There really only is Final Draft. Why waste your time with other software and especially MS Word? That is a mess. I bought my copy of Final Draft on Ebay for just over $100. It really is worth it if you're going to write a bunch of scripts.
Other options: www.ScriptBuddy.com
Not only is Script Buddy free, but you can edit your script from any computer, online. You can only edit one script per account, but this is a good idea for those who are: 1) only working on one project 2) working with a co-writer or 3) not looking to spend any money. Of course, you can always upgrade (and pay $). The benefits include being able to work on more than one script.
All in all, some kind of software is necessary due to the screenplay's unique and aggravating format.
Please leave comments if you need additional help in this area.
Wednesday, January 30, 2008
Monday, October 15, 2007
What should I do if I get writers block?
Really, I think I've conquered writer's block. Follow these easy steps:
1) Edit what you've already have. It may trigger your memory or it will allow you to clean up what you have already written.
2) If you haven't started yet? Write dummy lines. Say you know what you want the movie to be about. Say you don't. Start with the characters. Start from the middle. Start from the end. Just start writing stupid dialogue even if you know it won't make the final script.
EXAMPLE:
CRAIG
Hey, Jill. How you doing.
JILL
I dunno. Sometimes I feel like living is worthless.
on and on until the scene ends. Then you start a new scene and not only is it better than the last, but it completely stands on its own. You'll eventually want to disgard the first scene. Jill seems a little too depressed.
3) Just start writing. Sometimes your scripts don't get written because you're too lazy. It can seem overwhelming too. Grab a pen and paper and keep it with you at all times. I usually jot stuff down when I'm waiting for a movie to start. When I'm lucky I can write a scene. When I am semi-stuck I will write down ideas to include for the actual screenplay.
There isn't writer's block. There is only laziness and false feelings of being overwhelmed. You can do it. Once you get the hang of it, you're set.
1) Edit what you've already have. It may trigger your memory or it will allow you to clean up what you have already written.
2) If you haven't started yet? Write dummy lines. Say you know what you want the movie to be about. Say you don't. Start with the characters. Start from the middle. Start from the end. Just start writing stupid dialogue even if you know it won't make the final script.
EXAMPLE:
CRAIG
Hey, Jill. How you doing.
JILL
I dunno. Sometimes I feel like living is worthless.
on and on until the scene ends. Then you start a new scene and not only is it better than the last, but it completely stands on its own. You'll eventually want to disgard the first scene. Jill seems a little too depressed.
3) Just start writing. Sometimes your scripts don't get written because you're too lazy. It can seem overwhelming too. Grab a pen and paper and keep it with you at all times. I usually jot stuff down when I'm waiting for a movie to start. When I'm lucky I can write a scene. When I am semi-stuck I will write down ideas to include for the actual screenplay.
There isn't writer's block. There is only laziness and false feelings of being overwhelmed. You can do it. Once you get the hang of it, you're set.
Reading Scripts
Sometimes it's hard to figure out how a script should be written. For me, it's taken several years. I know I half paid attention to this following advice, but I didn't take this as seriously as I should have:
READ MORE SCRIPTS
The more you read, the more you will automatically know what to do.
Provided in the Bookmarks section (on the left) is a link to Drew's Script-O-Rama. That is a valuable resource of many scripts you can read online.
Also, search at your library. They usually have a limited selection, but chances are they will have a few scripts available.
The following information is important: scripts will often vary from a spec script to a shooting script. I will explain the difference.
When a script is finished, you may send it to an agent or a reader at a studio, right? You usually want the script to be easy to read. Avoid superfluous or long description. Readers will usually skip long descriptions and concentrate heavily on the dialog.
Let's say it is eventually sent to a director. Sometimes directors will be offended if you suggest camera angles and panning, as it is their job to figure that out. Proceed at your own risk. Apparently Guillermo Arriaga wrote 21 Grams exactly the way it is, and the editor and director got credit for his creativity.
Note that if you visit Drew's Script-O-Rama that you will come across shooting scripts. They will have numbers for scenes or shots. You do NOT need to write in numbers. In fact if you do, it will look extremely strange.
When I was writing my first screenplay, I didn't know how to use intertitles. So I looked it up on Drew's Script-O-Rama. There are different ways to do that, but it made me feel comfortable seeing how it was done on one script or another.
