Screenplay Formatting Basics Final Draft
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- Опубліковано 19 жов 2024
- Screenwriters must know screenplay formatting basic and since Final Draft is the most widely used screenwriting software, it's a great place to begin. Final Draft offers a 30 day free trial and the cost to purchase is not bad at all. In this video I will cover screenplay formatting basics - including, the action line, characters & dialogue, voice over (v.o.) vs. off screen (O.S.), parentheticals, saving to pdf, and I mention dashes, why we format that way we do, and some other important information. You don't have to use Final Draft, of course, any program that automatically formats for you is great. You can even set up a template in word (but why?). The screenplay formatting basics I cover is 99% of everything you need to know about proper formatting. If you're just starting out and want to try a different program, let me know in the comment area. I'll post a basics video on several other programs soon - the free versions - so subscribe if you want to know when those drop. Let me know if you have any questions. Now go write that masterpiece! The world needs it.
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About Dawn ....
Dawn holds an MFA in Screenwriting from UCLA, and an MA in English/Creative Writing. She’s taught at UCLA and University of the Pacific, as well as workshop events. She’s thrilled to watch her students win screenwriting accolades, but more than that - she loves to inspire them and watch that transfer to the page.
She’s had the honor of working with, and learning from amazing filmmakers like Dustin Lance Black (MILK), Bobby Moresco (CRASH), Paula Wagner (MISSION IMPOSSIBLE), and Wolfgang Petersen (THE PERFECT STORM).
Follow Me:
Medium: / dawnspinella
Instagram: @dspinellafilmmaker
www.dawnspinella.com
I spelled parenthetical wrong... always use spellcheck!
Just dont let it happen again.
@@paulewingmusic haha Yes, Sir! :)
@@paulewingmusic
BAHAHAHAHA
Great video! I'm about to start writing a screenplay with a friend and we've never used Final Draft before so these tips are clutch as well as understanding basic screen writing etiquette!
Glad it was helpful! Let me know what other questions you want answered.
This instructional video serves as a beginner's guide to the Final Draft screenwriting program, covering essentials like action lines, dialogue, voiceovers (VO), off-screen directions, parentheticals, and exporting scripts.
Starting from scratch, the presenter demonstrates creating a new document, where "Untitled screenplay" appears at the top. A title is given, "My Favorite Story", which is auto-formatted to be capitalized and underlined. On the title page, instead of an address, an email or a representative's contact information is suggested for privacy and professionalism.
The tutorial progresses to scene construction, where terms like 'Fade In,' slug lines (scene headings), and the necessity of specifying interior or exterior are explained, emphasizing how this information aids the film crew in preparation and budgeting. The video emphasizes simplicity and clarity in writing, highlighting that the script is a blueprint and not an exhaustive description.
The Action Line is where characters' actions are described. The video suggests writing in a way that evokes the tone and genre without overburdening with details, leaving room for creative departments to contribute. Characters are introduced with capitalized names, and age and physical descriptions are added sparingly and where relevant.
Dialogue is introduced with the Tab key, centering the character's name automatically. For dialogue that requires special delivery, parentheticals are used sparingly beneath the character's name to provide direction.
The distinction between VO and off-camera directions is clarified: VO is used for narrations over the action, and off-camera for voices heard without seeing the speaker. A demonstration of a creature's voiceover sets up a scene transition, revealing the creature's backstory.
In a practical twist, the instructor discusses script editing and adding new scene headings using dropdown menus. An important takeaway is to let visuals and actions suggest the scene's mood, rather than elaborate descriptions.
As the tutorial wraps up, it revisits the title page to ensure it's saved and explains how to export the script as a PDF for sharing or submission to contests. Final Draft files (FDX) are shared with other Final Draft users, especially useful during production.
This introductory guide to Final Draft is designed to help beginners understand the core functionalities of the software and start writing their screenplays efficiently, with a focus on clarity, brevity, and proper formatting crucial for industry standards.
THANK YOU
Wow - great breakdown on this video.
This was very helpful thank you
Question:
1) I have noticed that a lot of screenplays, (I study them, I have 33 right now on my King Size Bed, A.K.A. office/table) ... that a lot of screenplays do not use the "Fade In" anymore.... or "Fade to Black"... do you find that it is okay if you don't use that a lot... may at the beginning and at the end?
2) I noticed at 5:07 that you said, "... we only have 90 pages..."
Does this mean we can only write 90 and nothing longer?
Can we make our movie longer, because the norm is 115 to 120 pages for a full length movie and the new movies today... are ridiculously long like 180 pages... way (too long).
3) 8:05... you write, ... WE see it!
I have always been told NOT to (example: Now WE see... ) or putting the reader in the description... This is NOT a Shooting Script.
In a Shooting script that is when the description is told, like where the camera will be.
4) 9:07... you wrote... She slams around ... SCREAMS...
That is an ACTION... Screams should be under her NAME... SALLY in parentheticals.
SALLY
(Screams)
NOOOOOOO!!
5) Did you notice that in the first description of Action that you used the word
"FINALLY" 4 times... redundant.
*Finally she uses the wall
*We Finally see the fear...
*When she Finally sees her reflections
*Finally, she sees it...
6) Creature?
No description at all.
What kind of creature?
Big, small, TALL..
Is the Creature a male or a female?
What does it look like...
What does it smell like...
Why is it scary... Is it scary?
7) At the bottom right, shouldn't you put ... Cont.
For continuing the action to the next page?
8) At the very top left on the second page:
Should have... Cont. ..showing it is continued from the first page?
What screenplays have you written and published?
I would love to read them.
