Screenwriting refers to the art and craft of writing screenplays. A screenplay or script is a blueprint for producing a motion picture. ...

Writing for film is potentially one of the most high-profile and best-paying careers available to a writer, and as such, it is perhaps the most sought. It is increasingly difficult to make a living as a Hollywood screenwriter, but that does not stop tens of thousands of people from trying every year, as the capricious nature of the film industry makes it possible (though improbable) for a complete unknown to launch a career simply by writing a commercially-appealing screenplay and getting it into the hands of the right people. Film is a term that encompasses motion pictures as individual projects, as well as the field in general. ... Look up Career in Wiktionary, the free dictionary. ... ... Film is a term that encompasses motion pictures as individual projects, as well as the field in general. ...

Status of Screenwriters in the Industry

Historically, screenwriters have had a low social position in the film industry. Despite the fact that a screenwriter is often the genesis of a project, directors — not writers — frequently get their names associated with the films they make (as in, "a film by..."). Screenwriters usually do not get this honor, unless the screenwriter is also directing. The film director, on the right, gives last minute direction to the cast and crew, whilst filming a costume drama on location in London. ...

However, the situation has improved dramatically as the resurgence of the independent film in the late 20th century gave new rise to the idea of the screenwriter as the auteur, and creative generator of cinematic product. In the past few years, news of multi-million dollar screenplay deals is a sign of increased respect for the role of the screenwriter in film production. The examples and perspective in this article or section may not represent a worldwide view. ... The term auteur (French for author) is used to describe film directors (or, more rarely, producers) who are considered to have a distinctive, recognisable vision, either because they repeatedly return to the same subject matter, or use a recurring style, or both. ...

Recently, the Writers Guild of America (WGA), the labor union representing writers in the American film and television industries, has made great efforts to limit the use of the "a film by" title in the credits of motion pictures, to preserve the respect for level of input made by the writers. (See: WGA screenwriting credit system.) The Writers Guild of America (WGA) is the collective bargaining representative, or labor union, for writers in the motion picture and television industries in the United States. ... A union (labor union in American English; trade union, sometimes trades union, in British English; either labour union or trade union in Canadian English) is a legal entity consisting of employees or workers having a common interest, such as all the assembly workers for one employer, or all the workers... Credits for A Christmas Story. ...

Theories on writing a screenplay

It has been suggested that Screenwriting theories be merged into this article or section. (Discuss)

Writing a screenplay requires the creativity of a storyteller and the skills of both the dramatist and the filmmaker. Because of the particular combination of skills and standards required by the motion picture industry, many writers find screenwriting more challenging than writing novels or other narrative fiction. Image File history File links Please see the file description page for further information. ... Screenwriting Theories exist to offer writers a systematic way to solve the technical and creative problems of screenwriting. ...

Fundamentally, the screenplay is a unique literary form. It is like a musical score, in that it is intended to be the basis of other artists' performance, rather than standing on its own merits. For this reason, a screenplay is often written using bland language when describing stage directions. There are several main Screenwriting Theories which help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. Screenwriting Theories exist to offer writers a systematic way to solve the technical and creative problems of screenwriting. ...

The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying "Screenplays are structure." The first, most basic theory of screenwriting is Aristotle's Poetics, which explains the Three Act Structure. The Three Acts are Beginning, Middle and End, or more functionally, Setup, Complication and Resolution. A common way to paraphrase the Three-Act structure is "get your character up a tree, throw rocks at him, then get him down out of the tree." Many screenwriters also draw inspiration from Joseph Campbell's Monomyth which also employs a variation of the Three Act Structure. Aristotles Poetics aims to give an account of poetry. ... This article or section does not cite its references or sources. ... This article or section may contain original research or unverified claims. ...

Syd Field

Screenwriting guru Syd Field wrote the seminal book Screenplay, and posited a new theory, which he called The Paradigm. Others refer to it as the Three Act Structure. Field noticed that in a 120-page screenplay, Act Two was notoriously boring, and was also twice the length of Acts One and Three. He also noticed that an important dramatic event usually occurred at the middle of the picture, which implied to him that the middle act was actually two acts in one. So the Three Act Structure is notated 1,2a,2b,3, resulting in Aristotle's Three Acts divided into four pieces. A Screenwriting Guru is a highly paid screenwriter, screenwriting teacher or author who writes about screenwriting, who is well known throughout the film industry. ... This article is about the screenwriting guru; for information on the British comedian, see Sid Field. ... Since the late 1960s, the word paradigm (IPA: ) has referred to a thought pattern in any scientific discipline or other epistemological context. ... In theater, an act (noun) is a short performance that is part of a longer program. ...

