Capitalization
Producers count capitalized character names to get a rough sense of budget, so only capitalize a character name once: upon his introduction to the story. If it is a generic character, e.g., AGENT, POLICEMAN, capitalize it the first time ("all caps"), then "initial cap" it succeeding times, i.e., Agent, Policeman. This says "We've already met this one, and this is the one we've met."At slightly greater risk of offending a Hollywood reader, major props requiring huge outlays, e.g, a BATTLESHIP, can be capitalized, as can props that attention must be drawn to, e.g., a MACHINE GUN. A character making sounds not in the dialogue might benefit from capitalization, as in "Kendra COUGHS loudly."
| CAUTION: anything beyond the capitalization of the character's name at first introduction to the movie is at the author's discretion. If overdone it can greatly distract and perturb the reader. |
Transitions
Eliminate CUT TO:s, except when making an important scene change, as in a jump in time or huge jump in geographical location. This goes for other transitions such as DISSOLVE TO:s, etc. Delete MOREs and CONTINUEDS at the top and bottom of pages (an option that might need to be deselected in screenplay software). Strike the CONTINUEDs in dialogue lines that are often used when an action narrative passage interrupts a character speaking. That the same character name heads off the continued dialogue suffices. Eliminate places where pages break long dialogue passages (resulting in a MORE and CONTINUED) by shortening the speech, or breaking it up with an action narrative.
Directorial Cues
Let the director determine when the titles roll, where to focus the camera, etc. Just lay out the "establishing" or "long" shot except in those cases where a certain shot is required for reader/viewer suspense or understanding of a special moment. A close-up of the shoes of someone we'll meet later might add suspense, for example. Eliminate all scene numbering.
Parentheticals
Use parentheticals in dialogue passages sparingly, and almost exclusively for the speaking character's attitudes or actions. For attitudes, use them only when to leave the descriptor out could lead to a misunderstanding of something important. Actors strike out such parentheticals, preferring to interpret the lines in their own way, but the reader may still benefit. Using parentheticals for the speaker's actions should be done very, very rarely, and with good reason. Perhaps where interrupting with a full narrative passage would be too distracting or jarring, e.g., in a very fast-paced and delicately arranged action sequence, or in a delicately arranged love scene.
Punctuation
Use special punctuation (other than periods, commas, colons, semi-colons, apostrophes, etc.) sparingly, especially in the dialogue.
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To do other than the foregoing just works the reader too hard, shows the writer to be amateurish (making him quite often the butt of jokes in this regard), and angers actors and directors. Justifiably proud of their own talent, and paid to interpret as best they can, they bristle at the writer prefiguring their approach to delivering certain lines.
Opposites
Where a writer thinks a certain mood or tone might best be established with emphasis of some sort, in an urgent exclamation let's say, an opposite reading of the passage greatly enhances the intended effect. A man saying quietly and deliberately "If you come anywhere near my house again, I'll see to it that you never come near anything again" is generally far more chilling than loud, highly-animated demands. If he shouted it, it would likely come off as childish and ridiculous.Try opposites for a little sophisticated screenwriting.
Other screenplay formatting pointers:
Other screenplay formatting pointers to consider . .
