Glossary of Terms
My goal here is to assemble a comprehensive and useful dictionary/glossary that anyone can reference when they need help. This is all standard industry vernacular everyone interested in screenwriting should be familiar with.
Many definitions have come from other sources and are very commonly accepted. If I feel a source has captured the definition in an especially unique and insightful way, I give them full credit. I may also edit or add to a definition if I feel I can make it easier to understand. Where possible, I’ll even include an example page or excerpt from a successful screenplay for the best possible context.
Terms that are actually used on the page in screenplay formatting will be in ALL CAPS as they would appear in a script,
Jargon/slang that is specific to filmmaking will appear in “Quotation Marks”
All other terms will be merely Capitalized.
NOTE:
UNDERLINED terms are links to a separate page featuring a more detailed explanation and/or examples from famous screenplays.
“A”
Act
A sequence of scenes and sequences ending in a peak scene that causes a significant change (positive or negative). One of the main divisions of a play or screenplay.
Action, Action Block
The scene description, character movement, and sounds as described in a screenplay.
Aerial Shot:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
This suggests a shot be taken from a plane, helicopter or drone (not a crane). For example, if a scene takes place on the roof of a tall building, you may want to have an aerial shot of the roof to give emphasis to the height of the building and potentially the cinematic cityscape in the background.
Angle On:
Used to emphasize a specific object in a shot to indicate that a different camera angle is to be made of a previous shot. This usually occurs in scenes taking place in large settings. Note: this is often implied by simple scene description. Use ANGLE ON with good purpose.
Example:
If you're at a playground and little Billy is playing in the grass while his sister Jenny is playing on the structure. To transition from a shot of Billy playing in the grass to a shot of Jenny playing on the structure, you'd use "ANGLE ON STRUCTURE" to suggest the new shot featuring Jenny.
You're still in the same location, but the director knows to point the camera in a different direction.
Antagonist
An antagonist is a character in a story who is presented as the chief foe of the protagonist. The “Bad Guy”. Darth Vader is the antagonist of the early Star Wars films.
See also: Protagonist.
“B”
b.g. (Background)
Used to describe anything occurring in a rear plane of action - aka background - (as opposed to the foreground where the main action or attention is focused). Always use this term in lower case initials or written in full ("background").
Example:
Two people talk as Bill and Ted fight in the b.g.
Backstory
A backstory, background story, back-story, or background is a set of contextual details that took place PRIOR TO or BEFORE the story actually begins. It is a literary device chronologically earlier than the primary narrative.
In acting, it is the history of the character before the drama begins, and is created during the actor's preparation.
It is the history of the characters and other important elements underlining the situation presented at the beginning of the story. Even a purely historical work selectively reveals backstory details to the audience to help give context.
Back to: Back to scene:
The camera reverts to its original shot position from another.
(beat)
In a screenplay, this term is used on the page to indicate a pause in a character's speech or action.
Many scripts will use the parenthetical (beat) to interrupt a line of dialogue. A "beat" suggests the actor should pause a moment, in silence, before continuing the scene.
“Beat”
The word “beat” is also used to describe any significant story moment/milestone. It can literally be anything, such as a dramatic moment or an action moment, but beats are always significant. When creating an OUTLINE or BEAT SHEET, you are essentially creating a document that compresses your entire story down to just the milestone moments or bullet points, aka “beats”.
“Beat Sheet”
See: Outline
“Bookends”, Bookend Scenes
Repeating a scene from the beginning of the script where your hero handled a situation poorly, but by the end of the script, has overcome an internal flaw, and now handles it with aplomb. Sometimes also referred to as a “mirror” or “echo” scene. In films, the opening scene and closing scene are often very similar in composition and theme creating a “bookend effect” within the narrative.
“C”
Character
A character is a person, animal, being, creature, or thing in a story. Writers use characters to perform the actions and speak dialogue, moving the story along a plot line.
Character Introduction, Character Entrance, Character Description
A character’s name appears in all caps the first time a character is introduced within an "Action Block." Thereafter, the character's name is written normally. For Example:
The limo pulls up to the curb. DAISY, an elderly woman sits in the car as MORGAN, the driver, steps out and opens the door for her. Daisy is dressed in evening wear, ready for an Opera.
Also: Character names always appear in all CAPS above dialogue.
DAISY
You've been a darling, Morgan. Here's twenty dollars.
“Characterization”
noun
portrayal; description:the actor's characterization of a politician.
the act of characterizing or describing the individual quality of a person or thing.
the creation and convincing representation of fictitious characters, as in a literary work.
Readers look for Characters who are diverse (i.e., they don’t all look, sound, or act alike), interesting, sympathetic, and who seem to have a life independent from the main plot of the screenplay.
CLOSE ON: CLOSE SHOT: CLOSEUP: C.U.
CLOSE ON is a shot description that strongly suggests a close-up on some object, action, or person (an expressive body part such as the face, or a fist). May also be seen as CLOSE SHOT or CLOSEUP or simply C.U. This is always typed in capital letters and is commonly seen as the abbreviation C.U.
CLOSE SHOT: Camera shot that includes only the head and shoulders of a character. Always typed in capital letters.
CLOSEUP (C.U.) Camera shot that closely emphasizes (isolates) a detail in a person, animal or object. Always typed in capital letters and is usually abbreviated.
See also “INSERT” and “SHOT”
CLOSER ANGLE:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
We move in for a new angle nearer to the subject. This is more of an editing term, but can be mentioned in the screenplay when absolutely necessary.
“Concept”
Also known as Premise, the central idea around which a screenplay is built such as “A lonely boy is befriended by an alien” as in the film E.T. The Extra-Terrestrial (1982).
See also: Premise
Conflict
At the heart of every good screenplay is Conflict: the force (or forces) that oppose the main character. To vastly improve the script every screenwriter should provide internal conflict as well, such as self-doubt. This concept of a balance between both internal and external conflict is explained brilliantly in THE HERO’S 2 JOURNEYS by Chris Vogler and Michael Hague and is well worth your time as a valuable source of study.
The Hero's 2 Journeys Audio CD – Audiobook
“Consider”
One of three possible grades given in a professional screenplay analysis and grading report known as “coverage” or “script coverage”. These reports are designed to assess the artistic and commercial viability of any screenplay. “Consider” is a favourable rating given to a screenplay indicating that the script merits further consideration. The three possible grades: PASS, CONSIDER and RECOMMEND.
See also: Coverage / Script Coverage
CONTINUOUS:
Sometimes, instead of DAY or NIGHT at the end of a SCENE HEADING/SLUGLINE/Location Description, you'll see CONTINUOUS.
Continuous refers to action that moves from one location to another without any interruptions in time. For example, in an action movie, the hero may run from the airport terminal into a parking garage. The sequence may include cuts, but the audience would perceive the action as a continuous sequence of events from the terminal to the lobby to the street to the garage to the second floor to a car etc. CONTINUOUS is generally considered optional and is not necessary.
Example: Here CONTINUOUS is used for the slugline (EXT. STREET - CONTINUOUS) and represents no time passing between changes in location.
CONTRAZOOM:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
The HITCHCOCK ZOOM, also known as the CONTRAZOOM, CONTRA-ZOOM or VERTIGO EFFECT is an unsettling in-camera special effect that appears to undermine normal visual perception in a way that is difficult to describe. This effect was used by Alfred Hitchcock in his film Vertigo. It is important to note this RARELY appears in a screenplay.
In the Hitchcock zoom, the setting of a zoom lens is used to adjust the field of view at the same time as the camera moves towards or away from the subject in such a way as to keep the subject the same size in the frame throughout.
Thus, during the zoom, there is a continuous perspective distortion, the most directly noticeable feature of which is that the background "changes size" relative to the subject. As the human visual system uses both size and perspective cues to judge the relative sizes of objects, seeing a perspective change without a size change is a highly unsettling effect, and the emotional impact of this effect is much greater than the description above can suggest.