Field also introduced the idea of Plot Points into screenwriting theory. Plot Points are important structural functions that happen in approximately the same place in most successful movies, like the verses and choruses in a popular song. In subsequent books, Field has added to his original list, and students of his like Viki King and Linda Seger have added to the list of Plot Points. Here is a current list of the major Plot Points that are congruent with Field's Paradigm:

Opening Image: The first image in the screenplay should summarize the entire film, especially its tone. Often, writers go back and redo this as the last thing before submitting the script.

Inciting Incident: Also called the Catalyst, this is the point in the story when the Protagonist encounters the problem that will change their life. This is when the detective is assigned the case, where Boy meets Girl, and where the Comic Hero gets fired from his cushy job, forcing him into Comic Circumstances. In chemistry, a catalyst (Greek: καταλύτης, catalytēs) is a substance that decreases the activation energy of a chemical reaction (see also catalysis) without itself being changed at the end of the chemical reaction. ...

Turning Point 1: The last scene in Act One, Turning Point One is a surprising development that radically changes the Protagonists' life, and forces him to confront the Opponent. In Star Wars, this is when Luke's family is killed by the Empire. He has no home to go back to, so he joins the Rebels in opposing Darth Vader. This movie poster for Star Wars depicts many of the films important elements, such as Luke Skywalker, Princess Leia, Han Solo, X-Wing and Y-Wing fighters Star Wars, retitled Star Wars Episode IV: A New Hope in 1981 (see note at Title,) is the original (and in chronological... Luke Skywalker (born 19 BBY) is a fictional character in the Star Wars universe, portrayed by Mark Hamill. ... In the fictional Star Wars universe, the Galactic Empire was the regime established by then Supreme Chancellor Palpatine to replace the Galactic Republic. ... The Starbird, symbol of the Rebel Alliance In the fictional Star Wars universe, the Rebel Alliance, or more formally, the Alliance to Restore the Republic, was an interstellar political resistance force formed in direct military opposition to the Galactic Empire. ... Darth Vader (occasionally referred to as Lord Vader or simply Vader) is a fictional character in the Star Wars universe, and has a principal role in Star Wars Episode IV: A New Hope, Star Wars Episode V: The Empire Strikes Back, Star Wars Episode VI: Return of the Jedi, and...

Pinch 1: A reminder scene at about 3/8 the way through the script (halfway through Act 2a) that brings up the central conflict of the drama, reminding us of the overall conflict.

Midpoint: An important scene in the middle of the script, often a reversal of fortune or revelation that changes the direction of the story. Field suggests that driving the story towards the Midpoint keeps the second act from sagging.

Pinch 2: Another reminder scene about 5/8 through the script (halfway through Act 2b) that is somehow linked to Pinch 1 in reminding the audience about the central conflict. For example, in Star Wars, Pinch 1 is the Stormtroopers attacking the Millennium Falcon in Mos Eisley, reminding us that the Empire is after the stolen plans to the Death Star that R2-D2 is carrying and that Luke and Ben Kenobi are trying to get to the Rebel Alliance (the main conflict). Pinch 2 is the Stormtroopers attacking them as they rescue the Princess in the Death Star. Both scenes remind us of the Empire's opposition, and using the Stormtrooper attack motif unifies both Pinches. Imperial stormtroopers are trained shock troops in the fictional Star Wars universe under command of the Galactic Empire. ... The Millennium Falcon is a fictional starship that first appeared in the original Star Wars film, A New Hope. ... Mos Eisley is a spaceport town on the planet Tatooine in the Star Wars universe. ... Thats no moon. ... For the weapons system nicknamed R2-D2, see Phalanx CIWS. R2-D2 (called R2, or Artoo for short), is an astromech droid and colleague of C-3PO in the fictional Star Wars universe, created not long before 32 BBY. R2-D2 was played by Kenny Baker in five of the... Obi-Wan Ben Kenobi (57 – 0 BBY) is a fictional character in the Star Wars universe. ... Princess Leia redirects here. ...

