¤ Reading & Understanding Script

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Guidelines Of The Script

Fe a t u re s o f S c r i p t
• Sets Of Ordering Rules :-
u Interpretation
u Evaluation
u Interpretation
u Prediction
u Production (control scenes)
MUST understand basic structure of script
UNDERSTAND the difference components of a scene &
characters
DEVELOP your characters into more ‘believable people’

Reading Script
• A page = A minute (playing time)
• Understand reading a scene:- description terms :-
‘INT / EXT’.
• Moving to next narrative puzzle :- ‘ACTION’. Cue to the
action that’s taking place.
Example:- The door door swings open. She walks through it
passes the bar and slides into a large booth.

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Reading Script (Abbreviations)

• ‘OC / OS’ = These abbreviation appears next to the

character lines. Mean they are ‘off camera / off scene’.

• Usually reveals when a character identity is being kept

secret.

• Another abbreviation you’ll find next to the character

names is ‘V.O’ – used for voice over.

• Parentheticals :- words appear in parenthesis directly

under character’s name. Stating on their behavior.

• For instance rather than writing ‘angrily’, write

(screaming). Try not to overuse parentheticals.

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Reading Script (Analytically)

• Read through the script with an open mind. Read

through the script from start to finish and DO NOT
ANALYZE the script.

• If possible, read a hard copy of the script (bounded

script). This way, you avoid the distractions that come
with reading on your phone or computer.

• While reading, pay attention to whether the writer

developed the characters and connected all the
storylines in a way that feels complete.

• Break the script down scene by scene.

• Make a list of all the different scenes in the script.

• Use your scene by scene breakdown to help identify the

major plot points and the moments where the narrative is
forced in an entirely new direction.

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Reading & Footing Down The Script
(Analytically)

• Study the writing style. All writers have different styles

and methods for working with language and the same
holds true for screenwriters.

• Explore the script for moments where the writer uses

actionable, visual language. Make a list of all the
examples you can find.

• Making a list of all the visual writing will help you to really
envision the action stirring in the script. This helps you to
make your own scripts stronger, when you start writing
them.

Try to read a vast array of different screenwriters.

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Reading & Footing Down The Script
(Analytically)

• The more movie scripts you read, the better you will get

at reading, writing and analyzing screenplays.

• Put the script on its feet. Have a mock-up and act the

script out.

• DO NOT SHARE your script with anyone.

• Try film the script.

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 Understanding Formatting
Script Structure

Scene
Heading FADE IN:
/ Slug INT-EXT. ROAD – MORNING
Line
A small classic 1960 Chevy drives into a large building that stated Action
SMITH’S GROOVE SANITARIUM, a mental hospital.

EXT. SMITH’S GROOVE SANITARIUM – PARKING LOT – MORNING

Character’s
The car parks. A middle-aged man white man comes out from
behind the wheel. This is psychiatrist DR. LOOMIS, mid 40’s, a 1st
British. He look very determined as though heading into a very Appearance
serious matter.
Transition CUT TO:
He gazed up at the building behind him. We start to hear a
conversation happen between him and a young male doctor
(off-screen) who works in the sanitarium.

MALE DOCTOR (O.S)

It’s nice to finally meet you Dr. Loomis.
Dialogue The chief administrator told me to keep
a look-out for you.

INT. SMITH”S GROOVE SANITARIUM – HALLWAY – MORNING

Dr. Loomis is shaking hands with the doctor speaking, TERENCE
WYNN, mid 30’s, an American.

DR. WYNN Character

I’m Dr. Wynn. Dr. Rogers is waiting for
you at the boy’s cell.

WALL MOUNT SPEAKER

Parenthetical
VOICE
Sub-header (over the speaker)
Calling Dr. Wynn. Please report at room
(MORE)

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S I M P L E PA C E S

• Scene Brainstorming
Create a scene outline by brainstorming and selecting the
key foundations of their scene (setting, relationships, and
conflicting objectives).

• Script Drafting
Create a script draft that includes the five required lines to
establish character, setting, conflict, rising action, and
resolution.

• Script Formatting
Create a script draft that includes scene setting, expression,
and movement notes.

• Set Design & Blocking

Create a set design and add blocking notes to their scripted
scenes.

