FADE IN: A Guide to

Screenwriting Basics
FADE IN: A GUIDE TO
SCREENWRITING
BASICS

CANDACE ROSE

University of North Alabama Digital Press at

Collier Library
Florence, AL
FADE IN: A Guide to Screenwriting Basics Copyright © 2023 by Candace Rose
is licensed under a Creative Commons
Attribution-NonCommercial-ShareAlike 4.0 International License, except
where otherwise noted.
CONTENTS

Attribution vii
Getting Started 1
The Left Brain vs. The Right Brain 3
What is a Screenplay for? v

Part I. Main Body

1. Chapter 1: Where Do You Find a Good 7

Story?
2. Chapter 2: The Premise 14
3. Chapter 3: Screenplay Structure 18
4. Chapter 4: Scene Cards 24
5. Chapter 5: Subplots 30
6. Chapter 6: Treatment Outline 32
7. Chapter 7: Manipulating Time 36
8. Chapter 8: Conflict, Obstacles and Rising 39
Stakes
9. Chapter 9: Climax and Resolution 41
10. Chapter 10: Openings and Endings 43
11. Chapter 11: Creating Characters 46
12. Chapter 12: Dialogue 48
13. Chapter 13: Writing Your First Draft 53
14. Chapter 14: Formatting 58
15. Chapter 15: Rewriting 70
16. Chapter 16: What’s Next? 73
 ATTRIBUTION | VII

ATTRIBUTION

This book is an adapted and revised version of FADE IN:

A Guide to Screenwriting Basics by Candace Rose licensed
under a Creative Commons Attribution-NonCommercial-
ShareAlike 4.0 International License.
VIII | ATTRIBUTION
 GETTING STARTED | 1

GETTING STARTED

Getting started on your

screenplay
Who doesn’t love a good movie or enjoy binging on a favorite
series? The magic behind cinematic storytelling starts with an
amazing, one-of-a-kind story concept. That idea is then turned
into a screenplay, which eventually gets produced and made
into a movie. And the great thing is, screenwriting is formulaic
– once you learn the formula and develop your writing skills,
you too can put pen to paper (or keyboard to computer) and
write your own screenplay.
In this guide, I give you the basics to get started. Although
I focus mainly on writing a short screenplay, the tools and tips
that you will find in this book can be applied to a feature-
length screenplay and even an episodic television screenplay.
The basics are the same, and after learning and applying these
concepts and story formulas, you can get started on your
journey as a screenwriter. There are many great resources out
there to take you to the next level, and this guide will give you
the foundation you need.
As a professor of screenwriting, I have years of experience
2 | GETTING STARTED

working with first-time screenwriters and leading them, step-

by-step, through the process of writing their first screenplay.
I’ve witnessed the most hesitant students overcome their fears
and self-doubt and go on to write amazing, creative,
professional-level short and feature-length screenplays of
which they can be proud. After taking my course, many
students continue to take more advanced screenwriting
courses, enter their screenplays into contests, and even produce
and film their own scripts.
I look forward to sharing my knowledge with you and
encourage you to dive into your first (or 2nd or 3rd…)
screenplay and most of all, have fun!
 THE LEFT BRAIN VS. THE RIGHT BRAIN | 3

THE LEFT BRAIN VS.

THE RIGHT BRAIN

The Left Brain vs. The Right

Brain
As you probably know, the left brain is associated with linear
and analytical thought. The right brain, on the other hand,
is associated with creative and intuitive thought, and we have
both a left and right hemisphere in our brain. Screenwriting
incorporates both the analytical mind and the creative mind.
The left brain helps us to structure our screenplay and the
right brain helps us to develop our characters, our dialogue,
and picture our worlds. We may be stronger in one hemisphere
over the other, but these parts of our brain can be developed
with practice. Know your strengths and keep this in mind
when going through the screenwriting process. For example,
if you are more of a left-brain thinker, you may find that
structuring your story comes easily to you and you enjoy
thinking through the plot points. On the other hand, you may
struggle to know your characters and hear their voices. No
worries…with practice your right brain will kick in and your
characters will come to life.
4 | THE LEFT BRAIN VS. THE RIGHT BRAIN

The same is true for the right brain thinkers who can barely
turn their characters’ voices off at night. Structure might be a
grueling task for you and you wonder why you can’t just let
your characters tell you where they want to go next. You can
try this approach, but after two hundred pages of script with
no end in sight, you may decide that engaging your left brain
to step up and structure your screenplay is the way to go.
 WHAT IS A SCREENPLAY FOR? | 5

WHAT IS A SCREENPLAY
FOR?

What is a Screenplay for?

This may seem like an obvious question, especially if you are
already somewhat familiar with how movies are made. A
screenplay is the written “story” created in the early
“development” phase of a film project. It’s the document that
is used to get producers, directors, actors and financiers
onboard so the movie can be greenlit.
Once the movie is financed, the film moves from
development to the preproduction phase, and now the script
becomes a map or guide for the crew as to how the movie
should be made. At this point, the director and other key
creatives, such as the production designer and
cinematographer, will have a hand in crafting the movie and
some changes will most likely be made to the script. The writer
will typically get to do at least one rewrite on the project and
may even stay on through the entire production of the film to
make last minute changes to the script.
6 | WHAT IS A SCREENPLAY FOR?
 CHAPTER 1: WHERE DO YOU FIND A GOOD STORY? | 7

1.

Chapter 1: Where Do You

Find a Good Story?
Coming up with a good story idea is the first step to
developing your screenplay. It can be a fun, creative process,
and sometimes it can be a daunting one too…but it doesn’t
have to be. Hitchcock once said, “Drama is life with the dull
bits cut out.” And he was right! Story ideas are all around us –
in our news, our families, our own personal life experiences.
So where to begin? Here are some ideas to ignite your
creativity, and remember, it’s a process. Let the process take its
time and don’t be too concerned if your perfect screenplay idea
doesn’t just suddenly appear. In fact, I recommend coming up
with several screenplay ideas to take the pressure off and give
yourself some creative choices.
Check out news headlines and don’t read the articles. Just
let the headlines inspire you to create your own story,
characters and conflicts.
Listen to music and let the melodies and/or lyrics take you
away to another place.
Visit locations where your story could take place. Immerse
yourself physically into your story. People watch and be the “fly
8 | CHAPTER 1: WHERE DO YOU FIND A GOOD STORY?

on the wall.” Great characters are believable characters, and

what better place to draw from than from real life.
Watch movies…lots of them. Discover what you love and
don’t love about certain films and what kinds of stories you’d
like to tell.
Read screenplays! Not only is this a fantastic way to improve
your writing skills, but you’ll get some creative story ideas as
well.
Write down your dreams. Sometimes our subconscious
comes up with amazing imagery and storylines that can inspire
a character or storyline.
Get busy. Sitting in front of an empty computer screen or
blank sheet of paper can spiral us into writer’s block. Walk
your dog, exercise, garden or meditate…any activity that helps
both your mind and body relax to get those creative juices
flowing again.
Research. If you love to learn random facts about all kinds
of things, then research is your key to finding inspiration for
new and exciting worlds and characters.
Interview interesting people. Most people would love to
tell you their story if asked. And this is also a great way to
learn about different professions and expertise, whether that
be deep-sea diving, trading stock on Wall Street or delivering
babies.

Tips for writing a Short

 CHAPTER 1: WHERE DO YOU FIND A GOOD STORY? | 9

Screenplay
Both feature length and short screenplays have their unique
challenges. Writing a feature requires many plot twists and
turns, multiple characters and subplots. When writing a short
screenplay, however, you are limited on what you can include
in your story.
Here are a few tips to help you formulate your ideas for a
short screenplay:

• Focus the story around just one or two characters.

• Give the protagonist one clear goal and clear obstacles.
• Make sure there’s a clear and worthy antagonist and
force against the protagonist.
• Limit the number of locations.
• Keep the timeframe short – in other words, a story that
takes place over an hour or a day is much easier to tell in
10 – 20 pages than a story that spans decades.
• Limit the number of subplots.
• Does it take place in another reality? If so, write out the
“rules” of this reality to avoid plot holes.
• Watch short films to get a sense of the timing in a short
screenplay.

