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Archive for the Category "Formatting"

Parentheticals: Always Before Dialogue – Not After Apr 15

Quick Tip

Never end a dialogue block with a parenthetical.

I’ve been seeing this kind of thing a lot lately in the amateur scripts I’ve been reading:

DEMON

You think that puny gun can kill me?

(laughs)

If you need to indicate an action that follows a block of dialogue, then just write it as an action line following the dialogue. For example:

DEMON

You think that puny gun can kill me?

Demon laughs.

Note: The first example would have been okay if there were another line of dialogue after the parenthetical (also known as a “wryly”). For example:

DEMON

You think that puny gun can kill me?

(laughs)

Shit, you might be right.

For more juicy insight on this absolutely fascinating topic (not really), please check out my 10 rules for using parentheticals.

Insights from the 2013 Black List: Title Pages Feb 04

Recap

This series takes a look at current trends in screenwriting and screenplay formatting, by examining the 2013 Black List scripts.

The Black List 2013 – Part 4: Title Page Formatting

Black List 2013 - InsightsSoooo… title pages. The various formatting books I rely on consistently prescribe title pages where the title of the script is:

  • all uppercase
  • underlined
  • written in a standard 12 point Courier / Courier New font (or equivalent — like Courier Final Draft or Courier Prime)

But as anyone who reads professional scripts on a regular basis will tell you, that rule is routinely broken.

You might be inclined to say — “Yeah, but the pros can get away with it, but we can’t.”

And you might be right.

Speaking in generalities and from my experiences, the farther up the chain you are in Hollywood, the less likely anyone is to treat such a thing as a red flag.

So depending on where you’re at, and your level of confidence with the important stuff that comes after your title page, you may want to just stick to the standard formatting so you don’t inadvertently annoy anyone.

Having said that, I almost never use Courier 12 pt for my script titles!

I feel it’s the one part of the script where I can shed the rigid confines of standard script formatting, and add some flavor. After reading the first page of one of my scripts, I doubt that any reviewer is still going to be agitated by my flamboyant font use.

The 2013 Black List Title Page Stats

So where do we stand this year for title page formatting practices? The investigation yielded some surprising results:

  • Of the 72 Black List scripts this year, only 14 used “standard” formatting for their script titles (19.4%)
  • That means 58 used non-standard formatting (a full 80.6%)!

Here’s how it broke down:

  • 20 script titles used a font size that was larger than 12 pt (28%)
  • Of those, 14 used a font other than a Courier variation (19.4%).
    Note: No scripts used a non-standard font while keeping standard point size. If a non-standard font was used, the font size was always greater than 12 pt.
  • Of those, 2 used a graphic image for their script titles (2.8%).
  • 4 of the scripts that used a non-standard font — used the font for more than just the script title (5.6%) .
  • 3 of the 72 scripts used a space between the letters of their titles (e.g. E X T I N C T I O N) (4.2%)
  • 8 scripts used a Mixed Case Title (11%).
  • 17 scripts used bold for their script title (23.6%)
  • 38 scripts did not underline their script title (53%)

… And of course, unless specified above, there’s a lot of overlap (e.g. some scripts used both bold and Mixed Case).

Non-Standard Fonts

For those who are curious, here’s a list of the non-Courier fonts that were used (excluding the two that used graphics in place of their titles), in alphabetical order:

  • American Typewriter (Bold) 56 pt
  • Arial Black (Bold) 14 pt
  • Arial (Bold) 24 pt
  • Arial Unicode MS (Italics) 28 pt (Mixed Case)
  • Bleeding Cowboys 28 pt (Mixed Case)
  • Cooper Black MS (Bold) 18 pt
  • Dense 64 pt
  • Georgia (Bold) 18 pt
  • GillSans 14 pt
  • Oriya Sangam MN 24 pt
  • Times New Roman 32 pt (Mixed Case)
  • Wide Latin 26.04 pt (Mixed Case)

Do you find these types of stats to be helpful?

Insights from the 2013 Black List: Scene Spacing Jan 22

Recap

This series takes a look at current trends in screenwriting and screenplay formatting, by examining the 2013 Black List scripts.

The Black List 2013 – Part 3: One or Two Line Spaces before Master Scene Headings?

Black List 2013 - InsightsI was originally going to look at the prevalence of using non-standard fonts and font-sizes on title pages, but I’ll do that next time. Since I looked at the incidence of bold, underlined and bold and underlined scene headings last time, I thought it would be better to look at something somewhat related — the spacing that comes before master scene headings.

Why is the discussion somewhat related? Because I found a not-so-surprising correlation between using only one blank line space and using bold scene headings.

First, let’s look at the numbers:

2013 Black List - Blank Lines Before Scene Headings

  • Of the 72 scripts, 59 used two blank lines before master scene headings (81.9%).
  • That means 13 — used one blank line (18.1%)
  • Of the 13 scripts that used one blank line space, a full 8 of them used bold scene headings (61.54%).
  • That’s almost double the overall percentage of scripts that used bold scene headings this year (33.33%)! [See previous article]

So why are scripts that use a single line space almost twice as likely to use bold scene headings?

It’s simple — the whole point of having two blank line spaces is to break up the pages, inject some white space and make the script feel less dense. If you use a single line space, then adding bold to the scene heading helps to do the same thing. It visually “chunks” up the page and makes it easier for the reader to see when a new scene starts.

