Find a story you enjoy. Or better yet, yours beloved history. There will be times when working on a screenplay will feel difficult or overwhelming, so it's best to work on something that won't be too tiresome to think about and/or agonize over for a few months. Study a specific genre and stick to its rules if you would like to sell your script. In the film industry, market relevance is always more important than originality. But that doesn't mean a little originality necessarily hurts.

Software. The lack of software will only irritate both you and the possible reader who is accustomed to the dialogue being exactly 10 cm from each edge of the margins. If you can't afford programs like Movie Magic or Final Draft and Montage, then Celtx is worth a try. Add three “w” and “.com” to the name to go to the website with the program. I'm starting to work with her now. This program has all the necessary functionality and offers to place your script in an open database. Who knows? This could be a potential hit.

Formulate your idea. Write a short sentence (no more than 15 words) describing the main concept of the plot. This way you can determine the complexity of the future film and find out the opinions of others.

Make a plan. You can easily get lost in hundreds of pages of text. Find out what others think.

Create a character guide. Characters influence your story even more than your plan. List all characters and provide names with detailed descriptions, including appearance and traits such as resourcefulness, kindness and attractiveness or, according to new trends, stupidity, anger and hatred, played out in a pleasant manner (you can get ideas from Shakespeare's play Richard III). If they turn out to be clichéd characters that you yourself are tired of watching in cinemas, then continue to think about them. When describing the antagonist and protagonist, do not forget to list all their shortcomings. During the development of the plot main character corrects his shortcomings, and the antagonist's shortcomings become the reason for his downfall.

Don't neglect the three-act structure. Many established writers have done away with it and done it quite successfully, but that’s why they recognized writers. Producers are willing to take risks with them because they have already proven they can make money. The scripts of many films are written in the “Hero’s Journey” format, on which there are many articles on the Internet. Another good example would be "A Writer's Journey" Chris Fogler and "Story" Roberta McKee.

Study the three act structure. If you do not understand what was discussed in the previous step, then study this issue. Here's the briefest explanation: ACT I introduces the world and characters as they are meant to be seen, introducing a problem to be solved. For example, "The Goonies spend their lives having fun in a small corner globe, until they find out that developers want to turn their home into a condominium, so ... ". ACT II is meant to show character development and issues. For example, “So the Goonies end up in One-Eyed Willie’s maze and try to get through all the obstacles in order to...”. ACT III contains several events, the most important of which may be that the hero reaches despair and is ready to give up. BUT and this is the most important thing: he or she comes to the realization that giving up does not mean solving the problem, after which they find the right solution. For example, "Sean Astin in The Goonies finds a way to turn One-Eyed Willie's traps against the villains and manages to collect enough diamonds to save his place."

Dialogues. It's best to write dialogue after the rest of the script has been completed; This way you can make sure that your story is told clearly. Dialogues should be short, simple and timely. If in doubt, you can even improvise with them later.

Description. Don't forget that each page is approximately equal to a minute of screen time. Write about actions and feelings, not detailed descriptions. Finally, and most importantly, the script should be simple and easy to read.

Write the title of each scene on a separate card, indicating the characters involved. This will make it easier for you to understand the overall development of the script, and also be able to understand where the whole story is heading.

Once cinema moved from simply capturing what happened on film to telling stories that had ever happened in reality and in the imagination of the author, there was a need to organize what the director wanted to say. This was done in order not to get confused in history and to convey to the public what was intended.

This is how the need for scripts arose. It is clear that before this there was a huge number of works that had already been recorded and, in fact, ready for film adaptation, but what to do with the ideas in the author’s head? It is unlikely that with this presentation the director will be able to remember all the details and convey them to the entire film crew...

So, filmmakers came to write down their ideas on paper. Thus was born the classic (later called “Russian” due to the adherence of Soviet filmmakers to this recording style) recording of the script.

There was nothing special about her that would set her apart from ordinary stories and novels. Perhaps there is a little less metaphor and reflection, and more specificity and action, but on the whole the script, written according to the classical record, could easily be classified as a literary work. By the way, this is exactly what many authors did - even a separate section of works ready for film adaptation appeared in literature (Alexander Dovzhenko, whose prose was largely classified as a film script), can be considered a prominent representative of this genre.