Here’s an example of a Writing Exercise that you can use to

help spark creative story ideas from a News Headline, but you
can adapt this exercise to inspire ideas from any source.
10 | CHAPTER 1: WHERE DO YOU FIND A GOOD STORY?

ADAPTING A NEWS HEADLINE FOR A

SCREENPLAY
Choose a newspaper headline (or combine headlines) and
follow the example below. Write out the headline(s) at the top
of the page. Then complete each category below with a brief
paragraph, no more than 4 or 5 sentences. The goal is to be
clear and concise.
ARTICLE HEADLINE: “Lottery ticket bought with
stolen credit card – $1 million ticket purchased with card that
belonged to dead person” MSNBC.com

1. PREMISE: (include the 4 points from the premise

chapter 2) Darcy buys a million dollar lottery ticket and
wins! But in the midst of living the glorious high-life, her
world skids to a halt when a jealous sister-in-law turns
her in for fraud and for “borrowing” the card from her
dead mother-in-law. Now Darcy must find a way to keep
the fortune for herself and away from her greedy siblings.
2. MAIN CHARACTER: Darcy is a middle-aged woman
with mediocre success in her life. She lives next door to
her now dead mother-in-law despite the fact that her
husband has been missing for the last 14 years. It was a
complicated, love-hate relationship between the two
women. Her day of passing couldn’t have come too soon
for Darcy.
3. MAIN CHARACTER’S GOAL: Darcy’s goal is to
keep her winning fortune.
 CHAPTER 1: WHERE DO YOU FIND A GOOD STORY? | 11

4. OBSTACLES (be very specific/imagine a scene in a

movie):

1. Greedy siblings take Darcy to TV court.

2. Darcy is slandered with bad publicity and her history of
dirty laundry is broadcast on the primetime news.
3. Darcy is blackmailed by her suddenly resurrected
missing husband and she’s forced to pay him off.
4. Darcy is arrested and she must explain other stolen items
purchased with the same borrowed credit card to city
police.
5. Mobsters discover Darcy hiding her fortune in the desert
and decide to make it their own – they happen to be
burying a dead body in the same location.

5. CENTRAL QUESTION(S): Will Darcy get caught or

get to keep the fortune? And will she share the wealth or
keep it for herself?

6. POSSIBLE THEMES:
12 | CHAPTER 1: WHERE DO YOU FIND A GOOD STORY?

1. Money can’t buy happiness.

2. Greed will stab you in the back.

Worksheet
TITLE:

1. PREMISE: (include the 4 points – use Premise

handout)

2. MAIN CHARACTER: (creative description)

3. MAIN CHARACTER’S GOAL:

 CHAPTER 1: WHERE DO YOU FIND A GOOD STORY? | 13

4. OBSTACLES: (give details – describe actual scenes)

1.

2.

3.

4.

5. CENTRAL QUESTION:

6. POSSIBLE THEMES:

7. GENRE:
14 | CHAPTER 2: THE PREMISE

2.

CHAPTER 2: THE
PREMISE

Chapter 2: The Premise

A Premise is your story narrowed down to just one or two
sentences. Once you establish this, you can set out to develop
your plot. Being able to narrow your story down to its bare
bones is challenging but essential when telling your story. It’s
also great practice for the “elevator pitch” when you only have
one minute to impress someone with your amazing screenplay
idea.
Your premise should include the following, and leave out
the subplots and complications:

1. Name the hero/protagonist

2. What does the hero want?
3. What prevents/tries to prevent the hero from getting it?
4. How does it end/wrap up?
 CHAPTER 2: THE PREMISE | 15

Here’s an example from the movie ET (1982) by writer Melissa

Mathison and director Stephen Spielberg:
A boy discovers a visitor from outer space who misses his
spaceship home. He enlists the help of his siblings who
befriend the alien and help him escape before he dies.
This can be broken down into the following four premise
points:

1. Name the hero/protagonist – A boy who discovers a

visitor from outer space
2. What does the hero want? – to help the alien go home
3. What prevents/tries to prevent the hero from getting it?
– the alien misses his spaceship and is dying, and
authorities try to intervene
4. How does it end/wrap up? – the children help him
escape

Another example from Creed (2015) by writers Ryan Coogler,

Aaron Covington with characters from the Rocky series by
Slyvester Stallone and director Ryan Coogler:
A young man follows in his father’s footsteps to become a
boxing champion and seeks out his father’s former opponent
and eventual friend to coach him. But after discovering that his
mentor has cancer and he loses his girl, he is forced to overcome
his own doubts and limitations in order to succeed and prove
himself worthy of his father’s name.
16 | CHAPTER 2: THE PREMISE

1. Name the hero/protagonist – A young man (Adonis

Creed)
2. What does the hero want? – He wants to be a boxing
champion and live up to his father’s name
3. What prevents/tries to prevent the hero from getting it?
– He loses a fight, doubts himself, his mentor gets
cancer, he loses his girlfriend
4. How does it end/wrap up? – He proves himself worthy

And an example from Get Out (2017) by writer/director

Jordan Peele:
An African American man travels with his caucasion
girlfriend to meet her parents for the first time. What starts out
as an awkward attempt to impress her parents and fit in, turns
into a fight for his life against racism, family secrets and sinister
motives.

1. Name the hero/protagonist – An African American

man (Chris Washington)
2. What does the hero want? – He wants to be accepted by
his girlfriend’s parents
3. What prevents/tries to prevent the hero from getting it?
– Racism and the family’s secrets and sinister motives
4. How does it end/wrap up? – He fights for his life

One more example from Wonder Woman (2017) by writer

Allan Heinberg and director Patty Jenkins:
 CHAPTER 2: THE PREMISE | 17

A trained Amazon warrior princess is called to action to save

the world from a devastating world war along with the help
of an American pilot, and in doing so, she discovers her true
powers and destiny.

1. Name the hero/protagonist – A trained Amazon warrior

princess (Diana)
2. What does the hero want? – To save the world
3. What prevents/tries to prevent the hero from getting it?
– A devastating world war
4. How does it end/wrap up? – She discovers her true
powers and destiny
18 | CHAPTER 3: SCREENPLAY STRUCTURE

3.

CHAPTER 3:
SCREENPLAY
STRUCTURE

Chapter 3: Screenplay
Structure
The Three-Act Structure
Movie screenplays are typically written in a 3-act structure,
summarized as:

• Act one, throw your character in the sea

• Act two, surround him with sharks
• Act three, pull him to safety

One page of script equals one minute of screen-time (1:1

ratio), so a standard two hour movie or a 20-minute short film
is roughly broken down into the following three time/page
acts:
 CHAPTER 3: SCREENPLAY STRUCTURE | 19

ACT 1 (Feature Film): Approximately 30 minutes

in a 2-hour film

ACT 1 (Short Film: Approximately 5 minutes in a

20-minute short film

ACT 2 (Feature Film): Approximately 60 minutes

in a 2-hour film

ACT 2 (Short Film): Approximately 10 minutes in

a 20-minute film

ACT 3 (Feature Film): Approximately 30 minutes

in a 2-hour film

ACT 3 (Short Film): Approximately 5 minutes in a

20-minute film

Act One
Act one establishes the “real world” and embarks our hero
on their journey.

The Set-Up
This occurs within the first 10 to 15 minutes of a feature-
length movie (1 to 3 minutes of a 20-minute short film) and
20 | CHAPTER 3: SCREENPLAY STRUCTURE

sets up the story. It establishes the “real world” and throws an

obstacle at the Hero that is nearly impossible to overcome.
The Set-up:

• Introduces the Hero/Protagonist and other key

characters
• Establishes the setting
• Reveals the time period
• Defines the genre
• Reveals a character’s socio-economic status
• Sets up the Central Question

The Central Question

This is a “story” or plot question, not a thematic one. It is
a straightforward question that you are asking within the first
15 minutes of a feature-length movie (or within 3 minutes of
a 20-minute short film) that is answered by the Climax of the
film.
It is the “What is this movie about?” question that helps
you decide whether or not to settle in and watch this movie or
change the channel. For example: Will they find their true love?
Will she take control of her life and be a winner? Will he find
the missing child? Will they save the world from impending
destruction? Will she get revenge?