The Hitchcock zoom is commonly used by filmmakers to represent the sensation of vertigo or to suggest that undergoing a realization that causes them to reassess everything they had previously believed. A notable use of this effect is in Jaws when Chief Brody sees the mayhem in the water from the beach, or in Goodfellas, where director Martin Scorsese uses the Hitchcock zoom in a scene during the climax of the film: Henry Hill (Ray Liotta) and Jimmy Conway (Robert De Niro) are sitting in a restaurant, talking. Henry realizes that Jimmy is setting him up and betraying their lifelong friendship; as this happens, the perspective in the background changes in a slow, gradual manner.
“Coverage”, Script Coverage
SCRIPT COVERAGE is a filmmaking term for the analysis and grading of screenplays, often within the "script development" department of a production company. While coverage may remain entirely verbal, it usually takes the form of a written report, guided by a rubric that varies from company to company.
There are only three final grades used: PASS, CONSIDER or RECOMMEND.
CRAWL:
This is a term used for superimposed titles or text intended to move across/up/down/diagonally on screen. For example, the text at the beginning of Star Wars movies "Crawls" up into infinity. Or, the written words "(crawl)" in Unforgiven.
From a draft of Star Wars: Episode Four, A New Hope
CROSSFADE:
This is like a "Fade to black then Fade to next scene." In other words, as one scene fades out, a moment of black interrupts before the next scene fades in. It is not to be confused with DISSOLVE, since CROSSFADE always involves a black or blank screen.
CUT: CUT TO:
The simple and most common transition from one scene to the next. Unlike FADE TO: which implies a slower transition, this more common option implies a more instantaneous transition. The transition describes a change of scene over the course of one frame. And, because CUT TO: is implied by a change of scene, it may be used sparingly to help intensify character changes and emotional shifts.
Decades ago, there might have been a CUT TO: or some other transition at the end of every scene, whereas, today, they are used more sparingly, and are very often used as a sort of punctuation at the end of a series of related scenes as a way to arrest the reader’s attention and underline that a new sequence is about to begin.
“D”
Development, ”In Development”
“Greenlit” (a term used to describe a project being approved for production) screenplays typically enter a phase known as development, in which a variety of industry persons claim to love the story, but then suggest changes that may be contradictory, ill-considered, or even absurd. Many projects go into development that never get made into a film. This is called “Development Hell”.
Dialogue
Simply put, this is what characters say out loud according to the script; the spoken lines within a screenplay. Dialogue is not the same as everyday, real-life conversation. Real-life conversation is random and sporadic and often leads nowhere. Dialogue is carefully timed and designed to advance the story but must be disguised to sound like a regular conversation.
Director
The leader of the film production who visualizes the movie based on the script, creates shots, suggests how the actors should portray their characters, and helps to edit the final cut. Basically, the person in charge of converting a screenplay into a movie.
DISSOLVE: DISSOLVE TO:
A common transition. As one scene fades out, the next scene fades into place. This type of transition is generally used to convey a slower transition than CUT TO: and denotes some passage of time. It is very commonly used in montages.
Dolly
A rolling mechanism on which a camera can be moved around a scene or location. Simple dollies involve a tripod on wheels. Dolly shots are moving shots.
DOLLY IN: DOLLY OUT:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
Camera movement towards or away from a subject, involving physical movement of the camera on a dolly (see above). Always typed in capital letters. Camera directions are always risky and can be seen as a writer overstepping their bounds, so ONLY USE IF ABSOLUTELY NECESSARY.
“E”
Ensemble
In a dramatic production, an ENSEMBLE CAST is one that comprises multiple actors and performers who are typically assigned roughly equal amounts of screen time. This is in contrast to the popular model which gives precedence to a sole protagonist (aka Hero). An ensemble cast leans more towards a sense of "collectivity and community". - Wikipedia
Generally speaking, this is a tricky category of script that is best avoided by all but the most ambitious and experienced of writers.
“Establishing Shot”
A shot, usually from a distance, that shows us where we are. A shot that suggests a location. Often used at the beginning of a film to suggest where the story takes place. For example, if our story takes place in New York, we might use a shot of the Manhattan skyline as an establishing shot. Establishing shots are often used at the start of a new scene with a new location. For example, a shot of the exterior of a building before moving inside to where the story is currently unfolding.
“Execution”
The manner with which the writer assembles a story’s elements. Many scripts, even those with strong Concepts, are undone by poor execution.
a mode or style of performance; technical skill, as in music: The pianist's execution of the sonata was consummate.
Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success.
Exposition
Although the word is used several different ways in other forms of creative writing, it is generally understood that screenwriters create exposition by having characters talk to each other. They may discuss previous events, issues that impact the story, and other characters. This conversation clues us in as to the where, when, and who. - literaryterms.net
Good scripts are said to show, rather than tell their stories. Bad scripts, typically feed the audience information in large blocks of clumsy dialogue.
Example: when the villain captures the hero and spends five minutes explaining his evil plot in detail. This type of explanatory dialogue is considered extremely weak/amateurish writing. Use of narration and flashbacks also raise the alarm and suggest that the writer is using POOR EXPOSITION.
EXT.
Exterior. This abbreviation (or INT: for interior shots) is used in SCENE HEADINGS, also known as SLUGLINES. A SLUGLINE using EXT. takes place out of doors. During pre-production and production, this is mostly for producers to help figure out the probable cost of a film project.
See also Sluglines / Scene Headings, Pre-Production, Production
EXTREME CLOSEUP: (E.C.U.)
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
Camera shot that is extremely close to a subject, used to emphasize some particular detail. Usually typed out in full in capital letters.
EXTREME LONG SHOT: EXTREMELY LONG SHOT:(XLS)
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
A camera shot usually taken from a long distance away from the subject. Always typed out in full in capital letters.
“F”
f.g. (Foreground)
The area of the scene (objects or action) which is closest to the camera. Usually abbreviated in lowercase letters with periods after each letter.
FADE TO: FADE IN: FADE OUT:
Smooth, gradual transition from or to complete blackness before or after a scene. This is a gradual transition from a scene to complete blackness (FADE OUT:) or from one scene to another with a blackout between (FADE TO:) or from blackness into a scene (FADE IN:). Always typed out in full in capital letters.
Commonly, you'll see this on the page as:
This usually suggests it's not the end of the movie, but it is the end of a major movement in the film. The "Next Scene" is often days, months, or years after the previous scenes. Sometimes titles will appear in the blackness to declare a passage of time. But this transition is often a sign of a major shift in time or emotional status for the main characters. It may also be used to suggest a character has been knocked out or killed. Fade In is also sometimes used at the start of a screenplay.
FAVOR ON:
(American Spelling)
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
A particular character or action is highlighted or "favored" in a shot. The focus is basically centred on someone or something in particular. VERY UNCOMMON. Use only when necessary.
Feature Film
A feature film, or feature-length film, is a film (also called a motion picture or movie) with a running time long enough to be considered the principal or sole film to fill a program. The term feature film originally referred to the main, full-length film in a cinema program that also included a short film and often a newsreel. The notion of how long a feature film should be has varied according to time and place. According to the Academy of Motion Picture Arts and Sciences, the American Film Institute and the British Film Institute, a feature film runs for more than 40 minutes, while the Screen Actors Guild asserts that a feature's running time is 75 minutes or longer.
Most feature films are between 75 and 210 minutes long. The first narrative feature film was the 60-minute The Story of the Kelly Gang (1906, Australia). The first (proto)-feature-length adaptation was Les Misérables (1909, U.S.). Other early feature films include The Inferno (L'Inferno) (1911), Defence of Sevastopol (1911), Quo Vadis? (1913), Oliver Twist (1912) (American version), Oliver Twist (1912) (British version), Richard III (1912), From the Manger to the Cross (1912), Cleopatra (1912) and The Birth of a Nation (1915). - Wikipedia
The "First Ten”
The critical “First 10” or “Opening Ten” pages of your screenplay.
