Writing a screenplay that meets the format standards may be quite confusing for new script writers and even experienced writers may not want to spend their attention on following technical formatting changes when they are writing a script. There are many softwares that take care of the screenplay format with additional features that vary from one software to another. The main and most popular scriptwriting softwares are Final Draft, Movie Magic Screenwriter, Celtx, Fade In, and WriterDuet. I have used almost all these softwares and I will try to review them in a series of posts. But for now, let’s talk about Final Draft.
What is Final Draft?
So Final Draft is basically a script writing (or a screenplay writing) software that helps its user to write a screenplay that that meets the submission standards set by theater, television and film industries. It also helps organize the script and makes it easy for the script writer to leave ScriptNotes and it displays Characters arcs and story beats. The software gives other features such as the ability to run reports for characters and locations which can be handy when scanning your script for budgeting reasons. You can do re-writes and revisions and of course export your script is a pdf format. In the latest update you can also add images and do your story boarding in the software. Their website claims that Final Draft is used by 95% of film and television productions.
How to use Final Draft?
The best thing is the the software is very user friendly and easy to use. There’s no need to look up tutorial videos in order to start writing your script. It’s already formatted correctly.
Here is a video where they show how to use the software.
How much Does Final Draft Cost?
All of that does not come for free đ The price of Final Draft 11 (Latest update till 2020) is $249.99. However, if you already have a previous version, then upgrading will cost you $79.99. You can buy and download the software for the website finaldraft.com which will be the best deal you will get on the software. And you can choose a version that is compatible with your computer and operating system (Mac or Windows).
Is Final Draft worth it?
The features of Final Draft do not come cheap. I think it is a pretty expensive software especially if you are a film student or have the hobby of screenplay writing. But if you are serious about having script writing as a profession, i think that it is worth investing in the software. Especially that it is used widely in the industry and it can save time and a lot of hassel when it comes to send your script to the professionals.
If you don’t want to spend that much on a script writing software, you can always format your screenplay manually using Microsoft word or google docs. and you can find cheaper alternatives like Celtx.
Screenplay formatting may make new scriptwriters anxious because they may not be familiar with the rules of script format.
But if you want a professional-looking script you should know how to format your screenplay.
Actually, this is the easiest part.
There are plenty of softwares that do the formatting for you, but it is very helpful to be familiar with basic screenplay formatting rules before you start script-writing.
Why you should follow the screenplay formatting rules?
The format of your script is very important because almost all the film industry professionals and students follow this format and are familiar with it.
These rules make reading the script easier and more understandable.
It also makes your screenplay look more professional.
The screenplay format won’t change if you were writing a script for a movie, short film, or a TV series.
I will also give you a free script format generator to make your screenplay formatting easier!
Let’s get to the point, what is the proper format for a screenplay?
1. Font used in the script
The agreed upon font is 12-point Courier font.
This is because before screenplay writes began to use their computers to write, they used the typewriter which has a font similar to the Courier font.
So, 12-point Courier became the official font for scripts.
2. The Cover Page
Cover Page
The cover page includes the title of the script.
Then, on a new line the name of the writer.
Write: “written by” or just “by” then on a new line your name.
All centered.
In the bottom left you put your contact details.
And in the bottom right you put the date and/or the re-write number.
Margins
You should leave 1 inch margin for the right, top and bottom.
That is to keep space for handwritten notes later.
The left Margin should be 1.5 inches.
That is for having a safe margin when you bind your script, else, the first words of the sentence will be lost.
If you don’t have access to screenwriting software, you can format your screenplay on Microsoft Word or Google Docs to start writing.
Here is how to format a screenplay in word:
Select Layout, Margins, then Custom Margins. and enter the margins of the 4 sides of the entire document.
Elements of the screenplay
To understand the formatting rules of screenplays, you should be familiar with the elements of the script as well:
Elements of a Screenplay
Scene Heading
This is a line that describes the setting of the scene. It should be all Caps. indent: left 0
Start with INT. for interior scenes or EXT. for exterior scenes, then the set followed by a dash and the time of day (DAY or NIGHT).
example: INT. JOE’S BEDROOM – DAY
Action
This is where you describe the narrative of the scene, what is happening. indent: left 0.
Note that whenever you introduce a character for the first time in the scene, his or her name should be written in ALL CAPS. This is to make it easier for your readers to know on a fly when the character is introduced and this will also make it easier to spot when a certain character appears in the script.