The Catalyst/Inciting Incident

 CHAPTER 3: SCREENPLAY STRUCTURE | 21

This is the moment that something happens to set the story

in motion. It’s a problem, challenge or incident that could
come in the form of dialogue or action that demands an action
or reaction from our main character. This usually occurs
about 15 minutes into a feature-length movie (3 minutes into
a 20-minute short film.)

The First Turning Plot Point

In a feature-length movie, the 1st turning point occurs
around 25 to 35 minutes in (4 to 6 minutes into a 20-minute
short film.) This turning point should accomplish the
following:

1. Turn the story in a new direction

2. Sets up Act 2
3. Raises the stakes
4. Re-asks the Central Question – in possibly a new way or
with a different outcome
5. The Protagonist makes a decision

Act Two
Act Two is the main body of the movie where you get to
raise the stakes and challenge your hero at every turn. In this
act you develop your story idea, characters, subplots and
relationships. This is where relationships blossom, characters
grow and the plot thickens.
22 | CHAPTER 3: SCREENPLAY STRUCTURE

The Midpoint
This is a significant point in the movie that mirrors or
reflects the ending, and it happens halfway through the film.
If the movie ends on a high point, the midpoint might also be
a high point, or sometimes it can be the direct opposite of the
ending.

The Second Turning Point

The 2nd Turning Point occurs about 75 to 90 minutes into
a feature film (14 – 16 minutes in a 20-minute short film.)
This can be the darkest hour in the movie when things look
hopeless. This turning point should accomplish the following:

1. Turn the direction of the story again

2. Raise the stakes again
3. Start a ticking clock that launches us towards the Climax
4. Asks the Central Question again
5. The Protagonist makes a decision

Act Three
This act includes a “ticking clock,” which is the “race to
the finish line,” where your hero is faced with her greatest
challenge and you get to wrap up the loose ends. This act
should be no more than 30 minutes.
 CHAPTER 3: SCREENPLAY STRUCTURE | 23

The Climax
This is the final and biggest conflict where the good guy
faces off with the bad guy or two lovers finally get together. It’s
the “race to the finish line” – the moment when the Central
Question is answered.

The Conclusion
This is where the loose ends and subplots wrap up in the last
5 to 10 minutes of a feature-length movie (1 to 2 minutes of a
20-minute short film.)

Theme
What is your story really about? What are you saying?
Themes are the messages or implicit meanings in the movie
that the audience can take away with them. Here are a few
examples: Love always wins in the end, do the right thing and
justice will be served, the underdog can come out on top,
families stick together no matter what, or life is pointless.
24 | CHAPTER 4: SCENE CARDS

4.

CHAPTER 4: SCENE
CARDS

Chapter 4: Scene Cards

After structuring your screenplay into its 3 acts with the major
plot points and filling in your Paradigm, you are ready to move
on to the next step of building your screenplay, the Scene
Cards. This is a fun part of the process because it’s hands-on
and gets you out of your seat.
As the name implies, each scene of your screenplay is
written down on a card: one card = one scene. I find that 3×5
cards work best, although you may prefer to use large sticky
notes, or a screenwriting software program that offers a scene
card option. Whatever works for you.
Creating Your Cards
#1 Start with a pile of blank cards and include some “free”
cards labeled: title, ACT 1, ACT 2, ACT 3.
#2 Keep the information on your cards brief. Include the
scene heading, which indicates whether or not the scene is
interior INT. or exterior EXT., the location and either DAY
 CHAPTER 4: SCENE CARDS | 25

or NIGHT. Then briefly describe the action and name the

characters in the scene. If the scene is one of the major plot
points indicated on your Paradigm worksheet, then include
that heading as well.
For example, a scene card from the movie Creed (2015)
might look like this:

MIDPOINT

INT. RING – DAY

Adonis fights Leo and wins.

Rocky is in his corner.

Bianca watches and congratulates Adonis after

the fight.

#3 Start filling in your individual cards with the major plot

points from your Paradigm worksheet. Remember, each card
is a single scene, and a scene is defined by time or location. For
26 | CHAPTER 4: SCENE CARDS

example, if a scene takes place inside of a restaurant at night,

the scene heading would look like this:
INT. RESTAURANT – NIGHT
If the characters then walk outside the restaurant, even if
you imagine it as one continuous shot with no break in time, it
is still a new scene, because now the characters are technically
in a new location, and on a film set, this would be a new set up.
So, the new scene heading would look like this:
EXT. RESTAURANT – NIGHT
This new location indicates a new scene, and thus you
would use a new scene card. The same is true for time. If a
scene starts out in a restaurant at night, and the next scene
is several hours later in the same restaurant, even though the
location has not changed, time has lapsed. The new scene
heading would look like this:
INT. RESTAURANT – LATER
Again, this would require a new scene card because
technically it’s a new scene and set up.
#4 After writing out the major plot points onto your scene
cards, now you can move on to other imaginative scenes that
you’d like to see in your movie. At this point, don’t worry
about being linear and working from the beginning of your
movie to the end in sequential order. It’s perfectly fine and
even helpful sometimes to work out of sequence and just allow
your creativity to flow. The great thing about scene cards is
that you get to move them around, so at this point, nothing is
locked in.
 CHAPTER 4: SCENE CARDS | 27

This is also your time to fill in the subplots. Subplots are

story threads that often involve relationships and supporting
storylines. In a 20-minute short screenplay, you may only have
one or two subplots or no subplots. The story may just be
about the through-line that focuses only on the protagonist
reaching his or her goal. In a feature film, however, you will
have many subplots and these will help you fill up the second
act.
You can use a marker or sticker to add a colored dot to the
corner of your scene card that indicates a subplot storyline.
This is an easy way to keep track of subplots visually as you
look over your cards.

Laying Out Your Cards

Next, start laying out your cards across a table in columns,
starting with the first act in the upper left corner and then
working your way down the column with each scene card, and
then starting at the top again. Lay the cards in order from
beginning to end, sectioning off the different acts with your
ACT 1, ACT 2 and ACT 3 “free” cards.
For a feature-length screenplay, you should have between
45 – 60 cards. On average, a scene lasts about 2 pages, so this
would equate to a 90 -120-page screenplay. For a 20-minute
short screenplay you should have about 8 – 15 cards, as some
scenes will be much shorter than 2 pages.
This technique of laying out your scene cards will give you
a visual of where your story is at. For example, if you discover
28 | CHAPTER 4: SCENE CARDS

that you have 30 of your 60 cards in Act 1, you know right

away that your first act is way too long. The same goes for a
short film. If your first act includes 6 of your 10 cards, you will
need to cut that down or rearrange some scenes.
Remember, this is a creative, fluid process, so don’t worry if
you don’t have all of the pieces to your screenplay puzzle yet.
You may discover that you have a great opening and ending
to your screenplay but your second act could use a few more
scene cards and exciting obstacles for your protagonist to
overcome. Now is the time to try some things out. Come up
with some new scenes, plug them in and see if they work.
Rearrange some scenes and see how that changes your story –
sometimes it may be for the better.
This is also a good time to “talk” someone through your
movie. Sometimes hearing yourself tell your story out loud will
spark some creative ideas and help you figure out that perfect
next-step for your screenplay.
I also recommend using a pencil and numbering your scene
cards just in case your cat decides to check out your scene cards,
and they scatter to the floor. This way you’ll be able to easily
pick up where you left off, and if you change your mind, you
can erase the numbers and start over.
Some writers really enjoy the scene card process, and can
move from here straight into writing their screenplay. Others
will move from this step on to the Outline/Treatment, which
is a much more detailed breakdown of each scene, before they
dive into writing. And some writers skip this step all together
 CHAPTER 4: SCENE CARDS | 29

and go straight to the Outline/Treatment from their

Paradigm.
I recommend going through all of these steps as you learn
to write a screenplay and come to better understand your own
creative process and what works best for you.
30 | CHAPTER 5: SUBPLOTS

5.