See: The “Opening Ten”
FLASH CUT:
An extremely brief shot, sometimes as short as one frame, which is nearly subliminal in effect. Also a series of short staccato shots that create a rhythmic effect.
FLASHBACK:
Flashback is a device that moves an audience from the present moment in a chronological narrative to a scene in the past. Often, flashbacks are abrupt interjections that further explain a story or character with background information and memories. - literaryterms.net
Sometimes used as a transition or at the start of SCENE HEADING/SLUGLINE to denote a sequence that happened in the past. This can be followed by BACK TO PRESENT DAY if required or the writer can use PRESENT DAY as the time of day at the end of the proceeding slugline instead of just DAY.
FLASH-FORWARD:
A FLASH-FORWARD is a short scene in which the action jumps ahead to the future of the narrative. It takes a narrative forward in time from its current action. The term arose in literature as the opposite of a “flashback;” combining the words flashback and forward to give name to the technique with the same idea but in reverse. Flash-forwards usually reveal something significant about a character, plot, setting or idea by showing what is going to happen before it has actually happened. They present parts of the plot to the audience that are certain to happen later in the story—in one way or another. Because they reveal action before it occurs, flash-forwards build anticipation in the audience and a desire to follow the story until it reaches the outcome that they know is coming.
Example:
FLASHFORWARD:
Mary wakes up to the sound of the ambulance, her head throbbing, her face in a warm, sticky pool of something gross. Touching her forehead, she whispers
MARY
Blood.
BACK TO PRESENT:
Mary racing around her office.
MARY
I’m late. I’m so late. I’ll never make it on time.
She grabs an untidy stack of papers from her desk, picks up her purse and heels, and scrambles out the door, barely on her feet.
Now, assume that the story continues from the section above, leading up to the woman’s accident. The second section is the current narrative. The first section that describes the woman waking up is a flash-forward of the action that will come later in the story. - literaryterms.net
“Fly Page”, Title Page
Your title page, which is sometimes called a fly page, needs to use the same courier, 12-point font as the rest of your script. Your title goes about a third of the way down the page, centered between the left and right margins, and typed in capital letters. Double space, then switching to lower-case letters, type the word by, double space again and type your name, with only the first letters capitalized. In the lower right corner, flush right, type your contact information, including postal address, phone number and email address. It’s not needed, but if you’ve registered with the Writers Guild, that information can go in the lower left corner.
If your script is printed, your script’s cover can be any solid color. Use paper that’s about the same weight as paper used for business cards (card stock). Everything is then three-hole punched and held together with round-head brass fasteners, typically only in the top and bottom holes. The idea is to make it easy to copy your script, so lots of influential people read it.
“The Fourth Wall”
A term for the imaginary "wall" through which theatre audiences watch the action of a play. In screenwriting, the Fourth Wall is said to be breached any time a character directly address (speaks to) the audience. Fourth Wall breaches are often seen as a weak device, but have become a popular device in some modern films and TV shows such as Ferris Beuller’s Day Off and House of Cards.
FREEZE FRAME:
A moment when the film stops moving, becoming a still photograph, and holds for a period of time. This is a camera direction (which is really an optical printing, or other, effect) where a single frame is repeated over time to give the illusion that all action has stopped.
“G”
Genre, Film Genre
A FILM GENRE is a motion-picture category based on similarities either in the narrative elements, aesthetic approach, or the emotional response to the film. Drawing heavily from the theories of literary-genre criticism, film genres are usually delineated by "conventions, iconography, settings, narratives, characters and actors".
Standard genre characters vary according to the film genre; for film noir, for example, standard characters include the femme fatale and the "hardboiled" detective; a Western film may portray the schoolmarm and the gunfighter. Some actors acquire a reputation linked to a single genre, such as John Wayne (the Western) or Fred Astaire (the musical). A film's genre will influence the use of filmmaking styles and techniques, such as the use of flashbacks and low-key lighting in film noir, tight framing in horror films, fonts that look like rough-hewn logs for the titles of Western films, or the "scrawled" title-font and credits of Se7en (1995), a film about a serial killer. As well, genres have associated film-scoring conventions, such as lush string orchestras for romantic melodramas or electronic music for science-fiction films.
Screenwriters often organize their stories by genre, focusing their attention on three specific aspects: atmosphere, character and story. A film’s atmosphere includes costumes, props, locations and the visceral experiences created for the audience. Aspects of character include archetypes, stock characters, and the goals and motivations of the central characters. Story considerations, as they relate to genre, include: theme, tentpole scenes, and how the rhythm of characters’ perspective shift from scene to scene.
- Wikipedia
“Green Light”, ”Greenlit”
To green-light is to give permission to move forward with a project. The term is a reference to the green traffic signal, indicating "go ahead". An approved project is often referred to as having been “greenlit”
In the context of the film and television industries, to green-light something is to formally approve its production and to commit the necessary financing, thereby allowing the project to move forward from the development phase to pre-production and principal photography. The power to green-light a project is generally reserved for those in a project or financial management role within an organization. The process of taking a project from pitch to green light formed the basis of a successful reality TV show titled Project Greenlight. - Wikipedia
“H”
Hero
In classical literature, the hero is the main or revered character in heroic epic poetry celebrated through ancient legends of a people, often striving for military conquest and living by a continually flawed personal honour code. The definition of a hero has changed throughout time. Merriam Webster dictionary defines a hero as "a person who is admired for great or brave acts or fine qualities". Examples of heroes range from mythological figures, such as Gilgamesh, Achilles and Iphigenia, to historical and modern figures, such as Joan of Arc, Giuseppe Garibaldi, Sophie Scholl, Alvin York, Audie Murphy, and Chuck Yeager, and fictional superheroes, including Superman, Spider-Man, Batman, and Captain America. - Wikipedia
See also: Protagonist
“High Concept”
A concept so simple and effective it is instantly understood, capable of literally selling itself and therefore seen as the Holy Grail by Hollywood Producers. High Concept projects are considered foolproof. Moreover, the Concept’s effectiveness can draw in audiences even when the actual film is sub-par as opposed to films that are not High Concept that rely entirely upon the highest-quality execution to work.
The term is often applied to films that are pitched and developed almost entirely upon an engaging premise with broad appeal, rather than standing upon complex character study, cinematography, or other strengths that relate more to the artistic execution of a production. Extreme examples of high-concept films are Snakes on a Plane and Hobo with a Shotgun, which describe their entire premises in their titles.
A movie described as being "high-concept" is considered easy to sell to a wide audience because it delivers upon an easy-to-grasp idea. This simple narrative can often be summed up with a single iconic image, such as the theme park logo from Jurassic Park. Along with having well-defined genre and aesthetics, high-concept films have marketing guidelines known as "the look, the hook and the book".
The look of the film is simply how visually appealing it is to the public, usually before its release. Jurassic Park would show the world dinosaurs as they had never been seen before.
The hook is the story the film is trying to sell to its audience. Everyone wanted to know how dinosaurs could walk the Earth again after being extinct for 65 million years and how they would coexist with people.
The book can be labeled as all the merchandise made to help promote the film. The merchandise in Jurassic Park was destined to sell well, with people wanting the T-shirts and lunch boxes that were shown for sale within the movie itself, with similar merchandise later to be sold at Universal Studios in the gift shop connected to the Jurassic Park ride.
-Wikipedia
“I”
I/E, INT./EXT.
Used in a SLUGLINE (aka SCENE HEADING) and referring to shots taken in both an interior and an exterior location. For example, a police chase where we start inside a car and the camera moves outside the window when the character leans out to shoot a gun. Either iteration is acceptable, but the simpler I/E is becoming more popular today.