• Final Revision & Rehearsal

Revise the set designs and scripts to achieve “Meets” or
“Exceeds”.

• Perform Script
Have a mock-up act and take feedback and rehearse scenes
for vocal clarity, expression, and body mannerism.

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Understanding Script
Become familiar with formatting. Screenplays are formatted
differently from books and stage-plays.

• Scene heading is the ONE LINE description at the top of

each scene. Which includes indoor / outdoor, location
and the time (day / night).

• Each time a character appears, their name will be in

capital letters.

• Dialogue is centered in screenwriting just below of the

character name appears (if any dialogue session).

• Parentheticals use to convey character’s attitude / action.

Action can appear on it’s own line, (to help break the
dialogue between characters).

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 S c re e n w r i t i n g P l o t
& S c re e n p l a y S t r u c t u re s
To C o n s i d e r

Three Act Stories Told Connecting

Structure in Real Time Multiple Stories
Through Character
Interaction

Same Story Non-Linear Circular or

Told From Structure Looped Stories
Multiple
Point of View

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Basic Structure

- Act I - The Set-Up

The Set Up introduces your setting and characters
while establishing the rules of their world, the tone of
the story going forward and the protagonist’s
weaknesses and strengths.

- Act II - Obstacles
Act II is a series of rising tensions and obstacles that
accumulate at the climax of your plot. It’s perhaps the
most difficult section of your script. It’s the heart of
your story, so take care of it. Make sure all the story
threads and subplots introduced in Act I connect with
the obstacles of Act II.

- Act III - Resolution

Act III moves fast and is with precision. The main
conflict and subplot collide with a twist or resurgence
of a threat, and the character has to use everything
they learned in Act II to conquer the final obstacle.

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Basic Structure
A simple way to approach your screenplay is:
CHARACTERS + PLOT = STORY

ACT 1 : SETUP ACT 2 : CONFLICT ACT 3 : Crisis

Introduction Rising Action w/ Twist Plot Twist
ACT I ACT II ACT III

The Intro Conflict Crisis

(Set-up) (Obstacles) (Resolution)

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 ACT I ACT II ACT III

Climax
With Twist

First Climax

Twist

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The Lock-In

Inciting Incident

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The Intro (Set-up) Conflict (Obstacles) Crisis (Resolution)
FIVE PLOT POINTS

u Inciting Incident - The introduction of the main conflict

that threatens normalcy.

u The Lock In - The protagonist becomes locked in to face

the main conflict.

u First Culmination - The midpoint where the character

finds a solution that might work.

u Main Culmination - The climax of the screenplay where

the peril and magnitude of the conflict seems to

overpower the protagonist.

u Twist - The final culmination and change in direction

where the plot and subplot collide.

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 ACT I ACT II ACT III

Climax
With Twist

Highest Obstacle
6
Subplot

First Climax 5

Higher Obstacle
4 Twist
7
First Obstacle

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3
The Lock-In
Resolution

Predicament 8
2 Unusual Resolution
Inciting Incident / Continuation

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1
The Intro (Set-up) Conflict (Obstacles) Crisis (Resolution)
8/9 SEQUENCES OF THREE ACT
u ACT ONE
Sequence 1 – Introduce Main Character / Status
Plot Point #1: Inciting Incident / Point of Attack
Sequence 2 – Set Predicament / Establish Main Tension
Plot Point #2: The Lock In

u ACT TWO
Sequence 3 – First Obstacle/Raise the Stakes
Sequence 4 – Higher Obstacle
Plot Point #3: First Culmination
Sequence 6 – Highest obstacle
Plot Point #4: Main Culmination

u ACT THREE
Sequence 7 – New Tension
Plot Point #5: Twist
Sequence 8 – Resolution
Sequence 9 – Unusual Resolution / Continuation
Plot Point #9: Twist / Continuation from Resolution

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 Norms Of The Script

D✓’s & D✗N’Ts

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

DO

ü Read the script properly and know the script.

ü Begin with a positive introduction, listing things that you

like and things works well. Do not launch things that

haven’t worked (as a beginner).

ü Keep notes clear, concise do able and constructive.

ü Give precise examples / cases.

ü Be passionate on your script.

ü Get a good writer that makes better script (if you can’t).

ü If can praise the writer when they’ve dome something

right.