CHAPTER 5: SUBPLOTS

Chapter 5: Subplots
Subplots are storylines that interweave with the protagonist’s
storyline, which is also known as the A-Story or through-line.
Subplots support the main plot, revolve around the
supporting characters, and can add to the complications and
rising conflict that our hero must overcome. They are often
referred to as the B-Story, C-Story and so forth.
If a subplot can be cut from the story, and not affect the A-
Story at all, then it’s time to either lose it, or make it count and
tie it into the main character’s storyline.
Subplots should also have at least 3 beats – just like the
main storyline – a beginning, middle and an end. Although
the timespan of a subplot can be much shorter than the A-
Story, spanning over just a few scenes or one or two acts.
Thematically, subplots should align with the A-Story. If a
major theme in your A-Story is “Love wins in the end” then
you don’t want a subplot with a theme of “Love never lasts.”
A subplot should also match the A-Story in tone and exist
in the same reality. A gritty police drama with a subplot that
 CHAPTER 5: SUBPLOTS | 31

suddenly jumps into a fantasy world of dragons could be

jarring for the audience and lose its believability.
Of course, I’m sure you can find examples of movies where
the “rules” of screenwriting were broken – and it worked! But
for now, when learning the craft, learn the rules, practice the
rules and stick with the rules. And once you’ve mastered them,
you can get creative and start writing “outside of the box.”
In the movie Creed (2015), for example, the A-Story is
Adonis’ journey to becoming a boxing champion. The B-Story
is his relationship with Rocky, the C-Story his love relationship
with Bianca, etc.
32 | CHAPTER 6: TREATMENT OUTLINE

6.

CHAPTER 6:
TREATMENT OUTLINE

Chapter 6: Treatment Outline

A Treatment Outline is the next tool that I use after the
Scene Cards, to help refine and clarify the story. This is an
important next step, and essentially the “road map” that you
will follow when you finally sit down to write your screenplay.
A Treatment Outline also allows me, the instructor, to
analyze your story outline and give you valuable feedback to
help you fix any “plot holes,” weak or missing turning points,
slow pacing and even missing character arcs before you start
your first draft.
This essentially forces you, the writer, to think through your
entire story in a present tense, narrative format, so that when
you sit down to write your screenplay, the “left brain” work of
structuring the story is done, allowing the “right brain” to step
in and get to work.
Here are the elements to include in your Treatment
Outline:

• Finished Treatment Outline should be about 3-4 pages

 CHAPTER 6: TREATMENT OUTLINE | 33

long
• It MUST BE TYPED using 12 font
• Write in present tense only
• Each scene card will be written as one or more
paragraphs in your treatment
• Leave a double space between each paragraph
• Label your paragraphs:

○ OPENING
○ INCITING INCIDENT/CATALYST
○ IST TURNING POINT
○ MIDPOINT
○ 2ND TURNING POINT
○ CLIMAX
○ RESOLUTION/CONCLUSION

Your Treatment Outline, should include more details than

your scene cards and include the following:

• Scene Heading – Location & Time – Day or Night

(example: INT. BOXING RING – DAY)
• Include/name all characters in the scene
• Goal or purpose of the scene
• Important details, clues or lines of dialogue
• What decision does the character make (1st and 2nd
Turning Point cards)
34 | CHAPTER 6: TREATMENT OUTLINE

A sample scene card from the movie Creed (2015) might

look like this:

MIDPOINT

INT. BOXING RING – DAY

Adonis fights Leo and wins.

Rocky is in his corner.

Bianca watches and congratulates Adonis after

the fight.

Here is an EXAMPLE of how that Scene Card might be

translated into the Treatment Outline:
 CHAPTER 6: TREATMENT OUTLINE | 35

MIDPOINT

INT. BLUE HORIZON – RING – DAY

Adonis readies himself for the fight. Rocky

coaches Adonis from the corner, assuring him
that

this is what he’s been waiting for, and he’s there

for him. The Referee sounds the bell and the

fight begins. Bianca watches from the stands.

Adonis squares up with his opponent. Leo comes

in hard and for a moment it looks like Leo is

getting the upper hand, but Adonis pulls out the

stops and takes him down with one powerful,

right hook. Leo is down and Adonis wins the

fight.
36 | CHAPTER 7: MANIPULATING TIME

7.

CHAPTER 7:
MANIPULATING TIME

Chapter 7: Manipulating Time

The manipulation of time is one handy tool that screenwriters
can use to span hours, days, years or even decades in a
screenplay. The run-time of the movie might be 10 min or 2
hours, but the plot-duration can take place over any amount of
time imaginable.
When writing a short screenplay, it’s best to limit the plot
duration to a shorter amount of time. I recommend no more
than a few days, or even better, see if you can get your story to
take place over a few hours or less. This will keep your story
compact and energized.
Narrative devices to manipulate time:
Flashback
The flashback is a device to give the audience information
to clarify a character’s motives and actions and move the story
along. Nonlinear screenplays, such a Charlie Kaufman’s
Eternal Sunshine of the Spotless Mind (2004) or Tarantino’s
 CHAPTER 7: MANIPULATING TIME | 37

Pulp Fiction (1994) use flashbacks to either reflect the mental

and emotional state of a character or to reveal details of clever
set-ups and payoffs that keep the audience guessing.

Flashforward
Similar to a flashback, a flashforward gives us a glimpse of
“what is to come” for a character. It hooks the audience, by
showing us a scene from later in the movie – and of course,
we’re along for the ride to figure out how she gets there.

Set-Up/Payoff
This device introduces a subtle character trait, line of
dialogue, object, clue, or story point that later returns with
an “ah-ha” moment or reveal for the audience that has a
significance to the storyline. It’s a great tool to add mystery,
suspense, humor, and intrigue to your screenplay. It’s the
moment when the audience says “I didn’t see that coming”
but upon further reflection (and usually after rewinding or re-
watching the movie) realizes that this “clue” was there in plain
sight all along.

Montage
A montage is a series of short scenes, with no dialogue, that
play out over a musical background. It’s a useful device to span
a period of time in a matter of seconds or minutes on the
screen.
Typically, a montage expresses a single concept or idea, such
38 | CHAPTER 7: MANIPULATING TIME

as falling in love, getting a new job, searching for a missing

person, training for the big fight, etc.

Series of Shots
Typically, you want to limit camera direction in your
screenplay and leave that to the director and cinematographer,
using a Series of Shots, similar to Montage, can relay a great
deal of exposition (necessary information to move the story
along) in a very short amount of time.
It differs from a Montage in that it is a rapid series of shots
– usually much shorter in duration – meant to quickly inform
the audience with some new information so they can get on
with the story.
 CHAPTER 8: CONFLICT, OBSTACLES AND RISING STAKES | 39

8.

CHAPTER 8: CONFLICT,
OBSTACLES AND RISING
STAKES

Chapter 8: Conflict, Obstacles and Rising Stakes

Conflict is what drives the story and keeps the energy high.
Your story starts once a problem appears (Inciting Incident/
Catalyst), and in order to keep it moving, you have to have
conflict in every scene. We enjoy watching characters overcome
obstacles with stakes that keep rising at every turn. The greater
the conflict, the more energy is generated in your screenplay,
and this is what gets the audience hooked.
The antagonist is the opposing force preventing (or trying
to prevent) your Hero from getting what they want.
Sometimes this is an external enemy, family member, co-
worker, authority figure or downright villain, who challenges
the main character and sets obstacles in their way. Sometimes
the antagonist is internal – your Hero is their own worst
enemy. The internal conflict gets displayed outward in more
and more complex and difficult ways – until your Hero has no
choice but to “do or die” so to speak.
40 | CHAPTER 8: CONFLICT, OBSTACLES AND RISING STAKES

Developing conflict and “upping the stakes” is a skill that

you can master. Ask yourself, “What if?” Followed by, “And
then what happened?” Go beyond the most logical next steps
your character might take or circumstances your character
might encounter. Dig deep and challenge your Hero – don’t
let them off easy!
 CHAPTER 9: CLIMAX AND RESOLUTION | 41

9.