Finally, I would recommend reading at least one script of a movie you've seen and one of a movie you haven't seen. I would personally recommend The 40 Year Old Virgin (click) whether you have seen it or not. If you have seen it, you may notice minor changes from the movie.
READ MORE SCRIPTS
The more you read, the more you will automatically know what to do.
Provided in the Bookmarks section (on the left) is a link to Drew's Script-O-Rama. That is a valuable resource of many scripts you can read online.
Also, search at your library. They usually have a limited selection, but chances are they will have a few scripts available.
The following information is important: scripts will often vary from a spec script to a shooting script. I will explain the difference.
When a script is finished, you may send it to an agent or a reader at a studio, right? You usually want the script to be easy to read. Avoid superfluous or long description. Readers will usually skip long descriptions and concentrate heavily on the dialog.
Let's say it is eventually sent to a director. Sometimes directors will be offended if you suggest camera angles and panning, as it is their job to figure that out. Proceed at your own risk. Apparently Guillermo Arriaga wrote 21 Grams exactly the way it is, and the editor and director got credit for his creativity.
Note that if you visit Drew's Script-O-Rama that you will come across shooting scripts. They will have numbers for scenes or shots. You do NOT need to write in numbers. In fact if you do, it will look extremely strange.
When I was writing my first screenplay, I didn't know how to use intertitles. So I looked it up on Drew's Script-O-Rama. There are different ways to do that, but it made me feel comfortable seeing how it was done on one script or another.
Finally, I would recommend reading at least one script of a movie you've seen and one of a movie you haven't seen. I would personally recommend The 40 Year Old Virgin (click) whether you have seen it or not. If you have seen it, you may notice minor changes from the movie.
Abbreviations
Hollywood has its own code! Fun, right?
Here are some of the abbreviations you may use in a script:
(O.C.) = Off Camera
Not as common as the Voice Over (see below), off camera is sometimes used when a character is in the scene but is not shown (maybe they are yelling from another room).
(V.O.) = Voice Over
Use this to describe what a character thinks, or explains to the audience.
More to come.
Here are some of the abbreviations you may use in a script:
(O.C.) = Off Camera
Not as common as the Voice Over (see below), off camera is sometimes used when a character is in the scene but is not shown (maybe they are yelling from another room).
(V.O.) = Voice Over
Use this to describe what a character thinks, or explains to the audience.
More to come.
Wednesday, August 29, 2007
Basics of writing a script
The font you should use is: Courier New, size 12
at the very beginning you put
FADE IN:
and at the very end, you put
FADE OUT
THE END (the end is optional)
For each new scene, with each new setting, you put INT. if it's inside (interior) and EXT. if it's outside (exterior).
Then you put the place of setting: EXT. BEACH
INT. ANNA'S ROOM
you can also do stuff like this to explain the part of the house:
INT. MARK'S HOUSE - KITCHEN
and mostly you can set up what time of day it is.
INT. MARK'S HOUSE - KITCHEN - DAY / MORNING/ EVENING (mainly it's just day or night)
sometimes if it's still day you can do:
INT. MARK'S HOUSE - UPSTAIRS ATTIC - CONTINUOUS
it depends. as long as you tell them where the setting is, then in the description you don't have to say:
Mark and Anna are upstairs in the attic.
You can cut to exactly what they're doing: Mark and Anna are fiddling with a mysterious box.
at the very beginning you put
FADE IN:
and at the very end, you put
FADE OUT
THE END (the end is optional)
For each new scene, with each new setting, you put INT. if it's inside (interior) and EXT. if it's outside (exterior).
Then you put the place of setting: EXT. BEACH
INT. ANNA'S ROOM
you can also do stuff like this to explain the part of the house:
INT. MARK'S HOUSE - KITCHEN
and mostly you can set up what time of day it is.
INT. MARK'S HOUSE - KITCHEN - DAY / MORNING/ EVENING (mainly it's just day or night)
sometimes if it's still day you can do:
INT. MARK'S HOUSE - UPSTAIRS ATTIC - CONTINUOUS
it depends. as long as you tell them where the setting is, then in the description you don't have to say:
Mark and Anna are upstairs in the attic.
You can cut to exactly what they're doing: Mark and Anna are fiddling with a mysterious box.
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