It must be admitted that the Russian entry is easy and interesting to read and perhaps conveys much more “character” than the modern one. And it does not imply any special writing rules. However, when highlighting the main plot and plot, all the imagery of this work will still disappear - as you know, allegories and other literary devices do not work in scripts (they are only useful for the director to capture the general mood of the character or highlight the atmosphere of what is happening).

It was then that the Americans came to the conclusion that the form of writing scripts needed to be simplified and changed a little - the easier it is written, the more clearly it can be transferred to the screen. From them came the “American” - or American recording of scripts.

“American” is very similar to the play in its writing style. Stand out different types stage directions and dialogues, which, in fact, carry the entire narrative function.

However, if the play has more “softer” rules in writing, then the international standard for writing scripts is recognized in many countries (of course, it is not a dogma, but producers still prefer to read scripts that are written in this particular form, so, to increase the chances of reading the script and the fact that your script will reach the “finish”, these rules should be followed).

In this simple way, we got to the main topic of our consultation with you - the rules for recording a script in the American style.

There are quite a lot of rules and sometimes they all get confused in your head, so we will go with you in order.

So, let's begin.

1. The entire script is written in Courier New font, size 12. Why use it? This is because with this font (if, of course, you write everything more or less sanely), each page will correspond to 1 minute of screen time (in the classical form of writing, a slightly different formula is used - each page can be multiplied by 2.5). Also, this font is as close as possible to the one that was once characteristic of typewriters... A tribute to history and fashion, if you wish. It’s also worth noting that the scripts never use bolding or underlining text (a typewriter couldn’t do that :)

2. All text is aligned to the left (except for dialogues and the title page).

3. The page margins are also adjusted to the typewriter format:

Upper -2.5 cm; Bottom – 1.25 cm; Left – 3.75 cm; Right – 2.5 cm.

4. Each one should have a title page. On it we write the name of the script, the author and contact information (one author, if co-authored - all, if there is a script agent, then his information).

5. Where to start the script... The American suggests this:

INT./EXT./NAT. – we determine the place; ROOM – location, MORNING – time of action.

Next, we describe the scene and, perhaps, immediately introduce the characters. We highlight the names of the characters in CAPITAL letters (this is our first acquaintance with them - later in the remarks you can safely use ordinary letters).

Eight men dressed in BLACK SUITS sit at a table in a cafe. This is MR. WHITE, MR. PINK, MR. BLUE, MR. BLONDE, MR. ORANGE, MR. BROWN, THE GOOD GUY EDDIE CABOT and the big boss, JOE CABOT. Most have already finished eating and are now enjoying coffee and conversation. Joe looks over the top of his small notebook. Mr. Pink tells a long story about Madonna.

As we remember, we describe all actions in real time (walks, sits, sees, shoots...). This, by the way, is another difference from the classical form of writing (where everything is in narrative form and is often described in the past tense).

Former Red Army soldier Fyodor Sukhov moved through the desert at a walking pace, leaving behind holes of footprints that the hot breeze tried to quickly cover with sand.

Dark stains of sweat on the faded tunic with a frost-white coating of salt indicated that it was not the first day that Sukhov had been walking along the sand dunes stretching from horizon to horizon, like the waves of a frozen sea.

Paragraphs should usually take no more than 5-6 lines and show one precise action without “novelistic” frills.

And, suppose, this is where the dialogues of the main characters begin. And this is where the fun begins.

The character's name is always written before the dialogue itself, always in capital letters. It shouldn't change throughout history.

*Tip: Name your characters as much as possible different names, so that later it is easy to identify the character in dialogues.

Next, the replicas themselves are written exactly under the name. The dialogues (monologues) are not centered, as it might seem at first glance - the distance from the edge to the character's name, for example, many experts ask to do - 6.75 cm. Also, there are discrepancies in the recording itself - the British, Americans and other foreign friends write dialogues columns, however, there are cases when the entire text is written “all over.”

CAMERA pans into an empty warehouse. Then the door opens and Mr. White drags Mr.'s bloody body. Orange.

Mr. Orange continues to scream from the bullet wound.

Mr. White puts it on the floor.

MR. WHITE

Just hang in there friend. Hold on and wait for Joe to get here, and this can happen at any moment, he will help you. We'll just sit here and wait for Joe. Who will we wait for?