CHAPTER 9: CLIMAX
AND RESOLUTION

Chapter 9: Climax and

Resolution
The climax and resolution both occur in the third act of the
movie. The climax is the biggest challenge the Hero faces and
answers the central question – always. If it doesn’t, then the
story isn’t over – and the audience will leave scratching their
heads. If the central question is, will the Hero find love? At
the climax we find out – it’s either yes or no – and sometimes
the Hero surprises us (and themselves) and finds love in
unexpected places.
The resolution wraps it all up. This is the last scene or two
when the subplots come together, the Hero reflects on their
journey, and the audience leaves knowing that all is well in the
world – at least until the sequel, when the Hero must return to
fight another day.
Knowing your climax and resolution, even before you’ve
figured out all the details and complications in your second act,
42 | CHAPTER 9: CLIMAX AND RESOLUTION

is like knowing your final destination on a long road trip. Work

backwards to figure out the most complicated and exciting
route to get your characters to where they need to be.
This is also a great way to develop your Hero’s arc – their
growth and evolution. Who do you want your character to be
in the end? At the resolution, are they brave, in love, healed,
happy or self-aware? Have they saved the world, found a lover
or solved the mystery? Now make them the complete opposite
in the beginning of your movie – scared, lonely, sad, or self-
absorbed, faced with impossible problems. The bigger the leap,
the more exciting it is to see the Hero triumph in the end.
The Climax is also preceded by a “ticking clock” from the
second plot point onward – a sudden urgency when the Hero
must reach their goal before all is lost. Regardless of the genre,
this surge of energy puts us on the edge of our seats. We’re
dying to see what happens next and holding our breath every
second the Hero rushes towards certain destruction. It’s the
high stakes that make the climax so exciting, endearing and
heart wrenching – and why we got on this ride in the first
place.
 CHAPTER 10: OPENINGS AND ENDINGS | 43

10.

CHAPTER 10: OPENINGS

AND ENDINGS

Chapter 10: Openings and

Endings
The opening of your screenplay could make the difference
between your screenplay ending up on the bottom of a
growing pile of scripts awaiting their turn to be read by the
producer (or more likely their assistant) or rising to the top
and capturing the reader’s attention within the first few pages;
pages so powerful, that time seems to stop and the only thing
that matters at that moment is finding out what happens next
to your Hero. That’s the kind of opening you want to create.
To begin, jump in with a bang! Start with an awesome
image, an unsolved problem, a hilarious complication –
something that gets us hooked and makes us want to know
more. The opening image or scene sets the mood of the film,
establishes the genre and conveys the theme. What do you
want to say with your movie? Start with an image that speaks
to your implicit message and stirs emotions in your audience.
44 | CHAPTER 10: OPENINGS AND ENDINGS

For example, a story about a boy looking for his mother could
begin with a magnifying glass, enlarging the inquisitive eye of
a little boy searching for clues and answers. Or a speeding train
could bolt us into a movie about a young man who can’t leave
his small town and troubled past fast enough.
The ending of your movie is just as important as your
opening. Your audience trusts you to take them to their desired
conclusion. Whether that’s solving the mystery, bringing the
lovers together, or resolving the impending threat so that all
may live another day. Audiences want the story to come full
circle, and feel the deep satisfaction of having been entertained.
Like the opening image, the ending is where you get to
remind the audience of your implicit message and themes.
What do you want the audience to come away with? How
do you want the audience to feel? For example, for a chilling
horror movie, by the end you may want your audience to feel
that all is well in the world, that good overcomes evil and
that they are safe…for now. This is where you can slide in the
“open” ending where the audience soon realizes that there is
still more evil to be overcome – and of course, that’s a perfect
set up for your sequel.
Keep in mind that most moviegoers watch movies for
entertainment. It’s been this way for over 100 years since silent
movies started delighting audiences with the first-ever moving
images on a screen. Your ending should wrap it up and leave us
feeling satisfied. We want happy endings – or at least an ending
where we know that all was not in vain. Sure, you can write
 CHAPTER 10: OPENINGS AND ENDINGS | 45

an unhappy movie with an unhappy ending, where the Hero

does not get what they want – this is “real life, right? You may
get some viewers for your film that don’t already have enough
“real life” in their lives and want to experience more – but most
moviegoers want to escape their hardships for a while, and take
solace in a movie where everything works out in the end.
46 | CHAPTER 11: CREATING CHARACTERS

11.

CHAPTER 11: CREATING

CHARACTERS

Chapter 11: Creating

Characters
In order for a movie to sell, it has to be castable. This means,
screenwriters must write memorable and interesting characters
that actors want to portray. And not just the Hero and Villain
– all characters in a screenplay should be “round” characters
– lifelike and complex who evolve over the course of the story.
You want to avoid “flat” characters with few distinctive traits
who don’t really change over the course of the story. This
may seem obvious, but how do you create a character that
audiences will remember, quote, and want to dress up as for
their next costume party?
First off, spend time with your character, get to know them,
and eventually fall in love with them. Even the “bad guys” in
your screenplay will become like dear children to you. Your
characters will look to you for their motivations, thoughts,
 CHAPTER 11: CREATING CHARACTERS | 47

feelings and actions. In order for your characters to really come

to life, they need to have real life qualities.
One way to do this is to list out your character’s traits.
Discover their wants, needs, joys and fears. Create their
backstory – what happened to them in the past? How has
this shaped who they are today? Find images of what your
character looks like, where they live, work, their family, friends,
favorite hobbies, phobias and obsessions.
The fun challenge is to avoid the stereotype trap, defined in
the dictionary as, “a widely held but fixed and oversimplified
image or idea of a particular type of person or thing.” You want
your characters to be believable, relatable and unique.
You also want your characters to have a character arc – to
grow and evolve (or devolve) throughout the course of your
story. One way to do this is to imagine who you want them
to be by the end of the screenplay, and then make them the
opposite at the start. All of the challenges that you throw in
your character’s way will help them become their best (or
worst) selves in the end.
48 | CHAPTER 12: DIALOGUE

12.

CHAPTER 12: DIALOGUE

Chapter 12: Dialogue

When it comes to writing dialogue, the adage “It’s better to
show than to tell” is key when crafting your screenplay. As a
visual artform, we’d rather see a character survive a hurricane
or reunite with their long-lost lover, than to hear them talk
about it. But when a character does speak in a movie, it’s an
opportunity to craft meaningful and memorable dialogue, to
make that character unforgettable.
So how do you begin? Writing good, snappy dialogue that’s
unique to each character can be daunting at first, and
oftentimes all the characters in the script end up sounding like
you, the writer. But don’t be deterred. Below are some tips to
get you hearing your characters’ voices in your head, so you can
craft it onto the page and make an impact.
Dialogue Tips
Listen
When characters speak in movies, they don’t sound like
the rest of us in our everyday conversations – they’re much
 CHAPTER 12: DIALOGUE | 49

“smarter” if you will, able to convey meaning and importance

in just the right amount of words with the greatest impact.
One way to train yourself to write good dialogue is to listen
to it – without watching the action on the screen. Start by
playing a movie or television show in the background and
really listen to how the characters speak, what they say, and
what they don’t say. Listen for the silent moments too. This
will train your ear to discern between “good dialogue” or just
“so-so dialogue” that expresses the character, pushes the plot,
and sometimes makes us cry or laugh.

