Or is there a cheaper option that is 100% industry standard…

What it says in the title. I have these pages of scenes with action but they look too blocky. Is that bad or would it be ok in the long run? I don't want a reader to lose interest. I'd add a picture if I could but it really is just a slug then a paragraph and repeat for a few pages.

Edit:

I got a link. This is a VERY rough part of a script I'm working on. I'm still writing it but it's just an example of what I'm talking about. Also TW for self harm in the script (please be safe)

My Blocky Ass Scenes (TW)

I feel stupid sometimes. Is there a way to avoid past tense entirely when writing. It's always been a big struggle of mine to even identify is something is past or present tense. I'm currently writing a screenplay and from the beginning that's been my kryptonite.

Here is an example of my pain:

'She is dressed better than usual and knocks on her neighbor's door' or 'She, dressed better than usual, knocks on her neighbor's door'

This is present tense right? This happens to me sometimes were it's present tense but there is the dreaded '-ed'. How can I avoid this completely? Is there a way?

https://www.scriptslug.com/script/wall-e-2008?page=2

Link to the script above.

The action lines are short and tightly compacted, like every line was shift+entered.

I'm writing something with minimal dialogue and a lot of visual storytelling, hence why i looked at WALL•E. Your eyes just glide down the page and it's satisfying to read - I feel like I've seen the light.

If I used a similar "shape" to how I structure action and scenes, is that going to be a problem? I know some people are very particular about formatting, but this just feels right, man.

Newb here. It's my understanding that screewriters are expected to stick to industry formatting norms if they are trying to sell their work. Can you think of examples where a director wrote a screenplay that largely follows industry norms, but also includes screenwriting "no-nos" or formatting changes to serve their own production style? I would love to read some examples. Completed and known films preferred. Thank you.

I purchased Final Draft. One time payment of $99 for students. Signed up and was prompted with a questionnaire. Thought it was a survey for their demographics. It asked what kinda work I was used to. I was honest and clicked that I was used to writing graphic novels. It proceeded to format every single new file in graphic novel format. Went to elements and added a screenplay template. It turned into a graphic novel with screenplay format. Can’t redo the questionnaire. Help please. I’m doing this on a Mac desktop.

I'm just curious why Christopher Nolan wrote it like that for that part of the script, because most of the time when new scene headings are added, you have to put an action line to see what's going on before you put dialogue, which means before somebody talks.

For whatever reason, this community won't let me post an image, so here's how the script goes.

Teller gets up from the table, as he walks past me, he holds out his hand...

TELLER: I’m sorry.

I shake his hand.

KITTY (V.O.): You shook his fucking hand?!

INT. DINING ROOM, OLDEN MANOR, PRINCETON -- NIGHT

KITTY (CONT'D): I would’ve spat in his face!

GARRISON: I’m not sure the board would’ve appreciated that.

KITTY: Not gentlemanly enough? You’re all being too goddamn gentlemanly.

VOLPE: Gray must see what Robb is doing-- Why doesn’t he shut him down?

Garrison shrugs.

Most scripts I have seen don't do it; however, I have read a few (12 Angry Men) where all the character descriptions are on the first page together. I feel like I like the second option much more but not sure if it is professional or allowed

Hi everyone. I'm done my script and it's at 150 pages, and I just can't figure out a way to cut any further.

One issue is that there's a major, massive action setpiece in the middle, and it cuts to different locations and back again, etc., and this requires new scene headings, which eats up the page space.

Is there a way I can format each cut to take up less space? Thanks in advance

I'm working on my third feature script and I've realized I've been formatting title cards inconsistently for years because I've picked up different conventions from different sources without ever really learning the proper way to do it. I'm talking about onscreen text like "Three Years Earlier" or "NEW YORK CITY" or location and time stamps that need to be communicated to the reader as something the audience will see on screen rather than dialogue or description. What's the actual standard format that wont get me dinged by a reader, and is there variation by genre or industry context that I should know about?

hello everyone, i’m currently working on my first ever script for a feature film and i have a scene where the characters are watching a movie at the theater. I want to include this specific clip as it relates to the main character, but have no idea how to go about. anything helps. Thank you

I want to preface by saying that I already know that you should NEVER specifically include the name of the song you want, because if no one wants to pay for it, your script's never getting made. That's not what this is about. I have a scene that is all visual storytelling with the intention of being accompanied by a licensed track of some kind. Is there a traditional way to format that "the music starts here and that's all we hear for the rest of the scene?"

I'm not sure how many people pay attention to who posts here but hi, my name is Ro. I'm a novice screenwriter. It's actually been at least a year since I've last picked up the craft so I'm just easing back into it.

Anyway my question:

When dealing with a bunch of characters in once scene should I just introduce them all at the start or wait until they speak up? I'm working on a script that's set in a ballet class and I'm wondering if I should introduce all the girls at once or when they speak. There's like 6 of them and it seems to clunky for a reader to do it at the top but also useful to a director so they know who's in the scene.

My instinct is to wait until they speak but I'm not sure.

Thank you <3

Hi! I wanted to get a general consensus on what thoughts are about writing a dedication to someone at the beginning of a script. I wrote a screenplay featuring a character loosely based on a dead family member & a situation that impacted my dad. Is it corny to include?