Turning Point 2: A dramatic reversal that ends Act 2 and begins Act 3, which is about confrontation and resolution. Sometimes Turning Point Two is the moment when the Hero has had enough and is finally going to face the Opponent. Sometimes, like in Toy Story, it's the low-point for the Hero, and he must bounce back to overcome the odds in Act 3. Toy Story is a computer-generated imagery (CGI) animation film produced by Pixar Animation Studios and released by Walt Disney Pictures and Buena Vista Distribution in the United States on November 22, 1995, and the United Kingdom on 22 March 1996. ...

Showdown: about midway through Act 3, the Protagonist will confront the Main Problem of the story and either overcome it, or come to a tragic end.

Resolution: The issues of the story are resolved.

Tag: An epilogue, tying up the loose ends of the story, giving the audience closure.

Final thoughts

Perhaps the most daunting theory of screenwriting comes from Pulitzer Prize-winning screenwriter David Mamet, who has advised that a screenwriter should simply read Aristotle's Poetics and write a lot until they get good at it.

Professional screenwriters often recognize the importance of learning about style, craft and structure by reading the screenplays of popular movies.

The time necessary to write a screenplay varies widely upon the writer and the circumstances. Professional television writers frequently are called upon to write an hour-long script in less than a week. Some major movie scripts have literally taken years of rewrites before they are ready. Most professional writers can complete two to three original screenplays in a year.

Screenplay format and elements of the screenplay

A screenplay has very rigid set of standardizations in place, beginning with proper formatting. These rules are in part to serve the practical purpose of making screenplays uniformly readable "blueprints" of movies, and also to serve as a way of distinguishing a professional from an amateur --- if a screenplay doesn't follow the simple rules of formatting, it is generally disregarded as a lesser product, regardless of content.

Most screenplays are expected to be written in 12 point Courier or Courier New typeface, with no bolding or italicizing. Specific elements and formatting defined below. Courier is a monospace font that resembles the output from a typewriter. ...

Screenplay format

This section describes the components used to build-up a screenplay.

Title Page

The title page of your screenplay is the first clue to a producer that you're either a professional or an amateur. The title should be about 20 lines down the page and either underlined or in quotation marks. Two lines down, in the same font, should be the words "Written By", "Adapted From (insert title here)", or just plain "By". In the bottom corners put contact information, as well as any copyright information.

Some writers are tempted to insert eye-catching fonts or images on the title page, however such deviation from industry standards is seen as unprofessional and not recommended.

Scene headings

Scene headings (or slug lines) define the beginning of a new scene in a screenplay. They either begin with "EXT." --- if the scene is an exterior, or takes place outdoors --- or "INT." --- if the scene takes place indoors. Following this descriptor, the name of the location of the scene should appear in all caps (example: "BOB'S PLACE"). This is followed by a space, a hyphen, another space, then the time of day (example: "- DAY," "- NIGHT," "- EVENING," etc.). The finished heading should read something like "INT. HOUSE - DAY". Scene headings have a margin of 1.5 inches (37 mm) from the left, 1 inch (25 mm) from the right.

Scene numbering: It is rare that you will find a "spec script" (the one written by a screenwriter, before it is sold) with the scenes numbered. This is a tool added later in the production as the "spec script" becomes a "shooting script." The numbers are generally found immediately to the left of the scene heading.

Action

Two lines below the scene heading and with the same margins, the action begins. Action describes what can be seen on the screen, and is always in present tense. Here, screenwriting varies most from standard fiction writing, in that elaborate prose describing the feelings of a character is to be avoided. When introducing a character, the character's name should appear in all caps (example: "Bob turns and sees JOAN, whom he has never seen before."). Afterwards, capitalize according to standard grammar.

Example of proper formating

 INT. WAREHOUSE - DAY
 Four criminals are smoking cigarettes. CRIMINAL ONE takes his out. 
 CRIMINAL ONE When's the big raid? I thought it was today, but I guess I'm wrong.
 Silence and awkward looks between the criminals.
 CRIMINAL ONE (CONT'D) So... when is it?! 

Dialogue

In screenwriting, dialogue refers to anytime a character is speaking, even if it is a monologue. A monologue is a speech made by one person speaking his or her thoughts aloud or directly addressing a reader, audience or character. ...