ü Do make sure your story flows.

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

DO
ü Do introduce your characters briefly.
ü Know what you’re trying to say with proper grammar.
ü Write consistently.
ü Go with your gut.
ü Write something that you want to watch.
ü Write a central character with a strong point of view who
will take us on a journey, seeing the world and
experiences through their eyes, emotions, actions and
reactions.
ü Write compelling, vivid, emotionally engaging,
endearing, flawed characters when you first introduce
them.
ü Watch classic movies to get inspirations and ideas.
ü Can adapt from a book (make sure to credit the author).

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

AVOID

ü Don’t over-egg the pudding. Don’t get carried away.

ü Don't put mailing addresses on your title page (email

addresses are sufficient these days).

ü Don't put loglines on your title page.

ü Don't include a synopsis within your script

ü "Don't include scene numbers in your spec scripts —

they're for production or collaborative purposes only.

ü Don't include draft color pages — they're only for

production draft purposes.

ü Don't include CUT TO transition in your screenplays —

they're unnecessary and implied with each scene

heading.

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

AVOID

ü Don't include camera directions (Medium Shot, Camera

Dollies, etc.) — that's not your job.

ü Avoid referencing specific song names — that's not your

job, the reader may not know them, and the studio may

not be able to get the rights to them anyways.

ü Try to avoid using CONTINUOUS in your scene heading

because most people misuse the term anyway.

ü Try to avoid using lots of fancy transitions (Iris In, Iris Out,

Flash Cut To, Jump Cut To, Cut To, Match Dissolve To).

ü Don't use poetic scene description — that's for novels.

ü Avoid using too many parentheticals (firmly, softly,

eloquently). They get old fast for readers.

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

AVOID

ü Don't use symbols to portray swear words ($@#$), just

write the swear words in. Hollywood swears. They won't

be offended.

ü Don't overuse underlined words in your dialogue. Use

them sparingly.

ü Don't overuse CAPS in your dialogue and scene

description. Use them sparingly.

ü Avoid having overly specific political viewpoints within

your script. They'll be off-putting and aren't market-

friendly.

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

AVOID

ü Don't make your antagonists overly evil. It's boring. Give

them some justifiable viewpoints — even if they're

twisted.

ü Don't just tell us. Show us.

ü Don't introduce too many characters in the opening

pages. Readers will lose track of them.

ü Don't have too many spelling errors in your script. Even

the pros have a few. But if your script is riddled with

them, it won't go over well with industry insiders.

ü Don't use symbols to portray swear words ($@#$), just

write the swear words in.

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SCRIPT NOTES

A hint of how much composition is needed for the following

draft.

AVOID

ü Don't write sequels to franchise movies. They don’t read.

ü Don't send hard copies of your scripts to managers,

agents, producers, directors, or talent. They don’t read.

ü Don't attach your script to query emails. They won't be

read.

ü Don't send your script anywhere unless it has been

requested via a query or referral.

ü Don't put all of your eggs in that one basket that is a

single script.

ü Don't get discouraged by REJECTION. Rejection never

ends — even when you're a pro.

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What those guidelines really mean is…
s c re e n w r i t i n g i s c h a l l e n g i n g . Th e re ’s n o o n e
path to follow, no guarantee of success.
Yo u ’ r e g o i n g t o h a v e t o d o a l o t o f w o r k f o r
free, with absolutely no expectation of
anything coming of it.

K n o w t h a t t h e re ’s g o i n g t o b e s o m e m i s e r y,
that you’re going to have to get comfortable
with rejection and persist even when it
seems like everything is against you.

But if you love it — if you love writing

s t o r i e s f o r t h e s c r e e n — T H E N D O I T. D o n ’ t
let anyone discourage you or convince you
otherwise.

Embrace the journey inherent in

screenwriting and…
G E T T O W O R K O N T H A T N E X T S C R I P T.

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Mastering the film techniques can ensure every frame
you shoot is dynamic and well-composed, capturing
the audience’s attention. In addition, knowing how to
prepare the students for industry-standard as well
understanding on screenwriting and among other
production tasks, can help you become a more skilled
and professional filmmaker and screenwriter.

CATS College prepares you with the skills, knowledge,

practical experience, and portfolio to help you find
work in the industry, including film, television, and
other media careers.

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