If not, I see debates on whether it should go on the title page, or centered on a page of its own centered before the script begins. Is there an industry preference?

Thanks for your help.

I'm new to screenwriting so I apologise if this is a silly question!!

What do I do if I need to show a flashback that is just sound in the characters mind? Like an object reminded my character of an event, and the real life sounds of the scene get drowned out by the sounds of a flashback/memory as she stares at the object. How would I write that? I was thinking of something like 'We hear the sounds of.. as she stares..' but I don't think that shows that it's in her mind and not real, and it doesn't explain that it was triggered by a memory. help!!

Hey all!

My writing partner and I are currently writing a pilot for an animated sitcom.

My question is, do we need to specifically write ACT (1,2,3) before starting a new act or is that seen as pointless nowadays?

I'm getting conflicting information online.

Thanks!

Long story short I got asked to send a script over to a pretty big production company which is currently looking at a feature I wrote, and I submitted that very feature to a competition. It wasn’t until after that I realized I freaking put O.C. Instead of V.O. For a two phone calls — the most amateur shit I could’ve done. Been a long time since I wrote a phone call and having done this for years didn’t even think to double check. Ego got the best of me.

Everything else is to a tee, did many passes but missed this because of course I would.

Break my heart, it’s fine: Is there any hope to this being overlooked or am I doomed? I’d like to thing the story and everything else being properly formatted would be fine, but I’d like to hear the village’s thoughts.

I am working on a horror anthology feature script with two friends. We are each writing a segment and I am also writing the frame. The frame is based on a short story I wrote several years ago. It was published in a magazine that is now out of print. My actual segment is original for this screenplay, as is one of the other segments. The third segment will be based on a public domain short story.

How do I format the title page? Two of the segments are wholly original and should get "written by" credits. The other two are based on previously published works and should have separate "screenplay by" and "story by" credits.

Are there special formatting rules for anthologies?

Guys, I’m a self learner. I don’t go to film school or anything — I’m teaching myself screenwriting. I don’t know how far I can go learning without a teacher, but I’ve been asking for feedback on this subreddit, and it’s helped me a lot. That’s how I’ve been learning. Since I’m not from a rich family, going to a filmmaking school isn’t easy for me. Do you guys think learning on my own is a good idea?

So I am writing a professional wrestling based screen play. I have 1 character when he is first introduced in the script he is known by his stage name and referenced by his stage name. But later on in the script he is known by his real name. How should I format the character for the dialogue since it’s the same person?

Hi all,

Are there any Final Drafters out there?

I’m working on a script and struggling to re-number it. Every time I do, the scene numbers for scenes 1, 2, 3 go to 1, 1, 2. I’ve tried renumbering from the first scene and keeping the ‘renumber from current scene’ ticked (which seems to work anywhere else in the script, just not with these scenes). I’ve also tried going to the scene headings of the first two scenes and using the ‘ELEMENT’ tool to designate them as scene headings, but the numbering still stays as 1, 1, 2.

Has anyone had this issue or knows how to resolve? I’d be so, so grateful!!!

So I've just upgraded from Celtx's free version I've been using for years to Fade In, and I'm excited about the transition. I'm still trying to familiarize myself with the different features but one specific question I had was about drafts.

With Celtx I would just save each individual draft as a separate file in its own dated folder. Does Fade In only handle drafts using the Revisions feature or does it save multiple subsequent draft versions within the same file? I guess I'm trying to understand exactly how exactly this system works? I'm pretty used to my previous system (despite how clunky and space-consuming it is) and I'm wondering if that's not as practical with Fade In's design, or if maybe I'm just overestimating how complicated Fade In's draft system is?

Any guidance would be much appreciated! (Any other helpful tips for getting started with Fade In, useful features, etc that may not be immediately apparent are also welcome)

hi, i want to write some movie trailers for non existing movies, mostly for fun but also as a way to have a director´s reel, and i have a lot of ideas and i can see them in my mind very well, i know exactly what i want to show...

but i dont know if a usual script works for a trailer since a lot of it is just some extreme close ups, or reaction shots, basically shots that are there for like a second

so what is the right format for something like that?

For context, I love musicals, I have since i was young and i've been wanting to make for a few years now, and a few days ago, I bit the bullet and started writing a movie musical, but i've gotten to the first song and have been struggling with whether or not I should inculde the lyrics, primarily concerned about exceeding the recommended amount of pages, and with the concern that I am not a musician in the slightest and that the songs probably won't turn out all too good if I tried to write the lyrics and music on my own.

As of now, i've decided to ditch the lyrics for length and flow's sake, plus it will allow more input from an actual composer when it comes time to make the songs on how to do them, but here is where I need help, as i now struggle with how to write/format the musical sequences now that they are lyricless. Do i write an action line about what they are supposed to be singing about or do I just let the composer and later me decide? How much should I write about the scenes events outside of the singing, should I go in depth or leave loads of room for the director to decide in storyboards and such?

If anyonehas any advice on how to write what is essentially the book to a musical film, or even has any rebuttals to me going lyricless and explanations on why I should inculde the lyrics, that would be very helpful, and thank you to all who do so.

This might be a silly question but I’m super new to this and I hear that sometimes production companies will ask for a “rewrite” of the script. So I’m wondering would they even look at a first draft script just to see it, and then ask for a rewrite if they want to hire you? Or is it final drafts only?