How to Write a Screenplay: Script

Writing Example & Screenwriting Tips

By Mario O. Moreno and Kay Tuxford

It's easy to feel intimidated by the thought of writing a

screenplay. The rules! The formatting! The binding! Don't

let the seemingly endless parade of screenwriting elements

scare you away from writing your first script. Since a

familiarity with the basics of the craft is half the

battle, The Writers Store has created this handy screenplay

example and overview on how to write a screenplay to help

you get up to speed on screenwriting fundamentals.

Combine that with the right screenwriting software, books

and supplies, and you'll be ready to type FADE IN before

you know it.

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Sample Screenplay Page

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What is a Screenplay?

In the most basic terms, a screenplay is a 90-120 page

document written in Courier 12pt font on 8 1/2" x 11"

bright white three-hole punched paper. Wondering why

Courier font is used? It's a timing issue. One formatted

script page in Courier font equals roughly one minute of

screen time. That's why the average page count of a

screenplay should come in between 90 and 120 pages.

Comedies tend to be on the shorter side (90 pages, or 1 ½

hours) while Dramas run longer (120 pages, or 2 hours).

A screenplay can be an original piece, or based on a true

story or previously written piece, like a novel, stage play

or newspaper article. At its heart, a screenplay is a

blueprint for the film it will one day become.

Professionals on the set including the producer, director,

set designer and actors all translate the screenwriter's

vision using their individual talents. Since the creation

of a film is ultimately a collaborative art, the

screenwriter must be aware of each person's role and as

such, the script should reflect the writer's knowledge.

For example, it's crucial to remember that film is

primarily a visual medium. As a screenwriter, you must show

what's happening in a story, rather than tell. A 2-page

inner monologue may work well for a novel, but is the kiss

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of death in a script. The very nature of screenwriting is

based on how to show a story on a screen, and pivotal

moments can be conveyed through something as simple as a

look on an actor's face. Let's take a look at what a

screenplay's structure looks like.

The First Page of a Screenplay

While screenplay formatting software such as Final Draft,

Movie Magic Screenwriter, Movie Outline and Montage frees

you from having to learn the nitty-gritty of margins and

indents, it's good to have a grasp of the general spacing

standards.

The top, bottom and right margins of a screenplay are 1".

The left margin is 1.5". The extra half-inch of white

space to the left of a script page allows for binding with

brads, yet still imparts a feeling of vertical balance of

the text on the page. The entire document should be single-

spaced.

The very first item on the first page should be the words

FADE IN:. Note: the first page is never numbered.

Subsequent page numbers appear in the upper right hand

corner, 0.5" from the top of the page, flush right to the

margin.

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Screenplay Elements

Below is a list of items (with definitions) that make up

the screenplay format, along with indenting information.

Again, screenplay software will automatically format all

these elements, but a screenwriter must have a working

knowledge of the definitions to know when to use each one.

Scene Heading

Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A scene heading is a one-line description of the location

and time of day of a scene, also known as a "slugline." It

should always be in CAPS.

Example: EXT. WRITERS STORE - DAY reveals that the action

takes place outside The Writers Store during the daytime.

Subheader

Indent: Left: 0.0" Right: 0.0" Width: 6.0"

When a new scene heading is not necessary, but some

distinction needs to be made in the action, you can use a

subheader. But be sure to use these sparingly, as a script

full of subheaders is generally frowned upon. A good

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example is when there are a series of quick cuts between

two locations, you would use the term INTERCUT and the

scene locations.

Action

Indent: Left: 0.0" Right: 0.0" Width: 6.0"

The narrative description of the events of a scene, written

in the present tense. Also less commonly known as

direction, visual exposition, blackstuff, description or

scene direction.

Remember - only things that can be seen and heard should be

included in the action.

Character

Indent: Left: 2.0" Right: 0.0" Width: 4.0"

When a character is introduced, his name should be

capitalized within the action. For example: The door opens

and in walks LIAM, a thirty-something hipster with attitude

to spare.

A character's name is CAPPED and always listed above his

lines of dialogue. Minor characters may be listed without

names, for example "TAXI DRIVER" or "CUSTOMER."

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Dialogue

Indent: Left: 1.0" Right: 1.5" Width: 3.5"

Lines of speech for each character. Dialogue format is used

anytime a character is heard speaking, even for off-screen

and voice-overs.

Parenthetical

Indent: Left: 1.5" Right: 2.0" Width: 2.5"

A parenthetical is direction for the character, that is

either attitude or action-oriented. With roots in the

playwriting genre, today, parentheticals are used very

rarely, and only if absolutely necessary. Why? Two reasons.