A dialogue "cue" is the name of the character speaking, with a margin of 4.2 inches (107 mm) from the left of the page. The name should be in capitals letters in cues. Unless there is a parenthetical (see below), dialogue is placed one line below the cue. The standard length of a dialogue line is 35 characters starting at 3.1 inches (79 mm). Hyphenation of words in a dialogue is frowned upon.

Parentheticals

To show minor actions or revealing body language, a parenthetical, or subtext, is placed after the cue and either above or within the dialogue, within rounded brackets. eg:

 FREDDY I can get a better price. (to Megan) Let's bounce! 

The margin for parentheticals is 3.7 inches (94 mm) left, 1 inch (25 mm) right. Many script readers prefer limited use of parentheticals.

Transitions

Transitions are short descriptions describing how the film will move from one scene (or image within the scene) to the next. They are justified to the right side of a properly formatted screenplay, and followed by a colon. Some of the most common transitions seen in screenplays are:

• CUT TO: - Indicates a direct transition (cut) to a new scene, or to a new shot within a scene. If a scene header follows the cut, this transition is usually omitted.
• DISSOLVE TO: - Indicates a dissolve, where one scene gradually fades into another. Dissolves are commonly used to indicate the passage of time.
• INTERCUT WITH/INTERCUT BETWEEN: - Indicates that a sequence of cuts back and forth between two scenes is about to begin. Subsequent transitions between the two scenes are indicated with the transition BACK TO:. Intercuts are commonly used when portraying telephone conversations, or to contrast action taking place in two locations at the same time.

Intercut example:

 INT. ADULT BOOKSTORE -- DAY -- INTERCUT 
 Max is on the phone by the register, ringing purchases. 
 MAX (into phone) Dino Velvet... yeah, he's like the John Luc Godard of S+M flicks, supposed to be a real weirdo. 
 WELLES (V.O.) (from phone) A weirdo making S+M films? Who'd have thought it? 
 MAX (into phone) His stuff comes out of New York. 
 WELLES (V.O.) Specialty product. 

Character

It is very important to develop your characters, because that is who the viewers will be relating to. Characters, especially major characters, should be original and interesting.

Dialogue

Dialogue is very important to the film industry, because there are no written words to explain your characters or the plot it all has to be explained through dialogue and imagery. If your script has weak dialogue, there is a good chance it will lose a readers' or viewers' interest. Make your dialogue sharp, snappy, and easy to follow.

Imagery

Imagery can be used in many metaphoric ways. In The Talented Mr. Ripley, the title character talked of wanting to close the door on himself sometime, and then, in the end, he did. Rain is commonly used to express a character feeling depressed, while sunny days promote a feeling of happiness and calm. Use imagery to your advantage to sway the emotions of your audience and to clue them in to what is happening. The Talented Mr. ...

Plot

While the story is what will be told (narrative) the plot is how the story will be told (narration). This vocabulary is not indisputable, though. Sometimes in literature story and plot are used exactly the other way round. Develop your plot before you begin work, write a treatment (an outline for a film) and follow it, but feel free to branch out in other directions if you feel that it would make your script more interesting.

'Beats'

A beat is a pause in dialogue. Below a line of dialogue the screenwriter would write (beat) and then enter down to the next line and type the dialogue after the pause. Overuse of beats is generally considered amateurish. Often nowadays, as screenwriting format is somewhat changing, many Hollywood readers don't like to see beats at all. Instead, the writer could place a line of action which would still offer the moment's pause for dramatic effect. A character could be talking, then take a sip of what he/she is drinking and continue.

Becoming a screenwriter

Breaking into the industry

Have a complete idea, a logline, a treatment (a longer synopsis of the film; usually about 3-4 pages in length), and/or a completed script. If you would like to fly solo without an agent, try this site: [1]. It's a well known site that you can post an ad for your script on, or you can find a producer looking for a script that you would like to write. A treatment or more properly film treatment is a short piece of prose intended to be turned into a screenplay for a motion picture. ...

Handling Writer's Block

Many writers get to the page and get stuck. Writer's block is what happens when you have the desire, but just can't think of what to write. The key to working through this kind of block is to push through it. Pick a time of day that works for you and write, write, write.

Take time out. Relax. Let your screenplay ferment for awhile. Watching movies, reading books of the same genre can spark that jolt of creative writing you've been looking for. Writer's block is quite common, both for new writers as well as tenured.