Page Count and Spacing for Scene Headings

If you  look at the median page count of those 13 scripts that used one blank line and compare it to the median page count of all the scripts in the 2013 Black List — the number is the same: 110 pages.

In a typical script if you change from triple-spacing (two blank lines between scenes) to double-spacing (one blank line between scenes) you can actually cut your page count by two or sometimes three pages. I may be wrong, but I suspect that at least a few of the writers opted for double spacing and bold scene headings, versus triple spacing and no bold, to lower their page count.

Final Thoughts

No readers really care if you double or triple-space your scripts (i.e. use one blank line or two before scene headings). They might not even notice. What they do notice is the amount of white space in your scripts.

If you’re consistently using 5 to 8 line paragraphs in your scene descriptions, you run the risk of irritating a reader. It won’t matter if you’ve left two blank lines between your scene headings because the script will just feel dense. Try to limit your paragraphs to 3 or 4 lines.

It’s worth pointing out that the script that topped the 2013 Black List – Holland, Michigan by Andrew Sodroski — used the bold scene headings and single blank lines approach. I have no idea as to Andrew’s thought processes, but the script clocked in at 117 pages. And 117 pages has a whole lot nicer ring to it than 120 pages — which it might have been if he had used triple-spacing (two blank lines).

Then again, he might have just liked the way it looked.

Insights from the 2013 Black List: Bold Scene Headings Jan 14

Recap

This series takes a look at current trends in screenwriting and screenplay formatting, by examining the Black List scripts.

The Black List 2013 – Part 2: Bold and Underlined Scene Headings

Black List 2013 - InsightsToday, I’m going to look at the practice of using bold and underlined scene headings.

As trivial as this issue is (especially compared to the importance of quality writing), I do often get asked about the prevalence of such formatting in modern scripts. Screenwriters want to know if the practice is common enough to not get flagged as an annoyance by purists who might be reading their screenplay.

While it’s plain to see that using bold, underlined (or both bold and underlined) scene headings are definitely gaining in popularity, I was curious to see how common these formatting devices were in the 2013 Black List scripts.

Here’s how it broke down:

One third of all the Black List scripts used bold scene headings!

That was surprising. Things have really changed. I’d say that if a third of any community engages in a practice, then it can safely be described as mainstream.

  • Of the 72 scripts, 24 of them used bold (33.33%)
  • 19 used bold exclusively (26.39%)
  • 5 used both bold and underlining together (6.94%)
  • 1 used underlining alone (1.39%)

Final Note

I have two versions of Richard Cordiner’s terrific script, The Shark Is Not Working. The earlier version of his script used bold. The later version, with the cover page changed to show his agent and manager, did not. I was curious about the change… Was he given some sage advice to remove the bold?

Nope. Richard kindly responded to a tweet I sent him explaining that it was simply a stylistic choice: “Hi Trevor, no reason, just prefer the old school look I guess.”

He then went on to provide a great reminder about the importance of such matters in the grander scheme of things:

https://twitter.com/richardcordiner/statuses/422957492843204608

Do you obsess over these kinds of details, or do you always stay focused on the bigger picture? Or both? Let me know.

In the next issue I’ll look at irregular fonts and font sizes on the title page.

William Akers – Only one line space after FADE IN: ? Aug 27

Screenwriting: Modern CraftWhat the eff?

So I was happily writing an article about common mistakes people make on the first page of their script, when I recalled a suggestion by William M. Akers, that I’d previously written about.

In his great book, “Your Screenplay Sucks! 100 ways to make it great,” he advises the following (on page 203):

… take a gander at the fact that FADE IN: has one space underneath it. If you’re like me and you have two spaces above every slugline (or “Scene Heading” in Final Draft) then you’ll need to adjust the very first slugline so FADE IN: only has one space below it.

Good advice right? Ever since reading his book, it’s bothered me whenever I’ve seen the double line spacing after FADE IN:

But here’s the problem… I can’t find any real world examples of this rule having been implemented! NOT A SINGLE ONE. At least not from professional or production scripts, or spec scripts that later sold.

Instead what I found after going through my script library was:

  • When scripts have two line spaces above the scene headings, there are two line spaces after FADE IN:
  • When scripts have one line space above scene headings, there is one line space after FADE IN:

Sorta logical really. Hmm…

What do the screenplay formatting guides say?

Here’s what I checked:

- The Screenwriter’s Bible by David Trottier

- The Hollywood Standard by Christopher Riley

Curiously, neither formatting guide offers any insight into the line spacing that should come after a TRANSITION. And definitely nothing prescriptive of a single line space after FADE IN: (At least nothing I could find.)

To top it off

You’d think if there were an industry standard for such a thing, the screenwriting program, Final Draft, would automatically correct the error for all of the transitions. But alas it does not.

What do you do?

I want to hear from you. Do you follow William Akers’ rule (i.e. one line space after FADE IN: even though you have two line spaces above your scene headings)? Can you cite a non-amateur script example of Akers’ rule being followed?

Mr. Akers — if you happen by this site, I’d love it if you could send me an email to discuss, or post a comment below, to explain the discrepancy.

Does anyone else obsess over these kinds of details like I do?… On a Friday night… [cough]

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