INSERT:
When a writer pictures a certain close-up at a certain moment in the film, he or she may use an insert shot. This is a special shot within a scene which calls attention to a specific piece of information, usually an inanimate object. This term describes a shot of some important detail in a scene that must be given the camera's full attention for a moment. Inserts are mainly used in reference to objects, a clock, or actions, putting a key in a car's ignition.
For example: if there's a clock in the room. the writer might have reason for the audience to get a good glimpse of the clock and as such would use an insert shot to suggest the director get a closer shot of the clock at a particular point in the scene.
Note: often; writing important objects in CAPS will convey their importance in the scene and give the director more freedom and a greater feeling of importance. Use inserts only when truly important.
INT.
Interior. Used in SCENE HEADINGS aka SLUGLINES. Denoting a scene that takes place indoors. The only other option is EXT. (Exterior). This information is critical to the reader to help establish setting and, later, to producers and production staff who will attempt to establish a budget for the film.
INTERCUT: INTERCUT BETWEEN: Intercutting
Known in conversation as INTERCUTTING. Some scripts may use the term INTERCUT: as a transition or INTERCUT BETWEEN. At this point, two scenes will be shown a few moments each, back and forth. For example, if Laura is stuck in her flaming house and the fire department in on the way, a screenplay may call for intercutting between the flames closing in on Laura and the firefighters racing across town to save her.
Note: Sequences such as these can be written traditionally with standard scene headings/sluglines between each shot back and forth of course, but this formatting strategy makes for a much cleaner and faster read - which is most often preferable.
INTO FRAME:
The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera stays put. It's like a character or object coming from off stage in the theater. For example: Forrest Gump sits on the bench. OLD WOMAN INTO FRAME. She sits next to him.
See also: INTO VIEW:
INTO VIEW:
The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera pulls back (pans, etc) to reveal more of the scene.
See also: INTO FRAME:
IRIS FADE IN: IRIS FADE IN: IRIS OUT: IRIS IN:
Also written as: IRIS FADE OUT or IRIS FADE IN. Used in the Star Wars film franchise, this term refers to a wipe from the centre of the frame out in all directions or its reverse. It's as if the iris of a human eye were opening for dimly lit situations to take us into the next scene or the ending credits as is the case with Star Wars.
See also WIPE TO:
ISOLATE:
Tight focus on an object or person.
“J”
JUMP CUT: JUMP CUT TO:
An exaggerated acceleration of natural action achieved by removing footage that provides continuity of action, camera position or time. Transitions from one moment to the next within a scene that appear jarring because they break the direct flow of filmic time and space. This transition is usually used to show a very brief ellipsis of time. For example, a shot of man starting frame left and walking right who, in the blink of an eye, is next seen almost at frame right would be a jumpcut. He appears to have "jumped" to the right edge of the screen.
Example:
A good example of Jump Cuts can be seen in the movie Elizabeth when the queen practices her speech. The jump cuts make us disoriented and nervous along with the queen, giving us the tension and humor of the situation as if it were an out-take reel. Bad examples of Jump Cuts would be in B-movies like Mothra where they don't have the money to get scenes from various angles, so they cut from one important moment to the next from the same angle.
“K”
“L”
LAP DISSOLVE:
A transition between scenes that is achieved by fading out one shot while the next one grows clearer.
See also DISSOLVE:
LIGHTS UP:
A transition used in Stage format, denoting the beginning and discovery of a scene by the illumination of lights onto a particular area of the stage. Very unusual for and rarely used in a screenplay.
Locale, Location, ”On Location”
Although these terms can also denote where a story is taking place within the narrative, in the film industry, that particular definition would usually be described as a SETTING. During film production, the term LOCATION, is most commonly referring to a place outside the studio where filming will take place. Most often, when someone says they are “on location” they are filming a scene in a real-world location as opposed to filming on a sound stage on a fabricated set built specifically for film productions.
“LOGLINE”
A LOG LINE or LOGLINE is a brief (usually one-sentence) summary of a television program, film, or book that states the central conflict of the story, often providing both a synopsis of the story's plot, and an emotional "hook" to stimulate interest. A one-sentence program summary in TV Guide is a logline. "A logline is a single sentence describing your entire story," however, "it is not a straight summary of the project. It goes to the heart of what a project is about in one or two sentences, defining the theme of the project...and suggest[ing] a bigger meaning." "A logline is a one-sentence summary of the story's main conflict. It is not a statement of theme but rather a premise."
"A logline...helps content creators simply and easily sell their work in a single sentence, because the emphasis is on what makes their property unique...the logline provides the content creator with a concise way to focus on the three main anchors of their writing," the protagonist, the protagonist's wants (goal(s) or desire(s)), and what is at stake (risks). - Wikipedia
Example: REAR WINDOW (1954)
A wheelchair-bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.
Not to be confused with a TAGLINE, which is used primarily in the marketing of a film. See also: TAGLINE
LONG SHOT:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
Camera shot that is taken at a considerable distance from the subject, usually containing a large number of background objects. Always spelled out in capital letters.
“M”
“MAGIC”, ”MAGIC HOUR” (Cinematography) ”GOLDEN HOUR” (Photography)
A production term: MAGIC HOUR or GOLDEN HOUR is the period of daytime shortly after sunrise or before sunset, during which daylight is redder and softer than when the Sun is higher in the sky.
The period of time right before sunrise and shortly after sunset is called the "magic hour," especially by cinematographers. During this time the brightness of the sky matches the brightness of streetlights, signs, car headlights and lit windows. Also, during this period of time there are no sharp shadows because the sun is set (or is not risen). The magic hour is actually closer to twenty or thirty minutes.
The period of time shortly before the magic hour at sunrise (or after sunset) is called the blue hour, when the Sun is at a significant depth below the horizon and residual, indirect sunlight takes on a predominantly blue shade.
MATCH CUT: MATCH CUT TO:
A transition often used to compare two completely unrelated objects. It's film's version of metaphor. This involves cutting from one object of certain colour, shape, and/or movement, to another object of similar colour, shape, and/or movement. For example, a circular saw to a child's merry-go-round.
Examples:
One classic example of this is from Hitchock's North by Northwest in which a shot of Cary Grant pulling Eva Marie Saint up off Mount Rushmore turns into a matching shot in which he pulls her up into a bunk bed. Another is the match cut from the shower drain to Janet Leigh's eye in Psycho.
Another commonly studied example of match cutting comes from 2001: A Space Odyssey. The classic cut comes towards the beginning of the film. After the apes have used a bone as a weapon for gathering food, an ape throws the bone into the air. As it falls, we match cut to a space ship carrying nuclear warheads. Both the bone and the ship are of similar shape and colour, and both happen to be moving towards the bottom of the screen. The cut relates all of technology to the development of weaponry as it cuts out all of human history.
MATCH DISSOLVE TO:
This contains similar qualities to the MATCH CUT. A match dissolve involves two objects of similar colour, shape, and/or movement in transition from one scene to the next.
For example: if Scene A is following (tracking) an arrow whizzing through the forest, one might match dissolve to a tracking shot, in Scene B of a bullet whizzing through the inner city.
See also MATCH CUT TO: / DISSOLVE TO:
MEDIUM SHOT: MED.SHOT:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
Camera shot often used to describe a shot of character approximately from the waist up.
“Mini-Slug”, Subheaders
SUBHEADERS, more commonly referred to as MINI SLUGS are smaller, usually one-word sluglines that are used WITHIN a scene to establish a new, more specific location or moving action. Mini-slugs are a recent screenwriting tactic that still fit within the screenwriting world’s rules. They make for a cleaner read, and for any newer screenwriters here, it’s a detail (there are many) that will help show you’re not an “amateur.”