Thank you for sharing this video
Hello Judi - thanks for the very detailed and thoughtful questions. Let me see if I can address them all. So, remember that first, this is a formatting lesson, not a screenwriting lesson. 1. Always use FADE IN and FADE OUT at the start and end of the script. Those are the only places you need it. Using other 'transition' cues within the script is unnecessary. The director and editor will ultimately decide how to cut the film and what transitions they want to use, if any. 2. 90 is your basic screenplay length. We used to see 120 pages, and that's still acceptable, but trends have moved to fewer pages rather than longer. Of course, there are always exceptions to 'the rules' but those 'exceptions' are usually by very established filmmakers, not early or even mid-career filmmakers. Try to keep your script between 90 and 110 and you'll be in the sweet spot. 3. We see... it's okay to use this, sparingly. I once thought it was a no-go, but after many years in this business, I can honestly tell you that if you have a great script, a few 'we sees' will do no harm. However, if you have a weak script, it's much easier to recognize issues, though 'we see' is not an issue. Just don't go crazy with it. 4. There are many ways to write an action. Your example of putting SCREAMS in a parenthetical under her name as dialogue, tells me that she's going to scream a word. I would never write:
SALLY
(SCREAMS)
NOOOOO.
That doesn't flow or work for me. I don't want Sally to say a word. I want a gut reaction SCREAM.
She SCREAMS.
On it's own line of action tells me that she's freaking out! Much stronger.
Judi - I love that you're asking all these questions. I want you to bear in mind that there are no rules. Everything we do is to tell a story powerfully and get our audience/reader emotionally engaged.
5. Finally.... redundant. Yes. And if I were doing a screenwriting lesson, I would not have finally repeated so close together. Remember girl, it's a formatting lesson.
6. It's a formatting lesson - I'm not really writing a script in this example.
7. I never use CONT. Common sense tells you to turn the page and you'll see what happens next. If there's no slugline, it's still the same scene. I've seen writers use CONT. and CUT TO and all sorts of other 'transition' or end of page instructions and they are unnecessary. As long as what you're writing is clear, don't waste precious page space with transition info.
Thank you mam from India.
Hello Santhosh - hope it helped. Let me know if you feel I need to cover something more.
Thank you, VERY HELPFUL
Hi Rick - so glad you found it helpful. Let me know if I should cover another topic?
"Save the Cat" book... I threw that in the TRASH
There is NOT one example of what a screenplay looks like in that book. Sad.
Buy (copies) not originals of Screenplays... for TV and Movies and Study them
I buy mine off eBay... you'll be amazed how different they are... especially the old ones.
One of the BEST books to buy is "Screenplay: The foundations of screenwriting" Syd Field.
Study (copies) of screenplays by screenwriters that have WON an Oscar... like Christopher Nolan
Hi Judi - you're funny. A lot of people use STC without realizing that it's just a beat book and not a long-term professional resource. It's great for folks who are learning screenwriting. Syd Field is good. There are lots of free screenplays on the internet. Reading great screenplays, and lots of them, is a great way to learn and improve screenwriting, but writing is the best experience.
Hi. Is it double or triple space writing an EXT. line after an INT. line? Do you always separate lines under an EXT. or INT. line? Or do you combine them?
I'm not sure I understand your question very well. Can you give me an example what you want to write? If you're using FD you would hit return once and that will take you to a new line. If you just finished a scene and want to start a new slugline, just type ext or int and FD will auto populate for you.
How do I format a scene that takes place in many locations?
Hello. Are you doing continuous action - for instance - two people fight in the livingroom then fall through the wall and keep fighting in the kitchen... Give each now location a new slugline so we (the reader/filmmakers) know where we are and which rooms we need to prepare, and then in the scene write something like this...
Mike flies into Carl and they smash through the wall and into....
INT. KITCHEN - NIGHT
And smash to the floor. Wall debris flies everywhere. Pots and pans clang around them.
Mike scrambles to stand, but...
Does that make sense? Do you need more? If you give me a little description of what you want to do and I can give more advice.
This is helpful but sometimes when I want to write a scene that takes place in two or more locations I include it in the slimline like- INT. GEORGE'S HOME. BEDROOM/BATHROOM/KITCHEN - NIGHT. With this it shows I'm starting the first scene with bedroom which I definitely show in the action line and then when moving away I'd be like - George steps into-- and then the next slugline will be BATHROOM. Sometimes I rethink and write it like INT. BATHROOM but lately I'm not sure if it's ideal or not.
How do you write INTERCUT WITH: in a script?
Do you want to intercut between two scenes? Continuous action? You could use INTERCUT AS NEEDED at the end of the slugline for each scene - or you could include it in the action/direction of the scene. The most important thing to do is be clear.
@@Dawn_SpinellaHow about putting in Intercut as SHOT since it would be in all CAPS as intended. I kinda use SHOTS to describe if a particular action is going to be in slow motion but I don't know if it's the best way to do that kinda thing.
@@emmanuelogundipe3328 Not quite sure I understand the question, but you can capitalize anything to draw attention to it, just don't make it an scene heading line - that will mess with formatting. Like screenwriting, formatting rules are important but other than the basics, writing the script/telling the story clearly is the most important thing you can do. Hope that helps.
@@Dawn_Spinella In Final draft, there are elements rii, we have SCENE HEADING, PARENTHETICALS, TRANSITIONS etc and we have one called SHOT so I'm asking if it's okay to put INTERCUT CONVERSATION (if it's a phone call) as SHOT (Element)
@@emmanuelogundipe3328 Hi Emmanual - yes, you could do that, it would be perfectly fine.
Nice video! I like cheese...
Long information on how to write a page. Anyone can write a script! There are no basics here! It would have been enough if you gone as far as the beat board.