Character and Dialogue
When you want to write dialogue, on a new line you first write the name of the character followed by the dialogue lines.
The NAME of the character who will say the lines is always in capital letters.
The name of the character is written with indent: Left 2.0″
The dialogue lines come under the name with indent: Left 1.0″
Parenthetical
If you wanted to add additional directions to how the character is saying his dialogue, you write these notes in a parenthetical under the character name.
For example, your character might be speaking sarcastically, sadly…
Don’t overuse these parentheticals because it is the director’s job to give directions to the actors. But in some cases, it will make it easier to understand the meaning of the dialogue when you include parentheticals.
If a character says: “the food is delicious” the meaning of the dialogue would be different from saying that the food is delicious sarcastically.
Indent: Left: 1.5″Â
Transitions
As a parenthetical is a direction for the actor, a transition is a direction for the editor.
Again, you don’t have to use them unless necessary. Transitions could be: Fade to, Cut to, Dissolve to… and are written in the middle of the page (Indent: Left: 4.0″)
Now you are ready to start writing.
The first word on the first page should be: Fade in
Screenplayplay formatting Don’ts
All scripts should follow these screenplay format rules.
Don’t try to add anything from your own.
Don’t add photos to your script. This will make the screenplay seem amateur.
Binding The Script
The binding of the script should be done by having three holes in the left.
Script Binding
Then, use 2 pins to hold the papers together.
The middle hole is left empty.
That is because whoever will receive your script probably has many other scripts, and they will use this empty hole to hold stacking scripts.
Anyway, whenever possible try to send a digital copy and save a tree đ
Free Screenplay Format Tool
Now that you know these rules, you could use youmescript. It is a script format generator.
I found it while researching for this article and thought that it is very helpful. So if you don’t want to buy a screenplay formatting software, or download free/cheap ones, just use this online formatter.
If you have any questions about the screenplay Format Rules, leave me a message below and I will surely answer you or write a post about if it was a big answer. And if you have any topics you want me to cover please let me know!
The three act structure in movie screenplays is a model the helps scriptwriters organize the film.
Basically, this structure is the beginning, middle, and end.
So, Act 1 is the set up of the story. Act 2 is the confrontation. Act 3 is the Resolution.
Of course, not all movies follow this structure completely.
In this post, we will explain the 3 act structure film and give examples from movies to help better understand and apply this structure in your own scripts.
The first thing you have to keep in mind is that the movie acts should not be separated in the film. But rather the events should seem to flow seamlessly. One event should lead to the other in order to reach the resolution in the end.
This is the basic diagram that explains the three act structure.
So let’s dive in to every act while keeping in mind that this is NOT a rule that all films follow.
There are other narrative structures (such as the non-linear narrative of the french New Wave) that are completely opposite to these movie acts. And there are other detailed narrative structures such as the Save The Cat beat sheet template and the 5 point structure.
For now, we will go over the acts in the 3 act structure:
Act 1: Setup
The setup involves the introduction of characters and their story world. And some kind of inciting incident,  which is typically a conflict that leads into the second act.Â
It’s usually the first 20-30 pages of your script. In these first 20-30 mins of the film, the audience should know who the main characters are, their personality, where the story is taking place (location and time).
In Fantasy or Science Fiction films, this first movie act should introduce the rules of the world we are in. For example, time travel, how magic works, what can technology do, what are the powers of the character….
Act I must also present a powerful hook. This exciting scene early in the script that captures the audience’s interest and hooks them up this is called the inciting incident.
This inciting incident takes place at some point at the beginning of Act I and often provokes a change in the routine of the protagonist. Something new they experience that could challenge or encourage them. T
This act ends with a plot point. It changes the course of the whole story and that presents a problem for the characters.
for example, In the movie Children of Men:
Act 1 presented the main character, Theo who is living a defeated life in a dystopian London.
Inciting incident: is when he is contacted by his ex-wife, and asked to help get travel papers for some refugees.
The plot point happens when the main characters are ambushed by an armed gang, and Julian is killed, and when Theo learns that his ex-wife is dead.
In Dead Man Walking
Act 1: Sister Helen Prejean (Susan Sarandon), a nun who spends her days helping poor children, receives a letter from convicted felon Matthew Poncelet (Sean Pen). Ths felon who is serving a death sentence asks her for help with legal problems.