So, with slug lines (formally known as scene headings), we’ll start with the basics. Your master-Slug Line (Scene Heading) always comes first.
INT. CHARLIE’S BEDROOM – NIGHT
Unless we exit the primary location — as in, Charlie goes from inside (INT.) to outside (EXT.) or if Charlie goes from outside (EXT.) to inside (INT.) — you do not have to re-set up the entire master-slug line for scenes to follow. Your mini-slug line only notes a change within the master. If Charlie walks from her bedroom into the hallway, your slug line would simply become:
HALLWAY
Why? Because we’re still in the primary location of CHARLIE’S HOUSE, which is INT. From there, let’s say Charlie walks into the bathroom. It would simply be:
BATHROOM
But then let’s say from the bathroom, Charlie walks back into the hallway, but it’s no longer night, it’s now DAY:
HALLWAY – DAY
Notice how I only noted the information that changed? I was able to provide what was needed, without using the primary location, because again — that detail did not change, therefore you do not need to note it.
Now, let’s say Charlie walks out the front door and ends up in her front yard. You’d have to write a new master-slug line since the primary location will differ. Your new master-slug line would look like:
EXT. CHARLIE’S FRONT YARD – DAY
Voila! A simplistic breakdown of how to handle your mini-slug lines (and master-slug lines). - thescriptlab.com
Monologue ”Monologuing”
From theater: any long, uninterrupted block of dialogue. To be avoided in screenplays. A character delivering such a block of dialogue is described as “monologuing”.
MONTAGE:
Scene heading which indicates a film editing technique in which a series of short shots are sequenced together to condense space, time, and information.. From the French term "to assemble". In film, a series of images showing a theme, a contradiction, or the passage of time. This film style became common in Russia in the early years of cinema. Russians were the first to truly use editing to tell a story.
Examples:
Some early examples of montage include City Symphony's and Man With a Movie Camera. Modern day examples can be seen in Goodfellas and Bugsy.
M.O.S.
Some believe that MOS stands for “Mit Out Sound” (speak it aloud in a heavy German accent) and its use is attributed to a particular German filmmaker attempting to direct a film in English. I prefer the more mundane and more believable meaning: “Moment of Silence”.
CAUTION: This is a term that is rarely used today.
“Motivation” Character Motivation
Desires, needs and beliefs that motivate a character to act.
When an author writes a book or a scriptwriter pens a screenplay, she must always consider why her characters behave in certain ways. Essentially, what makes them do what they do? A writer must also consider the character's goal or endgame. In order for a reader or spectator to believe the story, they must get to know the characters in the narrative.
Several factors go into determining what motivates a character. A reader is often given pieces of a character's backstory in order to make him or her three-dimensional. Where was the character raised? What was his/her family life like? Was he/she rich or poor? Does he/she treat people well, or is he/she mean? Is the character intelligent?
If we know that a character's father suddenly left one day when he was eight years old and the little boy cried every night for a year, then when the father returns to visit 20 years later, we can expect a dramatic response such as the character being angry with his dad for abandoning him. So, if he yells at his father or refuses to see him, the reader understands the character's motivation, or the character's reason to act. - study.com
MOVING: MOVING SHOT:
A camera shot which follows whatever moving person or object that is being filmed.
“N”
Narration
Commentary delivered to the audience by an unseen (off screen) character. Narration is often heard over some related action either thematically-related or literally showing what is being described by the narrator.
Formatting:
This dialogue may be presented like a regular on-screen character with the character heading being NARRATOR and then the words spoken beneath, like regular dialogue. Also referred to as a VOICE OVER. If presented as a VOICE OVER, it would be presented on the page as: (v.o.)
See also: (v.o.)
“O”
(O.S.) Offscreen
This is the abbreviation sometimes seen next to the CHARACTER'S name before certain bits of dialogue. It means the writer specifically wants the voice to come from somewhere unseen/off camera. In fact, (O.C.) has also been used in the past, but that variant is now all but dead. Always abbreviated in all capital letters and enclosed in parentheses.
The “Opening Ten”, The “First Ten”
The first ten pages of a screenplay. Typically, if a script has not made a favourable impression by this point, it will be discarded by most professionals, including professional readers, so the earliest pages of your work as a screenwriter must be particularly effective if there is to be any hope of getting a professional to read the entire script.
See also: Reader / Professional Reader
“Outline”, Step Outline, ”Beat Sheet”
A STEP OUTLINE (more commonly called a BEAT SHEET) is a detailed telling of a story with the intention of turning the story into a screenplay for a motion picture. The step outline briefly details every scene of the screenplay's story, and often has indications for dialogue and character interactions. The scenes are often numbered for convenience. It can also be an extremely useful tool for a writer working on a spec script.
“P”
“Page One”, Page One Rewrite
An extensive rewrite wherein most of the work previously completed is tossed out and replaced with new work. This can often happen when a screenplay is delivered that does not satisfy the producers or executives that GREENLIT or purchased it. A new writer or writers can then be brought in to start over using only the basic premise or notes from the producers/executives as a new starting point.
“Pass”
One of three possible grades given in a professional screenplay analysis and grading report known as “coverage” or “script coverage”. These reports are designed to assess the artistic and commercial viability of any screenplay. “Pass” is a negative rating given to a screenplay that will no longer be considered. The only three possible grades: PASS, CONSIDER or RECOMMEND.
Passive Hero, Passive Protagonist, ”Passive Hero Syndrome”
Always a bad thing when this word appears in a screenplay Coverage. Passive Characters and said to be moved by the plot, rather than actively driving the story. Most screenwriting books regard a passive protagonist as a major error. Audiences want to see a hero who instigates action, rather than one who reacts to a series of events.
According to Ray Frensham,
“…the protagonist is the one who should
drive the plot (their outward motivations and goal/s are the engine of your story)
initiate the action”
(Teach Yourself Screenwriting 2003 p.72)
PAN:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
Camera direction (from the word panorama) where the camera moves gradually from right to left or left to right, turning on a stationary axis without stopping; to slowly move from one subject to another subject or setting without cutting the action.
See also: SWISH PAN:
Parenthetical, Parentheticals, ”Wrylies”
If an actor is required to deliver his or her lines in a particular way, a screenplay will contain a description in parentheses to illustrate the intention of the line. Parentheticals should be used only in cases where a line of dialogue should be read in some way contrary to logic. If used too often, actor's and director's egos get hurt, and things get messy. It should not ever be used for action block decriptions.
For Example:
“Pitch”, Pitch Meeting, ”Elevator Pitch”
Writers meet with Producers and attempt, in a very short meeting, to convince the Producers to buy or commission their project. The name—elevator pitch—reflects the idea that it should be possible to deliver the summary in the time span of an elevator ride, or approximately thirty seconds to two minutes.
Plot
The arrangement of a story’s events such that one follows logically from to the other. The events of the story organized in the order that creates the desired emotional response from the audience/reader.
“Plot Points”
Moments in the screenplay in which events take a turn in a new direction, and are principally found at the boundaries between acts of sections.
See also: Story Events
“Polish”
A minor rewrite designed to superficially improve a script without making any major, fundamental changes.
(P.O.V.) Point of View
A common and generally acceptable camera direction that views a scene from the viewpoint of a particular character or device. The camera replaces the eyes (sometimes the ears) of a character, monster, machine, surveillance camera, etc.Always abbreviated in capital letters with periods after each letter.
Pre-Production
All of the earliest steps necessary to prepare a film for production, including casting, choosing locations, and designing sets and costumes. Occurring before production.
(PRE-LAP)
A pre-lap is when the dialogue (or any sound) from the next scene starts before we cut away from the previous scene. They are a common and useful transition.
Pre-laps are often inserted in editing, but they can also be written into scripts.