Don’t start writing it too soon

Although you may already be hearing dialogue as soon as
you start piecing together the plot, restrain yourself from
getting lost in the conversations. If you write dialogue too
soon, there’s a tendency for the characters to over-explain, and
describe to other characters what’s happening, instead of
showing what’s happening through action. Also, you might
get too attached to your dialogue, and be unwilling to let it go,
even when the script requires it.
It’s recommended to start writing dialogue after you’ve
nailed down the plot, gotten to know your characters,
developed the conflict within each scene, and written out your
action in your treatment. Now that you have a clear map to
follow, the dialogue becomes like the great attractions along
the way – unique, impactful, and memorable.
50 | CHAPTER 12: DIALOGUE

Is it needed?
Dialogue should push the story and be true to the characters
and situation to make it work. If in doubt, cut the dialogue out
and see if the scene can stand on its own. Sometimes what is
not said is even more powerful than words. A look or an action
can speak volumes.
For example, a character calmly packing up her things and
leaving a heated argument without saying a word, can have
just as much, if not more of a determined impact, than if she
explains to her lover that she’s leaving.

Keep it short
One good rule of thumb is to keep each piece of dialogue to
about three sentences or “beats.” This creates a good rhythm
in your scene, as characters banter back and forth, or as you
interrupt the dialogue with action to remind the reader of
what’s happening in the scene.

Make each voice unique

Each character in your story is unique, and their dialogue
should sound unique to them as well. Play around with the
vocabulary, pronunciation, dialect, slang or short-hand
between characters.
Does what they say, or how they say it, reflect their
personality? Do they sound like they’ve started their day with
too much caffeine? Or do they choose their words carefully
 CHAPTER 12: DIALOGUE | 51

– more of a thinker, than a speaker? Do they speak first and

think later?

Don’t tell us what we already know

Avoid having characters explain to other characters what
the audience already knows. Instead, jump right into the scene
mid-conversation, after the “news” has already been delivered.
This will keep the energy high and your audience engaged.

Avoid hitting it “on the nose”

This is where the art of subtext comes in. Instead of having
characters state what’s on their mind, let them talk around it,
imply what they mean or simply avoid the topic altogether –
even though it’s clear that the “topic” is clearly all they can
think about. This makes for interesting moments with
underlying tension around what’s not being said. It’s a great
way to have your characters “dance” around each other and
makes for great entertainment.
For example, instead of a character saying, “I want to break
up,” they might talk around it by saying, “Have you ever tried
to fix a broken mirror, and all you got out of it was a trip to
the emergency room and a finger full of stitches? Sometimes
it’s better to leave well enough alone and move on – don’t you
agree?”

Speak it out loud

After writing out your dialogue in a scene, read it out loud
52 | CHAPTER 12: DIALOGUE

– or better yet, get someone else to read it out loud to you.

Hearing your characters speak the words you’ve written will
help you refine your skills at writing good dialogue.
 CHAPTER 13: WRITING YOUR FIRST DRAFT | 53

13.

CHAPTER 13: WRITING

YOUR FIRST DRAFT

Chapter 13: Writing your first

draft
Screenwriting is rewriting, and rewriting and rewriting…it’s an
ongoing creative process that starts with you, the screenwriter,
and eventually morphs into a creative collaboration between
you, the producer, the director and an entire crew of talented
people. Which is why screenwriting is so appealing.
You’ve conceived of your story idea, plotted it out, flushed
out your characters and listened to them speak, and now
you’re ready to write. Technically, you’ve been writing your
screenplay this entire time, from the first conception of your
idea to the moment you type FADE IN.
Because you’ve mapped out your story in your treatment,
you now have the freedom to create. You can write your
screenplay sequentially or not. You can jump around with your
writing and develop the scenes that really inspire you first. This
is a great way to keep your momentum going and to help you
54 | CHAPTER 13: WRITING YOUR FIRST DRAFT

avoid the dreaded “writer’s block,” where you take more trips
to the fridge than fresh paragraphs on the page.

Tips for building your scenes

Structure
It’s important to start your scene in a high-energy place,
raise the stakes higher and higher and then cut before the
energy starts to taper off or even burn out. This is the kind of
momentum you want with each scene to keep the energy high
from FADE IN to FADE OUT, regardless of the genre.
For example, you could start your scene as the alarm clock
goes off and your character gets out of bed, checks his cell
phone, brushes his teeth, gets dressed for work and then grabs
his keys to leave the house when he hears about a zombie
outbreak on the TV news, then he puts his shoes on, grabs his
coat and leaves – with a scene like this, you have to build the
energy from nothing, and the next scene will have to pick up
the momentum.
Or, you could start your scene with screaming voices
coming from the apartment next door, as your character,
unfazed, hauls himself out of bed and brushes his teeth. When
the blood curdling screams persist, and he opens his window
to put an end to it, a zombie smashes through the screen and
grabs his electric toothbrush. He slams the window, spewing
zombie goo everywhere, snatches back his toothbrush and
declares, “I wasn’t done with that.”
The second example starts with tension, keeps the stakes
 CHAPTER 13: WRITING YOUR FIRST DRAFT | 55

high and ends with a button that leaves the audience

wondering, “What will this character do next?”

Setups and payoffs

As mentioned in chapter 7, a good setup and payoff is a
device that introduces a subtle character trait, line of dialogue,
object, clue, or story point that later returns with an “ah-ha”
moment or reveal for the audience that has a significance to the
storyline. It’s a great tool to add mystery, suspense, humor, and
intrigue to your screenplay.

Exposition
Exposition is background information that the audience
needs to know to make your story make sense. The challenge,
of course, is to inform your audience without boring your
audience. The solution is to disguise the information with
action, tension, or humor.
For example, continuing with the zombie story idea – let’s
say your character is driving through town on his way to work,
explaining to his boss over his car phone why he’s late. All the
while, he’s pegging zombies with his Prius, racking points like
a high-speed video game.
From the phone call, the audience gets all of the
information needed to get oriented to this world – while being
entertained at the same time, watching zombie parts spew
across the road and windshield.
56 | CHAPTER 13: WRITING YOUR FIRST DRAFT

Avoid the character’s thoughts

As you’re describing the action in your scenes, avoid words
such as: he wonders, she thinks, they consider, etc. The
audience won’t be reading your script while watching your
movie, so it’s your job to convey your character’s thoughts and
feelings through action or through dialogue within the scene.
Don’t rely on the actors to figure out what you mean. Come
up with unique ways to show what your character “thinks”
about his lover. Have your character smell a rose that was set
up earlier in the script to be his lover’s favorite flower. Your
character could look at a photo of his lover on his phone,
listen to a favorite song, pass by the park bench where they first
met and run his fingers across their carved initials. Movies are
visual, so keep that in mind whenever you find yourself inside
your character’s head.

Make it visual
Descriptions and actions read differently in a screenplay
than in a novel, where the writer has the luxury of time.
Screenplay descriptions and action are snappier, to the point,
and in just a few words or sentences, a screenwriter can paint
an entire picture. This skill can be developed over time, and
one way to hone it, is to read lots of well-written screenplays.
Learn from the masters, and soon you’ll be thinking and
writing visually as well.
Another great method for visual writing, is to use
metaphors and similes. Instead of describing your character
 CHAPTER 13: WRITING YOUR FIRST DRAFT | 57

as “Jasmine, a young woman, dressed in bell bottoms and

platform shoes,” describe her as, “Jasmine dresses like a disco
queen, where flashy just isn’t flashy enough.”

Button a scene
“Buttoning a scene” is like the cliff hanger before a
commercial break. After your quick trip to the fridge, you’ll be
sure to be back for more. This button is the funny line, action,
question, at the end of the scene that creates a burst of energy
that keeps us hooked.
As you’re wrapping up your scene, ask yourself, “Who’s the
most important person in this scene?” Give that character the
last line of dialogue or the last bit of action, so they stand out
and make an impact.
58 | CHAPTER 14: FORMATTING

14.

CHAPTER 14:
FORMATTING

Chapter 14: Formatting

In order to make a positive, first impression with your
screenplay and showcase your skills as a writer, you’ll need
to use proper formatting. There are many resources online
to help answer your formatting questions, and here are some
essential formatting techniques to get you started on the right
track.
Keep in mind that you’re writing for the producer, the
actors, the director, and the crew. Your script will need to
be engaging, entertaining, and well-written in order to get
financing behind it to get it produced. Once it’s in production,
it becomes the roadmap for the crew to put your vision on the
big screen.
There are primarily three parts to your screenplay: the scene
headings, the description/action and dialogue.