Some say writer's block is simply a lack of research. It is in the writer's best interest to know the world about which he or she is writing backwards and forwards. Meaning, if you don't know what to write, perhaps it's because you don't know what you're writing about.

Editing

Every writer knows that editing is an essential part of writing. Rewrite your piece several times until you are satisfied with the final product. Not only check spelling and grammar, but rewrite scenes to develop them more fully. But always check spelling and grammar. If there is improper spelling or grammar in a piece, an agent, producer, or other person that you are submitting it to will strongly judge it. Bad spelling prejudices people against work, and they are less likely to accept it.

Screenwriting software

Main article: Screenwriting software

Various pieces of software are available to help screenwriters adhere to the strict formatting conventions (as described above): Screenwriting software programs are aimed at screenwriters and sometimes novelists to help brainstorm ideas, structure plots and format text. ...

• Celtx - Free, Open Source scriptwriting software. Linux version available.
• DreamaScript - All in one Screenwriting Software.
• Final Draft - professional scriptwriting software.
• Movie Magic Screenwriter - integrated professional screenwriting software.
• Practical Scriptwriter - Requires no knowledge of script formats.
• RoughDraft A simple script and creative writing word processor
• ScriptRight Mobile Edition - screenwriting software for Pocket PC and Palm OS
• Script Smart - Microsoft Word templates.
• Scriptbuddy - Web-based screenwriting software.
• Sophocles
• Writers Store - screenwriting software retailer.
• Montage Screenwriting Software for Mac OS X.

The first screenwriting software was SmartKey, a macro program that sent strings of commands to existing word processing programs, such as WordStar, WordPerfect and Microsoft Word. SmartKey was popular with screen writers from 1982-1987, after which word processing programs had their own macro features. This article is in need of attention. ... Final Draft is a word processing software program designed for writing screenplays and teleplays. ... Movie Magic Screenwriter is a word processing program sold by Write Brothers, Inc. ... Mac OS X (officially pronounced Mac Oh-Ess Ten) is a line of open source graphical operating systems, with proprietary higher level API layers, developed, marketed, and sold by Apple Computer, the latest of which is pre-loaded on all currently shipping Macintosh computers. ... SmartKey Sometime between 1998 and 1999, Mercedes-Benz introduced the SmartKey, a plastic key fob to be used in place of the traditional metal key. ... WordStar was a word processor application, published by MicroPro, originally written for the CP/M operating system but later ported to DOS, that enjoyed a dominant market share during the early-to-mid-1980s. ... A screenshot of WordPerfect X3 running on Windows XP WordPerfect was also the name of a road bicycle racing team. ... Microsoft Word, or Microsoft Office Word, is Microsofts flagship word processing software. ...

Protecting your Work

After you have completed your screenplay, it is important to take steps to protect your work. Two acceptable ways this may be done are to obtain formal Copyright notice (the more important method) by registering it with the Office of Copyright at the U.S. Library of Congress. http://www.copyright.gov However, it is important to remember that for any document written after 1978 in the United States, copyright affixes automatically and does not require registration or notice.

The other method is to register the work with the Writer's Guild of America http://www.wga.org or http://www.wgaeast.org Remember that completed works and said execution of the work may be copyrighted, ideas alone may not be.

See also

• Screenplay
• Screenwriting guru
• Storyboard
• List of motion picture-related topics

A screenplay or script is a blueprint for producing a motion picture. ... A Screenwriting Guru is a highly paid screenwriter, screenwriting teacher or author who writes about screenwriting, who is well known throughout the film industry. ... A storyboard for an 8-minute animated cartoon. ... This is a list of film-related topics. ...

External links

• use the 188+ Hero's Journey structure for screenwriting
• Wordplay Columns
• The Artful Writer
• Collected Advice from Industry Professionals to Screenwriters
• The Screenwriting Life
• The Clapperboard article on Film Structures for screenplays.
• Creative Screenwriting Magazine
• Articles on screenwriting and interviews with famous screenwriters from a European perspective
• Screenwriters.LA's Screenwriters' Community

References

• Karl Iglesias (2005). Writing for Emotional Impact: Advanced Dramatic Techniques to Attract, Engage, And Fascinate the Reader from Beginning to End. WingSpan Press. ISBN 1-59594-028-6. - Paperback
• David Trottier (1998). The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script. Silman-James Press. ISBN 1-879505-44-4. - Paperback