Dialogue pre-laps are indicated with the parenthetical “(PRE-LAP)” next to the character’s name — not below it — and in all caps:
If the sound is something other than dialogue, it can be set off like this:
Often, it’s a choice made editorially, during post-production, but you can also write it in if it helps sell a joke or moment. It’s common enough — and simple enough — that I think most readers will understand it in context, even if they’re unfamiliar with the term.
You should know that some readers despise pre-laps, despite their usefulness. If you use them, you need to have a vigilant script supervisor, because these dangling lines of dialogue can find themselves forgotten in the rush of production.
-johnaugust.com
Premise
The PREMISE of a text such as a book, film, or screenplay is the initial state of affairs that drives the plot.
Most premises can be expressed very simply, and many films can be identified simply from a short sentence describing the premise. For example: A lonely boy is befriended by an alien (E.T.); A small town is terrorized by a shark (Jaws); A small boy sees dead people (Sixth Sense).
Producer
A FILM PRODUCER is a person who oversees film production. Either employed by a production company or working independently, producers plan and coordinate various aspects of film production, such as selecting the script; coordinating writing, directing, editing; and arranging financing.
During the "discovery stage", the producer finds and selects promising material for development. Then, unless the film is based on an existing script, the producer has to hire a screenwriter and oversee the development of the script. Once a script is completed, the producer will lead a pitch to secure the financial backing (a "green light") to allow production to begin.
The producer also supervises the pre-production, production, and post-production stages of filmmaking. One of the most important tasks is to hire the director and other key crew members. Whereas the director makes the creative decisions during the production, the producer typically manages the logistics and business operations, though some directors also produce their own films. The producer is tasked with making sure the film is delivered on time and within budget, and has the final say on creative decisions. Finally, the producer will oversee the marketing and distribution.
For various reasons, producers cannot always supervise all of the production. In this case, the main producer or executive producer may hire and delegate work to associate producers, assistant producers, line producers or unit production managers.
Different types of producers and their roles within the industry today include:
Executive producer
The executive producer oversees all of the other producers working on the same project. They make sure that the producers are fulfilling their roles on the given production. They are also usually in charge of managing the film's finances and handling all other business aspects of the film. On a TV series an Executive Producer or Co-Executive Producer is often a writer and given the credit in a creative capacity. On a Feature or Movie the Executive Producer is often the person directly funding the movie or the person who found the investors or company that provided the funding.
Line producer
The line producer manages the staff and day-to-day operations and oversees each and every physical aspect that is involved in the making of a film or television program. The line producer can be credited as "produced by" in certain cases.
Supervising producer
The supervising producer supervises the creative process of screenplay development and often aids in script re-writes. They can also fulfill the executive producer's role of overseeing other producers.
Producer
Within the production process, a producer can oversee, arrange, manage, and begin every single aspect. They are involved in every single stage of the overall production process.
Co-producer
A co-producer is a member of a team of producers that perform all of the functions and roles that a single producer would have in a single given project.
Coordinating producer or production coordinator
A coordinating producer coordinates the work/role of multiple producers who are trying to achieve a shared result.
Associate producer or assistant producer
The associate or assistant producer helps the producer during the production process. They can sometimes be involved in coordinating others' jobs, such as creating peoples' schedules and hiring the main talent.
Segment producer
A segment producer produces one or more single specific segments of a multi-segment film or television production.
Field producer
A field producer helps the producer by overseeing all of the production that takes place outside of the studio in specific locations for the film.
- Wikipedia
Production
In production, a film is created and shot. In this phase it is key to keep planning ahead of the daily shoot. The primary aim is to stick to the budget and schedule, this requires constant vigilance. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the production of a film. Communication is key between the location, set, office, production company, distributors and all other parties involved.
Protagonist
Protagonist (pronounced pro-TAG-oh-nist) is just another word for “main character.” The story circles around this character’s experiences, and the audience is invited to see the world from his or her perspective. Note that the protagonist is not necessarily a “good guy.” Although most of the time the protagonist is some kind of hero, sometimes we see the whole story from the perspective of a villain, or anti-hero.
Most stories have only one protagonist, but it’s entirely possible to have a story that weaves together multiple different perspectives. In such a story, the different narrative threads should all get tied together in the end. - literaryterms.net
Post-Production
This stage starts when principal film production ends, but they may overlap. The bulk of post-production consists of reviewing the footage and assembling the movie and taking it to the next step that is editing. Here the video/film is assembled by the film editor. The shot film material is edited. The production sound (dialogue) is also edited; music tracks and songs are composed and recorded if a film is sought to have a score; sound effects are designed and recorded. Any computer-graphic visual effects are digitally added by an artist. Finally, all sound elements are mixed into "stems", which are then married to picture, and the film is fully completed ("locked").
PULL BACK:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
The camera physically moves away from a subject, usually through a zoom or dolly action.
PULL FOCUS:
The camera focus changes from one object or subject to another typically to create a dramatic reveal of new information or details that the audience could not previously see.
For example:
PUSH IN:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
The camera physically moves towards a subject.
“Q”
“R”
“Reader”, Script Reader, Professional Reader, Story Analyst
A person who reads scripts professionally, often by the hundreds, and writes analyses called Script Coverage for film companies.
See also: Coverage
“Recommend”
One of three possible grades given in a professional screenplay analysis and grading report known as “coverage” or “script coverage”. These reports are designed to assess the artistic and commercial viability of any screenplay. “Recommend” is the best possible rating given to a screenplay as it is being recommended for immediate production. The three possible grades: PASS, CONSIDER or RECOMMEND.
REVERSE ANGLE:
Often used to reveal things for comic or dramatic effect. Could be described as a counter POV shot. Basically, the script suggests the camera come around 180 degrees to get a shot from the "other side" of a scene. For example, in the There's Something About Mary script, Tucker is playing a joke on Mary in her office in one scene that the writers didn't want to reveal right away. They use a REVERSE ANGLE to show that he's got two tongue depressors in his upper lip to represent teeth. This reverse angle is used for comic effect.
“S”
Setting
Setting is the time and place (or when and where) of the story. It’s a literary element of literature used in novels, short stories, plays, films, etc., and usually introduced during the beginning of the story or a particular scene, along with the characters. The setting may also include the environment of the story, which can be made up of the physical location, climate, weather, or social and cultural surroundings. Typically this is addressed in the SLUGLINES (aka SCENE HEADINGS), but this kind of information can also bedelivered via ACTION BLOCKS or DIALOGUE
Scene
In filmmaking and video production, a scene is generally thought of as a section of a motion picture in a single location and continuous time made up of a series of shots, which are each a set of contiguous frames from individual cameras from varying angles.
A scene is a part of a film, as well as an act, a sequence (longer or shorter than a scene), and a setting (usually shorter than a scene). While the terms refer to a set sequence and continuity of observation, resulting from the handling of the camera or by the editor, the term scene refers to the continuity of the observed action - an association of time, place or characters. The term may refer to the division of the film from the screenplay, from the finished film, or it may only occur in the mind of the spectator who is trying to close on a logic of action. For example, parts of an action film at the same location, that play at different times can also consist of several scenes. Likewise, there can be parallel action scenes at different locations usually in separate scenes, except that they would be connected by media such as telephone, video, etc.
On the page, scenes are distinguished by SCENE HEADINGS, aka SLUGLINES.
Screenplay, Script
A SCREENPLAY, or SCRIPT, is a written work by screenwriters for a film, television program, or video game. These screenplays can be original works or adaptations from existing pieces of writing. In them, the movement, actions, expression and dialogues of the characters are also narrated. A screenplay written for television is also known as a teleplay.
The format is structured so that one page equates to roughly one minute of screen time, though this is only used as a ballpark estimate and often bears little resemblance to the running time of the final movie. The standard font is 12 point, 10 pitch Courier Typeface, but most modern screenwriters use screenwriting software such as Final Draft which solves the basic formatting issues automatically.