Font
 CHAPTER 14: FORMATTING | 59

Screenplays are ALWAYS written in 12-point Courier font.

This is a rigid rule.
NOTE: in this online textbook, the font is not
displayed as Courier 12-point– remember that for a
screenplay the correct font is ALWAYS 12-point Courier
font!!!

Screenwriting Software
Using screenwriting software will save you time and help
you format your script properly. There are many different
kinds of software and online programs out there. Do your
research online and choose one that fits your needs and
budget.

Script length
Typically feature-length screenplays are between 90 – 120
pages long.
With a short script, you can pick your length, although if
you want to produce it and enter the film into festivals, do
some research to determine the best length for your needs.
For example, a 10-minute short film may have a better chance
of getting selected for a festival piece and becoming part of a
“short series” at a festival, than a 40-minute film.

Editing and Camera Directions

It’s better to use narrative description to show what’s
happening in the scene than to use editing or camera direction.
60 | CHAPTER 14: FORMATTING

For example, avoid using MATCH CUT or LOW ANGLE,

etc. The story is the key, and it’s not your job as the writer to
determine the exact camera angles or edits in the movie – that
will be left to the Director, Cinematographer and Editor.

Avoid “We see” or “We hear”

Including “we see” or “we hear” in the narrative description
takes the reader out of the script. Instead, just describe what is
seen or heard in the scene. For example, “We see him cautiously
approach the abandoned car” is better written as “He
cautiously approaches the abandoned car.”

Scene Descriptions Length

Scene description paragraphs should be 4 or 5 lines only.
Add a space, and then continue with the next paragraph or cut
to dialogue. This will make your script easier to read and help
format your screenplay so that 1 page of script equals about 1
minute of film.

FADE IN
Begin your screenplay with FADE IN (all caps), justified to
the left. These are the first words of your screenplay.

Scene Headings (Slug Lines)

1. Camera Location: INT. for Interior or EXT. for exterior

2. Scene location: the location where the scene is taking
 CHAPTER 14: FORMATTING | 61

place
3. Time of day: DAY or NIGHT

Example of a Master Scene Heading:

INT. CASINO – NIGHT

Secondary Scene Headings can be used if a single location

has many smaller locations within it. This can make the scene
sequence easier to read and can be helpful for action sequences
as well.
INT. CASINO – NIGHT
Add some description/action here.

AT THE BAR
Add some description/action here.

SLOTS ROOM
Add some description/action here.

Follow every scene heading with a line or more of

description/action before writing the dialogue.

MONTAGE and SERIES OF SHOTS

A montage is a series of short sequences/actions or images
that express a single concept or theme, such as falling in love,
62 | CHAPTER 14: FORMATTING

the passage of time, a building or project coming together from

start to end, etc.
This is a great tool to manipulate time. Montages will occur
without dialogue and usually play out in the film over music.
Refer to chapter 7 for more information.
BEGIN MONTAGE – JASMINE AND ALISHA FALL
IN LOVE
— INT. CAFE – DAY — They meet when Jasmine bumps
into Alisha,
spilling her latte all over her white blouse.

— EXT. DRY CLEANERS – DAY — Alisha wears

Jasmine’s coat, while
Jasmine hands the white blouse over to the attendant.

— INT. MOVIE THEATER – DAY — They share

popcorn in the dark
theater. Alisha still wears Jasmine’s coat.

— EXT. DRY CLEANERS – DAY — Alisha now wears

her white blouse and
hands Jasmine her coat. Jasmine grabs Alisha’s hand and
doesn’t letgo. Alisha’s smile says it all.

END MONTAGE
 CHAPTER 14: FORMATTING | 63

A series of shots usually focuses on one subject/concept and

consists of rapid shots that tell a chronological story.

SERIES OF SHOTS – TYRONE PICKS THE LOCK

A) Tyrone unzips his case of lock picks.
B) Tyrone grabs a pick and steadies himself.
C) The timer counts down – only 10 seconds left.
D) With precision, Tyrone turns the pick and the lock
unclicks.
END SERIES OF SHOTS
FLASHBACKS and DREAM SEQUENCES

A flashback is another tool that writers can use to

manipulate time. Format dream sequences, nightmares,
daydreams, visions, and flashforwards in the same way that
the flashback is formatted. Refer to Chapter 7 for more
information.

BEGIN FLASHBACK

INT. HIGH SCHOOL HALLWAY – DAY

Add some narrative description/action here.

INT. CAFETERIA – DAY

Add some narrative description/action here.

END FLASHBACK
64 | CHAPTER 14: FORMATTING

Character First Appearances

Capitalize a character’s name the first time they make an

appearance in the screenplay. Follow with a great description
that gives your reader a visual introduction to your memorable
character. This helps to avoid confusion and helps the
Assistant Director and Casting Director create a cast list.

The door slams open, and in walks DESIREE (25), hotter

than the Texas sun and ready for a fight. Her slim figure is
deceiving. She’s five feet of determination that will knock your
boots off.

Sounds
Capitalize unusual or important sounds in your script so
they stand out for the reader and for the sound design team.
A heavy, animalistic PANTING wakes Marcus from his
deep sleep. As his vision slowly clears, he stares straight into a
hungry tiger’s mouth.

SUPERS
Use SUPER, which is short for superimpose when you need
to superimpose text on the screen.
SUPER: “1975 Dallas, Texas”

Parentheticals
Directly below the character’s name, in parenthesis, you can
 CHAPTER 14: FORMATTING | 65

include personal direction for the actor. Use this sparingly. It’s
meant for specific instruction when the actor may not get your
intention for the delivery of their character’s dialogue.

KAI
(sarcastically)
Is that for me?

Off Screen (O.S.) and Voice Overs (V.O.)

A voice that occurs on screen, but the character is not seen

in the scene is (O.S.)

A voice that is heard in the character’s mind is a (V.O.)

Telephone Conversations
If a character talks on the phone, and the person on the
other end is not heard or seen, format it as any other dialogue.

FERNANDO
He said what?!
(wiping away sweat)
Tell him I’ll be there in ten
with the cash.

If a character talks on the phone and the person on the other

end is heard but not seen:
66 | CHAPTER 14: FORMATTING

FERNANDO
He said what?!
RICHARD (V.O.)
(through the phone)
Hope he likes deep sea diving.

Fernando wipes sweat from his brow.

FERNANDO
Tell him I’ll be there in ten
with the cash.

If a character talks on the phone and the person on the other

end is heard and also seen:

INT. TRUCK STOP, PAY PHONE BOOTH – NIGHT

Fernando flips a quarter. Heads. He slams it into the phone

and dials.

EXT. DESERTED CITY STREET – NIGHT

Richard paces and takes a drag on his cigarette. The

cellphone held tight to his ear

INTERCUT – TELEPHONE CONVERSATION

 CHAPTER 14: FORMATTING | 67

FERNANDO
He said what?!
RICHARD
Hope he likes deep sea diving.

Fernando wipes sweat from his brow.

FERNANDO
Tell him I’ll be there in ten
with the cash.

Emails and Text Messages

Only format spoken words as dialogue. With text messages
or emails, format it like this:

Marjory’s phone DINGS. She reads the text.

“Where you been? Miss U”

Or you could format like this:

Arthur stares at his phone. It reads: “It’s complicated”

Foreign Languages or Deaf Dialogue

Always write your script in the language of the reader. This

68 | CHAPTER 14: FORMATTING

way there’s no confusion, they know exactly what’s happening

in your script.

ELSA
(in German)
You never should have come.

For deaf dialogue, do something similar.

BRIT
(while signing)
Don’t do that again!
Character Sounds
Avoid writing screams, grunts, or cries as dialogue – write
these in the action/description instead. Only include spoken
words as dialogue.
Incorrect:

EDGAR
AHHHHHHH!!!!!

Correct:

Edgar screams.

FADE OUT
 CHAPTER 14: FORMATTING | 69

End your screenplay with FADE OUT (all caps), justified to

the right. These are the final words of your screenplay.
FADE OUT
70 | CHAPTER 15: REWRITING

15.