First, if you need to use a parenthetical to convey what's

going on with your dialogue, then it probably just needs a

good re-write. Second, it's the director's job to instruct

an actor on how to deliver a line, and everyone knows not

to encroach on the director's turf!

Extension

Placed after the character's name, in parentheses

An abbreviated technical note placed after the character's

name to indicate how the voice will be heard onscreen, for

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example, if the character is speaking as a voice-over, it

would appear as LIAM (V.O.).

Transition

Indent: Left: 4.0" Right: 0.0" Width: 2.0"

Transitions are film editing instructions, and generally

only appear in a shooting script. Transition verbiage

includes:

 CUT TO:

 DISSOLVE TO:

 SMASH CUT:

 QUICK CUT:

 FADE TO:

As a spec script writer, you should avoid using a

transition unless there is no other way to indicate a story

element. For example, you might need to use DISSOLVE TO: to

indicate that a large amount of time has passed.

Shot

Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A shot tells the reader the focal point within a scene has

changed. Like a transition, there's rarely a time when a

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spec screenwriter should insert shot directions. Once

again, that's the director's job.

Examples of Shots:

 ANGLE ON --

 EXTREME CLOSE UP --

 PAN TO --

 LIAM'S POV --

Spec Script vs. Shooting Script

A "spec script" literally means that you are writing a

screenplay on speculation. That is, no one is paying you to

write the script. You are penning it in hopes of selling

the script to a buyer. Spec scripts should stick

stringently to established screenwriting rules.

Once a script is purchased, it becomes a shooting script,

also called a production script. This is a version of the

screenplay created for film production. It will include

technical instructions, like film editing notes, shots,

cuts and the like. All the scenes are numbered, and

revisions are marked with a color-coded system. This is

done so that the production assistants and director can

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then arrange the order in which the scenes will be shot for

the most efficient use of stage, cast, and location

resources.

A spec script should NEVER contain the elements of shooting

script. The biggest mistake any new screenwriter can make

is to submit a script full of production language,

including camera angles and editing transitions. It can be

very difficult to resist putting this type of language in

your script. After all, it's your story and you see it in a

very specific way. However, facts are facts. If you want to

direct your script, then try to go the independent

filmmaker route. But if you want to sell your script, then

stick to the accepted spec screenplay format.

Screenplay Formatting Software

Screenwriting software makes producing an Industry-standard

script simple and straightforward. Programs like Final

Draft and Movie Magic Screenwriter put your words into

proper screenplay format as you type, letting you focus on

a well-told story rather than the chore of margins and

spacing.

There’s also a wide spectrum of outlining and development

software at the ready to help you get your thoughts

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together before you begin writing. Popular story

development software includes Dramatica Pro, a step-by-step

guide to the storytelling process, Contour, a character-

based structuring system, and Save the Cat!, a program

centered on successful screenwriter Blake Snyder’s own

proven methods.

And if you want a program that combines story development

and formatting? Check out Movie Outline, an all-in-one

development package that uses step outlining to build your

story, scene-by-scene, and Montage, which includes both

outline and submission tracking functions.

Script Presentation and Binding

Just like the format of a script, there are very specific

rules for binding and presenting your script. The first

page is the title page, which should also be written in

Courier 12pt font. No graphics, no fancy pictures, only the

title of your script, with “written by” and your name in

the center of the page. In the lower left-hand or right-

hand corner, enter your contact information. In the lower

left-hand or right-hand corner you can put Registered, WGA

or a copyright notification, though this is generally not a

requirement.

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Sample Title Page

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Below is a list of items you need to prepare your script to

be sent out:

 Script Covers, either linen or standard card stock

 Three-Hole Punched Paper

 Screenplay Brass Fasteners (also called Brads), Acco

number 5 size 1 1/4-inch for scripts up to 120 pages;

Acco number 6 size 2-inch for larger scripts

 Script Binding Mallet (optional)

 Screenplay Brass Washers

 Script Mailers

Follow these directions to properly bind your script:

1. Print your title page and script on bright white

three-hole punched paper.

2. Insert the title page and the script into the script

cover. The front and back covers remain blank. They

are just there to protect your script. And remember:

pictures and text on script covers scream amateur.

3. Insert two brass fasteners in the first and third

holes. Do NOT put a fastener in the middle hole.

4. Flip the script over, and slide the brass washers over

the arms of the fasteners. Spread the arms of the

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 fasteners flat against the script. Use a Script

Binding Mallet to ensure a tight, flat fit.