The major components are action (sometimes called "screen direction") and dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example, descriptions of settings, character movements, or sound effects. The dialogue is the words the characters speak, and is written in a center column.
Unique to the screenplay (as opposed to a stage play) is the use of slug lines. A slug line, also called a scene heading, occurs at the start of every scene and typically contains three pieces of information: whether the scene is set inside (interior/INT.) or outside (exterior/EXT.), the specific location, and the time of day. Each slug line begins a new scene. In a "shooting script" the slug lines are numbered consecutively for ease of reference. - Wikipedia
“Scriptment”
A SCRIPTMENT is a written work by a movie or television screenwriter that combines elements of a script and treatment, especially the dialogue elements, which are formatted the same as in a screenplay. It is a more elaborate document than a standard draft treatment. Some films have been shot using only a scriptment.
The term scriptment was originally coined by filmmaker James Cameron, possibly during his early involvement in the development of the Spider-Man film series. In that effort, after the success of his 1984 film The Terminator, Cameron wrote a 57-page scriptment for the first proposed Spider-Man film, which was used by screenwriter David Koepp to write the first draft, incorporating it nearly word for word.
Cameron's scriptment for Titanic (1997) was 131 pages. The term became more widely known when Cameron's 1994 scriptment for the 2009 film Avatar was leaked on the internet during pre-production, although other directors, such as John Hughes and Zak Penn, had written scriptments before. The scriptment for Avatar and its notoriety caused the spread of the term.
NOTE: This is not an option for new and emerging screenwriters. This is a hybrid that was established by and for working professionals with a lot of clout within the industry. Do NOT attempt to write a scriptment and then submit it to a studio or competition. It is not recommended that you write one unless specifically asked. - Wikipedia
See also: Screenplay / Script and Treatment
Shooting Script
A shooting script is the version of a screenplay used during the production of a motion picture. Shooting scripts are distinct from spec scripts in that they make use of scene numbers (along with certain other formatting conventions described below), and they follow a well-defined set of procedures specifying how script revisions should be implemented and circulated.
When a screenplay is approved for production, the scenes are assigned numbers which are included in the script alongside the scene headers. The numbers provide a convenient way for the various production departments to reference individual scenes. Also each individual shot within a scene is also assigned numbers. For instance Scene 1 Shot 1, 2, 3, 4, 5 etc.
After a shooting script has been widely circulated, page numbers are locked, and any revisions are distributed on revision pages. Thus the production office might issue a revision containing new pages 3, 9, 17 and 45. This avoids having to print and distribute an entirely new draft for every set of revisions, which would entail crew members having to transfer all their handwritten notes to a new script. If scenes on page 45 become longer, they will be continued on new pages 45A, 45B and so on; if the scenes on page 45 are all eliminated, a new page 45 will be issued with the word "OMITTED" as the absence of a page 45 might look like an error.
Revision pages are distributed on coloured paper, a different colour for each set of revisions, with each changed line marked by an asterisk in the right margin of the page. The progression of colours varies from one production to the next, but a typical sequence would be: white, blue, pink, yellow, green, goldenrod, buff, salmon, cherry, tan, ivory, white (this time known as "double white"), and back to blue ("double blue").
When the Assistant Director believes that there are more changed pages than are worth swapping out, the Script Coordinator may issue an entirely fresh script in the appropriate revision colour. In some cases, usually before the start of principal photography, an entirely new "white draft" will be distributed in lieu of coloured revision pages. The pages in a white draft are renumbered from scratch, while the original scene numbers are maintained.
Shot
A singular moving image. If there's a cut, you've changed shots. Shots can range from split seconds to several minutes. Shots are generally chosen by the director although the writer can use capital letters to suggest where the camera should be. When a writer absolutely must have a certain shot at a certain moment in a film, she has a few options each described in detail elsewhere in this list: INSERT, ANGLE ON, and CLOSE ON etc.
“Slug Line”, ”Slug”, Scene Heading
The text in all CAPS at the beginning of a scene that briefly describes the location and time of day. The first section is either INT. (for interior locations) or EXT. (for exterior locations). The next section(s) is for a specific location. If there is a need for two bits of information, Always start with the broadest location and then the more specific such as INT. NEW YORK CITY - THE SILVER BULLET DINER - NIGHT. or INT. TERRY’S HOME - THE GARAGE - NIGHT. The final section is typically either DAY or NIGHT.
For example:
SMASH CUT: SMASH CUT TO:
An especially sharp transition. This style of cut is usually used to convey destruction or quick emotional changes. For example: If you were writing a horror movie but wanted to lighten the gore at the beginning, you might have:
EXT. FOREST - NIGHT
A YOUNG GIRL races away from her tormentor but then trips and falls. The KILLER enters the forest clearing, taking a moment to savour this death. The Girl shakes her head, as if begging for the killer to change his mind. But no, he closes in, a black cloaked arm raising the knife into the air. The knife catches the moonlight for just a moment before it races downwards.
SMASH CUT TO:
EXT. HIGH SCHOOL COURTYARD - DAY
It's a bright and beautiful morning and a bunch of kids wander the courtyard on their way to class.
The sudden shift from a dark forest to a bright schoolyard on the first stab would convey the distress of the murder without showing it.
Note: this transition is often a director's choice, so STAY IN YOUR “LANE" and do not attempt to direct the film via your screenplay. This is considered a major faux pas. As a writer, use this kind of transition sparingly - IF AT ALL.
“Spec Script” Speculative Screenplay
A SPEC SCRIPT, also known as a SPECULATIVE SCREENPLAY, is a non-commissioned and unsolicited screenplay. It is usually written by an unpaid screenwriter who hopes to have the script optioned and eventually purchased by a producer, production company, or studio. In effect, the writer is speculating the script will sell when it is finished.
Spec scripts which have gone on to win Academy Awards include Thelma & Louise (sold by Callie Khouri to MGM for US$500,000 in 1990), Good Will Hunting (sold by Matt Damon and Ben Affleck to Miramax Films for US$675,000 in 1994) and American Beauty (sold by Alan Ball to DreamWorks SKG for US$250,000 in 1998), which all won Best Original Screenplay.
A spec script reads differently from a shooting script or a production script in that there is more focus on the story itself while focus on camera movements and other directing aspects should be rarely, if ever, used. Camera directions and technical directions are often added in the later drafts. The sole purpose of a spec script, also known as the selling script, is to showcase a screenwriter's talent at telling a story through action and dialogue.
Spec scripts are often written by unknown screenwriters looking to prove their storytelling ability and make a name for themselves in the film industry.
SPLIT SCREEN: SPLIT SCREEN SHOT:
The space of the frame is split into two, three, or more frames each with their own subject. Usually the events shown in each section of the split screen are simultaneous. But Split screen can also be used to show flashbacks or other events. For example, two people are talking on the phone. They're in different locations, but you wish to show the reactions of both simultaneously. Split Screen is used prominently in 24 to show simultaneous action and events unfolding.
Steadicam
A camera built to remain stable while being moved, usually by human hands. Occasionally, the term is seen in scripts to suggest a handheld shot be used in a scene, although a steadicam is smoother than a regular handheld shot (sometimes referred to as a “shakycam” shot) and as such produces a different result.
STOCK SHOT:
(aka STOCK FOOTAGE) Footage of events in history, from other films, etc. Basically, anything that's already filmed and you intend to be edited into the movie. For example, the Austin Powers movies use stock footage for comic effect. Some old B films use stock footage to keep their budgets low.
Story
The collection of events, which comprise a screenplay. Everything that happened and happens to the character.
“Story Event”
Author and screenwriting “guru”, Robert McKee defines a STORY EVENT as: a significant and valuable change in the life of the character that is driven by conflict. The change is not caused by chance but by conflict, and it has value such as good/bad, alive/dead, love/hate, freedom/imprisonment, truth/lies etc.