MR. ORANGE

MR. WHITE

You can bet your ass that it will.

Mr. White gets up and begins to pace around the warehouse.

If you need to move the dialog to another page then:

1. We transfer only after the end of the sentence; We also add a remark (NEXT).
2. On the next page we duplicate the name of the character so that the reader does not get confused and the remark (CONT.)
3. If a character says “somewhere out there”, we indicate the VPZ in parentheses - out of sight.
4. If a pause is necessary in the dialogue, indicate it in the middle of the text (pause).

MR. PINK

Do you still doubt it? I don't think this is a setup. I'm sure of it. I'm serious, where do you think all these cops come from? One minute - they are not there, the next - they are already there. I didn't hear the sirens. The alarm went off, okay. Okay, but still four minutes before the police arrive. Even if a patrol car was nearby, there were still four minutes before reinforcements arrived. And then a minute later there were seventeen cops, festooned with weapons. They knew what we were doing and they were there. Do you remember the second wave, those who arrived in patrol cars, so these were the ones who answered the call, but those other cattle were already there, they were waiting for us.

Have you thought about this yourself?

It's also worth noting that dialogue is always double-spaced after dialogue.

7. If the scene needs to show phone conversation, then you can perform it in several ways - the first one is to record some lines sequentially, and then, in a separate scene, another part of the conversation (if the character in the “other part” appears in the frame), if the character is just a “voice in the tube”, then you can use ZK’s stage directions (behind the scenes). And you can use the designation “INSTALLATION with” to be transported to one place or another.

8. The lion's share of the character of a story comes from the remarks (what the character does during dialogue) and extensions (emotions) that are written under the character's name in dialogue - this is where you can add what intonation the character speaks with, his mood, or what he does during the conversation.

*Tip: if your character is a foreigner and speaks a different language, do not write his lines in that same language - the reader wants to understand what the character is saying. Use a remark, for example - (speaks in English) and continue writing the text in Russian. If it is absolutely necessary to write in the original language, indicate at the beginning that the dialogue is in foreign language and that the scene will be accompanied by subtitles.

9. If you use Flashbacks and Flashforwards, indicate where it begins and where it ends (usually these are separate scenes that “cut” into the narrative).

10. Page numbering is usually done in the upper right corner (the upper left corner is most often used for binding - logical 🙂).

11. There is also a designation ZTM (blackout) - you can go into it and out of it. They can also be safely used, however, you should not overdo it - when teaching directing, teachers usually present ZTM as editing for dummies - the easiest way to transition between scenes.

If you are afraid that you will not be able to edit your script correctly (or are simply too lazy to do it), there are accessible and understandable special programs that will do everything for you. Among them: Celtx, Fade in, Sophocles, Final draft, Countour 1.0, Gramatica Pro, etc.

Well, finally, it’s worth saying that the rules vary - some studios add their own, some producers change the rules of the game altogether, but it never hurts to be aware of the general canons.

I hope the article will be useful to someone and help in their endeavors.

Happy writing.

(Important clarification: here and in what follows I am talking about the screenwriter as an independent creative unit. In cases where the screenwriter is hired by a studio, the producer is often the author of the idea. The work process also changes when writing sitcoms or literary adaptations.)

First, the plot and characters are outlined in general terms. Who is the main character, what is the conflict, what will be the outcome of the film and much more. If we are talking about a full-length film, then all this fits on an A4 sheet. The screenwriter creates a story structure that he will build on further. Do not be confused by the fact that all the work at this stage fits on only one sheet of paper. This conciseness is justified: the screenwriter needs to understand the essence of the story he is creating. If the script is captivating in this format, then there is a good chance that when the plot acquires details, the story will remain interesting.

Each card on the board is one episode. One line of cards - one act. Everything that is written on the card is what happens in this episode.

As we can see, the descriptions of the episodes are quite condensed. This allows you not to lose the logic of the narrative and clearly “see” the entire film in front of you. At this stage, the script resembles a mosaic: the author can swap episodes, remove or add them. Until the narrative comes together as the screenwriter intended.