5. Use the flat, self-seal script mailers to send your

scripts out to buyers.

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Motivation - why it's essential to a compelling script

Friday 09 November 2018, 14:42

Robin Taylor

Character Motivation

Let’s talk about motivation. Not your personal motivation to write, which should

obviously be fuelled by an undeniable need to entertain, enlighten and generally

improve the world (or at least have a job where you don’t have to commute

anymore). Rather we’re talking about character motivation. Just as you have a

powerful desire to become the next Jed Mercurio, your characters need evident

goals to propel the story of your script forwards.

It’s an old cliche to imagine a pretentious luvvie actor wailing, “What’s my

motivation?!” But it’s actually a very pertinent question. Motivation is a vital

element and a powerful tool in story telling, and your characters truly benefit

from having clear, pressing goals and desires in order to give the plot purpose

and momentum. Reading scripts for the BBC Writersroom, a common concern

is that there is no real sense of purpose, that the story is ambling along rather

than heading somewhere with determination. As a writer it can be tempting to

think “I’ve got some characters, a location, and something resembling a story if
you squint, let’s go!” But if none of your characters want and pursue anything

you’ll end up with a lot of chatting and not much story.

Understanding the different forms of motivation and having them as a constant

consideration while planning and implementing a script is a great way to make

sure your story has a clear direction and point. In this article we’re going to

break down types of motivation into the long term, the medium term, the

immediate and the emotional, and how each of these help to focus and add

detail to a script. So let’s get motivated to think about motivation!

The Quest (Bradley James as Arthur in the BBC's production of Merlin)

The Quest - Long Term Motives

One of the most common concepts you’ll hear around story structure is the idea

of the quest. In its most traditional form it’s essentially the story of a hero who

goes on a journey to rescue the fair princess (though we’re progressive here, so

it could equally be a prince). It is a basic idea, but that’s what makes it so

effective - a lead character has a clear objective and goes on an adventure to

achieve it. It’s essentially the human condition, wanting or needing something

and doing our best to overcome whatever obstacles stand in our way. Obviously

stories can be more complex than this, but if you remember that the
fundamental aspect of every tale is the pursuit of a goal, this will put you in good

standing.

The quest is effectively your lead character’s long term motivation, their ultimate

desire and the big significant goal that the script is heading towards. It is really

useful to establish this intention as quickly as possible so the audience have a

sense of focus, particularly in scripts which are thirty minutes or less as you

have less time to tell a story. This requires exposition, which is often used as a

dirty word, but is a necessary part of creating clarity about what’s occurring, and

is only problematic if it is heavy-handed or unnatural. Saying that, if in the first

scene our protagonist states “I need to win that dance competition!” you are

establishing a clear motivation, and it is far better to do this then than have them

eventually happen to end up at a dance contest while the audience has no idea

if it matters or why it’s important. Ideally you can find subtle, natural but effective

ways of setting up where the story is going.

We don't have a picture of Star Wars so here's one of Dawn French as Tobi Jug

Kanobi instead

A precise aim can be great for a focussed, simple story, but you don’t need to

spell out the exact outcome. In Star Wars, Luke Skywalker wants to fight for the

Rebels - he does not want to destroy the Death Star in the first quarter of the

film because he doesn’t even know it exists. When the information of that threat
emerges, stopping it does become the new goal, but it is part of the early

established desire Luke has to be a hero. Setting up this kind of aim early on is

a real help for giving your script a sense of purpose and destination, which is

particularly useful if you are going to be judged by the first ten to twenty pages.

This approach makes a reader or audience curious about what will happen in

the story, rather than wondering what the story even is. It may be that your

hero’s desire doesn’t emerge until a seismic event - they won’t want to stop the

alien invasion until the aliens invade. But if that’s your story then you shouldn’t

spend too much time before the aliens do invade, and your hero should really

still want something beforehand, which the invasion massively disrupts.

Otherwise you are spending vital time on a lead character with no drive or

agency.

Aims and Evolutions

The interesting thing about long term motivations is that they don’t have to be

fixed and unchangeable, what your character initially thinks they want can shift

and evolve due to changes in events or their own attitudes. It is a classic idea

that, in the pursuit of what they want, a character discovers what they actually

need. Shrek is a good example of a shifting motivation. At first the eponymous

ogre wants a quiet, solitary life in his swamp, so agrees to go on a quest to

rescue Princess Fiona in the agreement he’ll be left alone, but in the process he

falls in love and realises being alone isn’t what he wants after all. His new goal

then becomes saving Fiona again so they can be together. However be aware
that there’s a difference between evolving motivations and dropped ones. If the

story leads your characters to change or reassess their needs, that’s fine. But if

they simply forget or move away from their original aim without explanation that

is really frustrating for your audience who will have become interested and

invested in the original aim but receive no resolution. This is often the result of

an unfocussed structure, where you throw in lots of ideas and strands and

potentially pinball between them. Often, particularly when starting out, simple is

better.