See also: Plot Points
“Structure”
One of Screenwriting’s key Elements, and also among the most complex. Structure is perhaps best thought of as the way in which events are organized in time. Screenplays as an art form are extremely brief, and require careful organization of events and ideas in order to coherently tell and energetic story in the span of 90-120 minutes.
Subheaders
See: Mini-Slugs
SUPER: SUPERIMPOSE:
Abbreviation for superimpose. The superimposition of one thing over another in the same shot. Sometimes TITLES are superimposed over scenes. Or a face can be superimposed over a stream-of-consciousness montage shot. Always typed in capital letters.
SWISH PAN: FLASH PAN:
A quick snap of the camera from one object to another that blurs the frame and is often used as a transition. Sometimes called a FLASH PAN. Cuts are often hidden in swish pans, or they can be used to disorient or shock the audience.
“T”
“Tagline”, ”Tag Line”
In entertainment, a tagline (alternatively spelled tag line) is a short text which serves to clarify a thought for, or is designed with a form of, dramatic effect. Many tagline slogans are reiterated phrases associated with an individual, social group, or product. As a variant of a branding slogan, taglines can be used in marketing materials and advertising. In filmmaking, taglines often appear on the poster.
The idea behind the concept is to create a memorable dramatic phrase that will sum up the tone and premise of an audio/visual product, or to reinforce and strengthen the audience's memory of a literary product. Some taglines are successful enough to warrant inclusion in popular culture. Such as …
Example: Alien (1979)
In space, no-one can hear you scream”
Theme
Webster’s Encyclopedic Unbridged Dictionary of the English Language defines theme as “a subject of discourse, discussion, meditation, or composition; topic: . . .” In other words, a theme is the idea, premise, or purpose of a movie. It is the whole reason why movies are made.
The theme is the heart of the movie. The movie is regulated by the theme. The theme is why people go to the movies. It is not because of the characters, story, plot, cinematography, or genre. All of these elements are regulated by the theme. They demonstrate how the theme is displayed, yet most people do not know or understand what the theme is when they go to see a movie and when they discuss the movie afterward. - Milne Publishing
“Three Act Structure”
The overwhelming favourite method of organizing a story in script format.
Stories should have a distinct beginning, middle, and end sections. Having said that, if the second act is generally accepted to be twice as long as the first and third, and is always divided in half by a major story milestone, then SIGHTHOUND believes there are actually FOUR parts to any classic story structure - not three.
Another way to describe this interpretation that may also satisfy traditionalists is to say that it is “THREE ACTS, IN FOUR PARTS.”
TIGHT ON:
A close-up of a person or thing used for dramatic effect. A tight frame encloses a subject with very little space surrounding it. Not in common use. Use only when necessary.
Time, ”Real Time”
In a screenplay, a page more or less equals one minute of screen time - a significant difference from a novel or short story, in which time is fluid and unrelated to page length. Screenwriters must learn to write “down the page”; that is, they must view their pages as representing fixed units of time, and fill them accordingly.
All action in a screenplay is happening in “Real Time” meaning the action unfolds in the moment. Even when witnessing action in a Flash-forward or Flashback, the action is always happening “now” and must be written as such in the present tense.
TIME CUT:
When you want to cut to later in a scene, you have the option of writing TIME CUT as the transition. For example, if two people walk into a restaurant and their conversation is important at first then veers off into topics not important to your story, then you might want to time cut from the drinks to the main course and then again to paying the check.
Title Page
See: Fly Page
TRACK: TRACKING: TRACKING SHOT: TRAVELLING:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
A tracking shot involves a camera following a person or an object. As long as the camera isn't locked down in place by a tripod, for example, and is following (tracking) a subject, then it's a tracking shot. For good examples of tracking shots, watch the one take episode of The X-Files, any episode of ER or the first shots of Touch of Evil and The Player.
“Trailer”
In the olden days of cinema, the advertisements for upcoming attractions were usually played after the end of the movie. Hence, they became known as trailers. But, as credits reels have grown in size over the years, audiences would often leave before watching these advertisements and "trailers" became "previews." But the name is still in common use. A trailer is a theatrical advertisement for an upcoming film attraction.
Transition
These describe the style in which one scene becomes the next. Used appropriately, these can be used to convey shifts in character development and emotion. In other words, a CUT TO: is not required at every scene change. Some major transitions include CUT TO:, DISSOLVE TO:, MATCH CUT TO:, JUMP CUT TO:, SMASH CUT TO:, WIPE TO:, and FADE TO:. Occasionally a writer will make up his own transition. In these cases, the transition is usually self-defined (such as BRIGHT WHITE FLASH TO: suggests whiteness will fill the screen for a brief moment as we pass into the next scene).
“Treatment”, Film Treatment
A FILM TREATMENT (or simply TREATMENT) is a piece of prose, typically the step between scene cards (index cards) and the first draft of a screenplay for a motion picture, television program, or radio play. It is generally longer and more detailed than an outline (or one-page synopsis), and it may include details of directorial style that an outline omits. Treatments read like a short story, but are told in the present tense and describe events as they happen. A treatment may also be created in the process of adapting a novel, play, or other pre-existing work into a screenplay. - Wikipedia
TWO-SHOT:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
Camera shot of two people, usually from the waist up.
“U”
“Unity”
One of the big concepts of screenwriting. Unity refers to the script’s cohesiveness. In a Unified script, all the elements work subtly together toward a cumulative effect
“V”
(V.O.)
Voice Over. A Character Extension in which a character's voice is heard over a scene, as in narration, a tape-recorded voice, or a voice heard over the phone. Always abbreviated in capital letters with periods after each letter and enclosed in parentheses next to the Character Name, capitalized and spelled out in the script.
Example:
DAVID (V.O.)
I wonder what that feels like?
“W”
WIDE SHOT:
See: Long Shot
WIPE: / WIPE TO:
A wide variety of patterned transitions in which images seem to move (or push) other images off the screen. A transition in which one scene "wipes away" for the next. Imagine Scene A is water and Scene B is the substance underneath. A wipe would look like a squeegee pulling Scene A off of Scene B. These usually suggest a passage of time from one scene to the next. The most common and obvious example of wipes can be found all throughout the Star Wars film franchise.
“Western Storytelling”
This term is NOT referring to the genre known as Westerns. This is referring to the popular style of storytelling most popular in the Western hemisphere of the world - specifically in North America: A lone, energetic hero, the protagonist, facing a single, overriding conflict, embodied by the antagonist, leading toward a dramatic resolution.
White Space, Whitespace, Negative Space
An aesthetic (visual), but highly important screenwriting aspect: how “white” a page appears; how much negative space is left on the page. Pages which have an inordinate, dense amount of text (both DIALOGUE and ACTION BLOCKS) In them are low and tedious to read, and can quickly sour a reader’s impression of your work.
“WRYLIES”
See: Parenthetical, Parentheticals
“X”
“Y”
“Z”
ZOOM IN: ZOOM OUT:
NOTE: Today, overt camera directions such as this are commonly considered amateur/inappropriate and are NOT recommended.
A quick transition from a long shot to a close shot or the reverse, usually achieved by manipulating the camera's lens. The image seems to close in on a person or object making the person or object appear larger (or smaller) on screen. Technically, the lens mechanically changes from wide angle to telephoto or vice versa. Notice and recognize the difference between a zoom and a push in (camera moves closer to subject). Use zoom only when necessary.
CONTRIBUTORS FROM AROUND THE WEB
FINAL DRAFT: https://kb.finaldraft.com/s/article/Glossary-of-Screenwriting-Terms
MOVIE OUTLINE: http://www.movieoutline.com/articles/a-glossary-of-screenwriting-terms-and-filmmaking-definitions.html
WIKIPEDIA: Wikipedia.com