And only after all the episodes are written and placed in their places, script writing begins. It is at this stage that dialogues, descriptions and the entire literary component are written.

p.s. People often think that screenwriter = writer. This is not entirely true. The scripts lack much of what is in the literature. For example, the thoughts of the hero (voiceover does not count) or a beautiful descriptive part. Where the writer writes: fluffy snow, cold as the heroine’s heart, was swirling outside the window. The screenwriter will simply point out: it snowed. Only that which is important for the development of the action or for revealing the character’s character is worthy of description. The script is not an independent work, it is not intended for outsiders, and most people will not be interested in reading it at all. The script is the basis for the film, the plan of action for the director. Its beauty will be visible in the actions of the actors, in the reaction of the audience to the plot twists of the film.

Do you consider yourself the next Shakespeare or Kaufman? To find out, you need to write a script to showcase your talents. Use our guide.

Steps

We study the features of script writing

Make a title page. Your script needs a title page with the title and your name on it. It should also include your contact information and that of your agent (if you have one).

Use the correct font, margins and spacing. You must use Courier font (typewriter font), 12 points high. This will give your script a more professional look and improve the readability of the test. You should also choose proper indentation for different parts of the script so that dialogue, scene descriptions, and the like are separated from each other.

Add the necessary details about the setting and characters. For each scene, an introduction should be written: it tells where and when the action takes place - indoors or outdoors, day or night... The character's name is written in capital letters above or next to his line (depending on the purpose). In addition, you can add remarks about the nature of the line or the character's actions in parentheses.

For each type of script - be it a movie or a play - there is a specific format. Although they are mostly the same, each has its own characteristics that may take time to learn. Read a few scripts in your chosen genre to learn from the professionals.

Don't write too much. It usually takes about a minute to read one page of a script, so there needs to be plenty of room for the text on paper. In this sense, a script is not like a book - it is characterized by a smaller volume of writing.

Write the plot in script format. The exact form will vary depending on the display method and even geography. Each scene should have a title with a description, and each line should be preceded by the name of the character speaking it, and so on. Producers may not even look at a script that doesn't fit the format.

• At this point, consider purchasing a screenwriting program. There are several such programs, and they will help you give the text the desired look.

1. Maintain style. Remember that the main thing in the script is action and dialogue. Try to keep your characters speaking realistically, and don't mix styles and vocabulary - unless you do it specifically for the desired effect.

Warnings

• Be patient - writing takes time, and the results of rushed work are usually not up to the mark. Devote time to writing and you will get a great script.
• Don't expect your first script to sell in great demand right away. This business is not easy to get into.
• If you want to make a production, you will need an agent to help get the script to producers and directors. Usually the script acceptance process is long and difficult, so be patient.

(Important clarification: here and in what follows I am talking about the screenwriter as an independent creative unit. In cases where the screenwriter is hired by a studio, the producer is often the author of the idea. The work process also changes when writing sitcoms or literary adaptations.)

First, the plot and characters are outlined in general terms. Who is the main character, what is the conflict, what will be the outcome of the film and much more. If we are talking about a full-length film, then all this fits on an A4 sheet. The screenwriter creates a story structure that he will build on further. Do not be confused by the fact that all the work at this stage fits on only one sheet of paper. This conciseness is justified: the screenwriter needs to understand the essence of the story he is creating. If the script is captivating in this format, then there is a good chance that when the plot acquires details, the story will remain interesting.

Each card on the board is one episode. One line of cards - one act. Everything that is written on the card is what happens in this episode.

As we can see, the descriptions of the episodes are quite condensed. This allows you not to lose the logic of the narrative and clearly “see” the entire film in front of you. At this stage, the script resembles a mosaic: the author can swap episodes, remove or add them. Until the narrative comes together as the screenwriter intended.

And only after all the episodes are written and placed in their places, script writing begins. It is at this stage that dialogues, descriptions and the entire literary component are written.

p.s. People often think that screenwriter = writer. This is not entirely true. The scripts lack much of what is in the literature. For example, the thoughts of the hero (voiceover does not count) or a beautiful descriptive part. Where the writer writes: fluffy snow, cold as the heroine’s heart, was swirling outside the window. The screenwriter will simply point out: it snowed. Only that which is important for the development of the action or for revealing the character’s character is worthy of description. The script is not an independent work, it is not intended for outsiders, and most people will not be interested in reading it at all. The script is the basis for the film, the plan of action for the director. Its beauty will be visible in the actions of the actors, in the reaction of the audience to the plot twists of the film.