Act 2: The Confrontation
In the second act, the stakes in the movie events are raised. The problem escalates, and new challenges for the main characters surface.
If we were to time each act of the 3 act structure, the second act will be the longest part.
Briefly, in this act, the characters will try to solve the main problem or work on reaching their goal but they will fail in doing so.
Usually, its towards the end of the second act. At this point, it would seem that the characters have reached a dead end and their goal would seem very far and hard to accomplish.
In many movies, the screenplay writers would choose to introduce a subplot in the second act. The sub-plot is an additional storyline under the main narrative of the movie.
In many cases, this subplot adds a new dimension to the characters. But the subplot can also be considered as a tool for the scriptwriters to spend some time from the movie in order to delay the third act.
Dead Man Walking Act 2 The Federal Court of Appeals denies Matthew’s last chance for an execution stay. All of Sister Helen’s and Hilton’s efforts to extend Matthew’s life have failed. The clock time reads 10:33 p.m. In an hour, Matthew Poncelet will be a dead man walking.
Act 3: Resolution
The three act structure usually ends with the resolution. It is a conclusion or closure for the main conflict in the movie. Whether it was a happy or sad ending.
Some call this third act as the confrontation because usually at the end of the film the main character must face the villain (or the good must face the bad).
The confrontation might be between 2 characters. Like in superhero movies almost all the time the hero faces and fights the villain in the end.
Or the confrontation can be between the main character and his/her internal conflict. For example, they could face a situation where they have to overcome their fear of something or to make a great sacrifice.
The third act is usually the shortest movie act among the three structures.
Most importantly, the third act must give the audience a sort of resolution.
Almost all movies that follow the three act structure end with an answer to the question asked or the conflict raised in the movie.
For example, in the end of Citizen Kane, the characters in the movie did not learn the real meaning of the word “Rosebud” which was raised in the first act, but the audience were able to learn the answer in the final shot. In the ending shot, the camera travels from the house to reveal a slid with the word “Rosebud”. This explains the meaning of this word that we were trying to figure out throughout the whole movie.
Many critics praise Citizen Kane for this reason, they say the movie has 2 endings.
Conclusion
The three act structure is a very good tool for screenplay writers to organize their thoughts and it is a good tool to make a movie easier to understand and follow.
But in some cases, this structure could limit the creativity of the screenplay writers and may make the movie predictable. This is because the audience who know about this structure would be able to predict the conflict and that the events will keep on lagging until the end of the movie.
So, the three act structure should not be considered as a rule or a formula in scriptwriting. Many successful movies did not follow these three acts clearly. For example movies that did not follow the three act structure are:
Pulp Fiction, Memento, 21 Grams, Tree of Life, Vantage Point, Reservoir Dogs…
Simply put, a narrative film is a movie that tells a story. So any form of film that follows a chain of events is narrative.
Many people think that only fiction movies are narrative. But documentaries and movies that tell a real story can also be considered narrative films as long as there is a beginning point that develops throughout the events and leads to a sort of conclusion.
In this post, we will be focusing on the 2 main types of narrative: The liniar and the non-linear narrative.
The Linear Narrative
Linear is pretty self-explanatory. It’s a story that follows one line of narrative.
So, imagine that the movie is a journey from point A to point B. Throughout this journey, the events will drive the story of the movie.
The movie first starts with the stage of exposition. This part is often referred to as the stage of equilibrium. Here the scene is being set to the audience, and the world of the characters is presented.
Then, the disequilibrium. This is when something disrupts the state of normal and causes the events of the story to happen.
As the events complicate, the events of the movie ultimately reach the climax. A point where the stakes for the characters are the highest.
When this peak point is reached, the main characters will try now harder to restore the equilibrium.
The movie ends with the resolution. Here, the main characters would achieve in returning to the initial point. They could also reach another point that better or worse from where they initially started at the beginning of the movie. But they learned their lesson and suffered the circumstances.
For example, let’s use Toy Story.
By the end of the movie, Buzz has accepted his fate as a toy and is welcomed into Andy’s group of toys. whereas at the beginning he wasn’t even there.
So, to put it short, a linear narrative goes like this: Movies start where characters in their everyday life, something happens that shakes this normality. Then, things get worse as the characters try to fix them. The movie ends with the characters returning to where they started or learning something new or even failing hard at it.
As you might now be thinking: Not all movies follow this linear narrative structure… you are correct.. here comes the non-linear structure.
