALLY

If you really want to know, we broke up because he was so jealous of certain panties with the days of the week …

HARRY

(makes the sound of a button)

No, wait, it gets tough… you said panties, right?

SALLY

Yes. There were printed days of the week and I found them funny… and one day Sheldon says to me: "You never bring Sundays" and all suspicious "Where is Sunday? Where did you leave Sunday?" and I told him, but he didn't believe me!

HARRY

Meaning what?

SALLY

There was no Sunday.

Step 9. Create separate dialogues for your characters

Your characters are living, breathing people. Therefore create dialogues that reflect their backgrounds, their upbringing and their outlook on life. A young man who grew up in Scampia, for example, probably won't have the same way of speaking and won't use the same terms as an elderly lady who grew up in 1960s Milan. The dialogues must imitate reality.

It is especially important to write different dialogues for your characters if more than one character speaks in a scene (as is the case in almost all good scripts). In "Thelma & Louise", Khouri gives each character a distinctive style of expression and jargon that illustrate their different thoughts and points of view when participating in the same scene.
Avoid describing the obvious. Dialogues should always get more than one result at a time. Dialogues that tell only a character's background, or that only serve to answer a question, don't do enough work. The dialogue at the restaurant of "Harry, meet Sally" is not simply a way for the characters to make conversation. The story Sally tells, on the other hand, illustrates to Harry her views on relationships and her ideas on honesty and intimacy.
If you use monologues in your script, just introduce one or two and make sure they are very effective. They should be brilliant and necessary for the development of the story and the characters.
It may be tempting, especially if you are writing a historical film or one set in a certain period of time, to create "sophisticated" dialogues using archaic language. Remember that your characters still need to look like real people to viewers. Don't let complex language make your characters uninvolving.

Step 10. Start the movie one scene late and have it finish one scene earlier

Avoid the temptation to dwell on descriptions of characters or settings. The script does not have to deal with the smallest details, but to finish a scene at the right time, to keep the viewer's attention. A good trick is to delete the first and last sentence of a scene. If the scene still holds up without these sentences, don't add them back.

In "Pulp Fiction", for example, Tarantino ends many scenes at the most important moment, after two hit men have killed a target or a boxer has knocked down his rival. Go straight from these moments to a new scene. This keeps the action moving and the viewer engaged

Step 11. Make characters take great risks and provide them with great goals

One of the best things about movies is the ability to show big events and images in large format, called set pieces. Set pieces are usually eye-catching high-impact sequences and are, in the case of almost any action movie, spectacular. But even in a film about two people talking in different settings ("Harry, this is Sally") or two women running away ("Thelma & Louise"), there should always be big risks and big dreams for children. personages.

Harry and Sally are both looking for love and companionship, and after ten years of friendship, they realize they can find them in each other. So the risk is great, because their friendship could end if their romantic relationship doesn't work out, and the goals are big, because nothing is more important than love.
Thelma and Louise also take a lot of risk and have big dreams. A series of events pushes both heroines into a situation where they could end up in prison. Their big dream therefore is to escape from the law, and in some way, from their situation without losing their freedom.

Step 12. Make sure your script has a beginning, a center, and an end

It will have to resume the structure in three acts. Your script, however unique or interesting the subject may be, should be able to be represented in three acts. In the first act the event that gives life to the story should be described, in the second act the protagonist struggles against obstacles to reach his goal, in the third you will describe the climax and finale.

Part 3 of 3: Review the script

Step 1. Check the formatting

Your script will undergo many changes over time. But before you can read it to others or send it to film producers, you'll need to check that it's formatted correctly.

Make sure it starts with a "Fade", a title and a description of the setting.
Confirm that the script contains descriptive lines for all characters, especially when they are first mentioned.
Make sure all character names are capitalized, as are the sounds.
Confirm that all visual notes are in parentheses.
Check the transitions.
Confirm the presence of notes at the bottom of the page indicating (MORE) or (CONTINUE), if the page interrupts a dialogue or a scene.
Check for page numbers, top right.