CHAPTER 15:
REWRITING

Chapter 15: Rewriting

As mentioned in the earlier chapter, screenwriting is rewriting
– and this process can be both fun and daunting. The thing
to remember is that your work is never really done – your
goal is to get it “done enough” so that you can move from
the writing phase into the producing phase, where you start to
shop your script around, enter screenwriting contests or put it
into production.
It’s important to keep in mind that screenwriting is a
collaborative art. The writer gives birth to the script, but many
key players will have a hand in bringing this “baby” to life on
the big screen.
Tips for making the most of your rewrite
Proof it. The importance of proper grammar, punctuation,
spelling and formatting in your screenplay can not be stressed
enough. Every script is your calling card and your opportunity
to show your industry colleagues that you’re a pro.
 CHAPTER 15: REWRITING | 71

No matter how engaging your script is, if you have typos

throughout, the reader, consciously or unconsciously, could
consider your script subpar – and there’s no need for that.
Ask a friend or family member to read your work to correct
any writing errors before you share it.
Hire a script analyst to give you professional feedback, not
only on your story structure and character development, but
on your writing as well.
Set your script aside for a few days and go back to it with
fresh eyes. You’ll often catch some of those “hidden” errors
this way.
Read your script through several times, each time focusing
on a different aspect of the script:

• Typos
• Formatting errors
• Action and description
• Verb usage
• Dialogue
• Plot points/timing

Learn how to give and receive feedback

This is an important step in the process and will help you
keep your sanity and your self-esteem as your work of art, that
you’ve poured your heart and soul into, is judged, questioned
and
72 | CHAPTER 15: REWRITING

Here’s a helpful guide on feedback etiquette.

Be polite – listen quietly and attentively when screenplays
are read. You have the right to “pass” on reading a part, but be
prepared to participate with feedback.

How to give feedback

Start with what you liked. What worked for you? How did
the characters and the dialogue make you feel? Was the
description/action clear and compelling?
If something didn’t work for you or was confusing, or you
notice formatting errors, tell the writer, but be considerate.
Thoughtful, constructive feedback goes a long way. And
remember – soon it will be your turn to have your script read!

How to receive feedback

Listen with an open mind. Don’t defend or over-explain
your story. If you have to, then it’s not clear to begin with.
Take notes and perhaps make changes in future drafts.
Genuinely consider all opinions – perhaps you’ll get a new
perspective on your story or find that something you thought
was clear isn’t coming through to the reader. Then, accept
what rings true to you and leave the rest.
 CHAPTER 16: WHAT’S NEXT? | 73

16.

CHAPTER 16: WHAT’S

NEXT?

Chapter 16: What’s next?

You’ve finished your first draft and your second, your
third…your twenty third…and now you’re ready to get your
script onto the big screen.

Tips and resources to get your script made

Getting your script made isn’t an easy task, but it is possible.
Determination, right attitude and a sense of humor will take
you far in this industry and in life.
Start by educating yourself on the options out there for
aspiring screenwriters. Remember, every writer has to start
somewhere, and if you enjoy this process, then by all means do
it.
Keep in mind that if a website, producer, workshop, etc.
promises you something that sounds too good to be true (and
it comes with a hefty price tag or giving up your rights to your
screenplay without compensation in return for promises of
74 | CHAPTER 16: WHAT’S NEXT?

great wealth and fame) then it probably is too good to be true.

Street smarts go a long way in this business, and coming to the
playing field with some skills and knowledge will give you the
confidence and resilience to stay in the game – and have fun
along the way.

Table Read
Once you’ve finalized your draft, proofed it, and shared it
with a script analyst and/or other writers, whose feedback and
expertise you trust, it’s time to do a table read.
Gather a group of actors, sit around a table or room, where
everyone has a copy of the script and can see and hear each
other, assign roles, pick a narrator, and then sit back and listen.
Don’t join in and read a character or narration – this is your
opportunity as a writer to really listen and get a sense of your
script’s pacing and dialogue. You’ll find the areas that work and
those that don’t – and you’ll get valuable feedback that you can
integrate into another polish of your script.

Organizations for screenwriters

The WGA Writers Guild of America is the Union for
professional screenwriters, for both film and television. In
order to join the union, you must be employed by or sell a
screenplay to a “signatory” company (a company that has
signed the Guild’s collective bargaining agreement). Most
screenwriters who are just starting out are not eligible to be a
member, but the information provided on the WGA website
 CHAPTER 16: WHAT’S NEXT? | 75

is valuable. The “schedule of minimums” for example, will give

you an idea of what the industry-standard pay rate is for a
feature screenplay.
The WGA Foundation is a non-profit organization that is
dedicated to the preservation and promotion of the history
and craft of screenwriting. They offer a Volunteer and
Mentorship program, The Veterans Writing Project, Visiting
Writers Program, Writers’ Access Support Staff Training
Program, and excellent workshops and events that are open to
the public. This organization is a fantastic way to network with
other aspiring and professional writers and learn from industry
professionals to help you hone your craft.

Copyright
Once you start shopping your script around, entering it into
contests, or you put it into production, it’s a good idea to get
your work copyrighted. Go to the copyright.gov website and
register your screenplay under the “Performing Arts” category.

Contests, Festivals and Fellowships

Contests, film festivals and screenwriting fellowships can be
a great way to get recognition for your work and help you
get your foot in the door in this industry. Submission usually
comes with a fee, however, so do your research and make sure
that each contest, festival or fellowship is worth your time and
money.
Consider who is behind the organization or event, how long
76 | CHAPTER 16: WHAT’S NEXT?

they’ve been around, any reviews from past participants, the

submission cost, and the award for the winners and finalists.
Oftentimes it can be an introduction to film or television
production companies, which you can research in advance,
online.

Artificial Intelligence (rev May 2023)*

Artificial Intelligence (AI) has the potential to greatly affect
screenwriting in several ways. AI’s impact on creative fields
such as screenwriting is still in its early stages. Here are some
potential areas of impact:

1. Automated story generation: AI can be used to

generate story ideas or even full scripts. This could be
based on certain parameters such as genre, characters, or
plot elements. This could be particularly useful for
generating scripts for short films, advertisements, or
other small-scale productions.
2. Script evaluation: AI can analyze a script and provide
feedback about its potential for success based on data
from previous successful scripts. This could include
analysis of elements like dialogue, character
development, plot structure, and more.
3. Trend prediction: AI can analyze trends in successful
films and television shows and make predictions about
what types of scripts are likely to be successful in the
future.
 CHAPTER 16: WHAT’S NEXT? | 77

4. Character dialogue: AI can be used to generate

dialogue for characters. This could be especially useful
for writers who struggle with dialogue, or for quickly
generating dialogue for minor characters.
5. Interactive storytelling: AI can be used to create
interactive stories, where the viewer can influence the
plot. This could change the way screenwriters approach
their craft, as they would need to write multiple possible
paths for each story.
6. Collaboration tool: AI can serve as a collaborative tool
to help screenwriters overcome writer’s block, generate
new ideas, or flesh out characters or plotlines.

It’s important to note, however, that while AI can help with

many aspects of screenwriting, it’s unlikely to replace human
screenwriters entirely. Screenwriting is a deeply creative process
that requires human intuition, emotion, and experience. AI
can provide tools and assistance, but the core of the
storytelling process will likely always require a human touch.
*This section of the revision was written by OpenAI’s GPT-4
from the prompt “How will AI affect screenwriting”

Hone your craft

If you love screenwriting, then write! With each script you’ll
sharpen your skills and develop your own unique voice and
writing style that will make you stand out from the rest.
Practice setting deadlines for yourself and meeting those
78 | CHAPTER 16: WHAT’S NEXT?

deadlines. Create a writing space that is all your own, away

from distractions.
Don’t set a timeline for yourself to “make it” in this
industry. If working in the industry is what you want to do,
then set your mind to it and don’t worry about when your “big
break” will happen – just continue to learn, network and enjoy
the entire process along the way.