Non-linear Narrative
The non-linear narrative tends to break up this simple line and put it back together in a different order.
All Movies have a begining, middle, and end… But not necessarly in this order
Godards
Movies that follow this type of narrative like to mix things up. And because the events are not told in a straightforward manner, it will be up to the audience to do the thinking and guessing in order to understand the story and figure out the chronological order of the events of the story.
This doesn’t mean that movies with a non-linear narrative are ALWAYS hard to understand…
Almost all French New Wave movies follow the non-linear narrative… But Let’s have more known and popular movies as examples in this post.
A good example of a complicated non-linear narrative would be Christopher Nolan’s Memento.
Memento has two sets of narratives running throughout the film. One in black and white and one in color.
These two narratives are broken up and mixed together! So you see a piece of one then a piece of the second and then back to the first… Scenes in black and white and other scenes in color.
Already the narrative is pretty nonlinear.
But memento takes it another step further. The colored narrative is actually being shown to us in Reverse.
The black and white sequence starts at the beginning and the colored sequence starts at the end. This completely screws up the narrative with the final clip transitioning from black and white to color showing the end of the first narrative and the start of the second.Â
I think that is as much complicated as it can be for a movie. But there are many other examples for movies that do not have a linear narrative structure but are still easy to follow and understand.
let’s take a look at Forrest Gump as an example. The movie has a nonlinear narrative and it’s really easy to understand.Â
Many people will argue that Forrest Gump actually follows a linear structure… After all, it follows Forrest from when he was a boy, we see him grow up to an adult. But the thing is it’s a broken story.
The movie starts with Forrest waiting on a bus stop, and the movie continues as Forrest is telling other people how he came to this point.
So, in a way, Forrest Gump starts from the end and takes us back to the beginning through Forrest’s stories.
In the case of Forrest Gump, the use of the non-linear narrative was not to make the movie more complicated or to make an artistic statement. The non-linear narrative can also be a convenient way for the writers to easily skip through all the boring bits that happen in between the events of a movie.
Conclusion
There is no better or correct narrative structure. Linear narratives are of course very successful. But it’s important to try out new things when writing your own screenplay.
If you are writing a screenplay, try messing up the order of events by having the end at the beginning or, putting bits in the wrong order. See if it makes your story more compelling and powerful. If it doesn’t add anything then leave it you’ve tried and that’s what’s important.
When we are writing a screenplay, a book, an online blog⌠we all reach that point that we just donât know how to continue. We have no idea about what to write next, or we have too many ideas and donât know where to start. We just sit in front of our screen trying to squeeze our minds to find the words. We fail. We stress out. The ideas become even vaguer and we start thinking about the time you are wasting thinking about nothing and doubting if we are even capable of writing it. We have writerâs block.
If you are reading this post, then you have experienced this block or experiencing it right now. Donât worry. Before all these negative thoughts cloud your mind know that all creative people experience this block. When you know the causes, it will be easier to overcome writerâs block. And in this post, I will give you some tips and tricks that work with many writers and helped me to get over the writers’ block.
Why do You have this Writing Block?
You are afraid to write. This is a main reason that might prevent many writers from continuing their work. You might be afraid from the result, from what will people who read this script think about it, or from not knowing where is your script going to end. Fear is a psychological factor that limits your creativity and over loads your head with negative thoughts. It diverts you from thinking about the events. Because you are a perfectionist (and self-criticism). We all want our work to be perfect. That is great. But remember that perfectionism will put many boundaries for your creativity. You would write a sentence and think it is good. It is not perfect though. You would move on to the other sentences and just keep thinking about that un-perfect sentence that you wrote few seconds ago. You get stuck in the previous sentence and will be unable to think about anything else. You have a writerâs block đ It is just not the right time. External factors might cause the block like being uncomfortable, personal issues, distractions⌠Or the ideas are not yet mature in your head. They need time to develop before you spill them on your screen.
How to Overcome Writerâs Block?
All the techniques and tricks that might help you get over the writerâs block will involve eliminating the distractions that are preventing your thoughts from surfacing to the top.
Here are tips that will help you get over the writerâs block. Then I will give you some practical techniques that are specific for script writing for movies, TV shows and theater.
Stick to the same writing area: The setting your are in has a great impact on your creativity. Many thoughts and memory baggage can be triggered by space and sound. So, if you have been thinking and working for a while in a specific place, then sticking to that place would help you thought routine. Listening to the same kind of music while working could also help. But this does not deny the effectiveness of changing scenery. Which takes us to the second tip. Change scenery and come back: Go for a walk, take a short break outside your working area. This will restart your mind and when you come back you will have a fresh line of thoughts. Just Write: A blank page will increase your chances for a writerâs block. To overcome it, just start writing anything on that page. Events will hopefully flow after. Finish unresolved business: This could be as simple as you havenât done the dishes to having to fix things up with your girlfriend or boyfriend. If it is on your mind, get it done and get back to work.
Tricks to Overcome Writerâs Block for Screenplay Writers
Visualize yourBrain storming
No ideas or too many ideas? When you are writing a screenplay, there would seem to be an infinite number of choices and directions for your scenes and characters. Each time you decide to go with an idea you think that the other could be better. You canât choose. You have a ton of ideas, and this will lead to writerâs block. The good news is when this happens you are most probably on the right track and almost over the writerâs block. Time will fix this issue. but you can start by decreasing the number of options you want to continue with. My trick is to write the possible events down and start elimination. After you choose a fewer number of choice, use sticky notes to map out the possible outcomes of each character choice. That way when you look at them you can see an organized storyboard and have a better idea about how you will move from one idea to the other. This is very helpful in organizing your thoughts and will walk you through the script and help visualize the outcome of the scene.
Opposite Writing
This technique almost always for me and helps me to get over writerâs block. When you have no idea about how you are going to move forward in a scene, all you need to do is write everything that you donât want to happen in this scene. Make a list of all the things that you are sure are not going to use in the scene. The ideas will start to get clearer in your head, and the right ideas will start to surface. This happens because when you are actively thinking about what NOT to do, you are subconsciously thinking about the opposite. By the time you are done with the not to-do list, the chances are that you will come up a solid idea about the completion scene.
Act out the scene
This is especially effective when you are stuck on writing dialogue. You can just read the dialogue out loud, when you hear the words it would be easier to continue with the flow. A more effective technique is to act out the scene with a friend. What I do is ask the help of my friends, I brief them about the character and the situation, and try to act out the dialogue. I also record this improvisation exercise on my phone so I can listen to it later. This trick will work in almost all the cases of writerâs block when writing dialogue.
Donât show your script to anyone
This will remove the fear of criticism. Take the decision not show anyone what you are writing. Write your scenes, and tomorrow you will re-read them and decide if they are good or not. Then you can share it. By that, your inner critic will be more lenient with you.
There is no stupid idea/ Write that stupid idea
You have heard it many times: âthere is no stupid ideaâ but when you are writing your script, you get stuck on a scene and think: âThis is really a stupid ideaâ. What will happen is that this idea will cloud your thoughts and you will defiantly have writerâs block. If you insist that this idea you have is stupid and does not work. My trick is to write the scene that you are stuck on and use this stupid idea. Take a short break and re-read it. You never know, maybe the idea was actually good, but your inner critic is being harsh on you. And if the idea was actually âbadâ, then you will have removed it from your system. Now will have a clearer mind to start the scene all over with more knowledge about what wonât work in the script. So, if the scene did not turn out to be good, it would be a good learning experience. Writing the âstupidâ scene will be good for the script either way.
Do your âbadâ habits
If you are a smoker and craving a cigarette, go for a smoke. Have few drinks. If you smoke pot and its legal wherever you are, have few puffs. This will loosen you up and make you inner evil critic tune down⌠Be carful donât over do it and get yourself tuned down. Just enough to continue this scene.
Scriptwriting is a Game
When you think of writing a screenplay as game, you will be more motivated to finish your daily tasks. Writing will be even more fun!
I have created a game to help you with your writer’s block. Go to the Screenplay writing game and whenever you finish a task just mark it done. You will be able to see how other scriptwriters are progressing in their script. And you will be more motivated to compete on finishing the screenplay writing tasks.
I hope these tips would help you overcome writerâs block. Keep in mind that every writer gets stuck at some time while writing their scripts. A writerâs block is just in your mind, it’s because you are distracted, or not organized, or just lazy and tired. So never take writerâs block as an excuse to stop writing. And remember that leaving your project, or watching a movie or a TV series instead is not a solution for writerâs block.
Let me know if you have other tricks to get over the writerâs block so we can add them to this post. And if you tried any of these tricks let us know if they worked for you so you can help other readers.