You may notice that a lot of these examples relate to films, as they are often

straight-forward, self-contained stories. That doesn’t mean the same principles

can’t be applied to shorter form scripts though. Indeed, think of an episode

description in TV or radio listings, they will often include the words “Jenny

wants…” “Jenny needs…” “Jenny tries to…” (Please tune in to my new series

“Oh, Jenny!” airing November 2038) Within each episode there should be a

desire driving the story and that these differentiate the episodes from one

another. If the description for every episode says “Jenny spends some time

chatting with her friends” that’s not the most compelling plot that’s going to

make sure everyone immediately sets up a series link. These episode

descriptions are also known as log lines, and you can read an article here about

how to best compose these. Essentially a good log line should sum up the

quest of your lead character. If you struggle to summarise this then it may be an

indicator that your central motivations are not strong enough.

Destinations on the Journey - Medium Term Motives

Medium term motivations are useful to think of as a way of dividing the plot’s

progression into acts or episodes. These are like the different legs of the

journey towards the end point. Obstacles emerge which must be overcome in

order to progress. In the simple heroic quest framework it’s like defeating an

enemy, obtaining a key to a locked door, and so on. These kind of incidents

provide meat to the story and prevent it from being too thin. They are

particularly useful in a long series structure. You might believe that episodes are

simply part of a long running story, but this runs the risk of making things

uneventful.

Keep in mind that each episode should feel like a story that contributes to the

piece as a whole - there may be a long term goal for the series, then each

episode needs to offer medium term goals, and this same framework should be

replicated within the episode itself. This is particularly important when writing

sample scripts. A satisfying piece is one which not only sets up a concept and

its potential, but also allows your characters to have clear goals and go on a

journey to pursue it. It is less promising if you are just establishing your

characters and situation and suggesting something interesting should happen in

the next episode. Consider Killing Eve, where the long term story is the pursuit

of a deadly assassin. In each episode distinct incidents occur, contributing to

the core storyline while developing the characters, but making it possible to

distinguish between individual episodes and the self-contained stories they tell.
If you do not have medium term goals and events within an episode then the

script can feel like a long dull slog, even if it is heading towards a big

conclusion. Saying that, it is important to be cautious about having too many

medium term goals if it gets to the point where it feels like you are simply

padding out the story. (Although a lot of 28 episode per season American

shows may disagree with that). Equally if these sub-stories veer too far from the

core plot they can come across as distractions. Detours can be valid,

particularly if they allow for more character development, but not if they feel like

an abandonment of the central story strand. As usual it’s a matter of having a

well thought through structure which ensures all of your sections slot nicely

together to ensure the whole construction is streamlined and stable.

Here and Now - Short Term Motives

Short term or immediate motivations allow you to think much more in the

moment rather than the grand scheme. What is happening right now, and what

is required? These are the micro level needs which make up the individual

scenes and moments of the story. In the medium term your hero needs to get to

the lair of the dragon, in the immediate he needs a horse to get there, which

requires going to the stable master who expects payment, so the hero must find

a way to arrange this deal despite having no money. This boils down to the

fundamental idea that every scene should have a purpose in moving the story

forwards. These short term considerations are most relevant to that opening
idea of a luvvie actor asking what their motivation is. Essentially they are asking

what is my character doing in this scene? Why are they having this

conversation? What are they hoping to achieve? If a moment is unjustified and

the actor playing a character can’t understand what they are meant to be doing

or why, then what chance does the audience have?

One really useful thing to consider is that in a production the script supervisor

will write an episode breakdown, including a brief description of what happens

in each scene. With that in mind, look at every scene in your script and think

how it would be described. If what you describe is uneventful or has nothing to

do with the central stories already in motion, then what the heck is it doing

there? This is a great way of identifying and cutting superfluous moments from

your script to make sure you only have scenes which matter and contribute to

the piece as a whole. This is even better if you plan ahead and storyline your

plot before you begin writing, as you can evaluate what the purpose of each

scene is and what your characters want going into it.

All the Feels - Emotional motivation

Ah, emotional motivation, now we get to the really juicy bit. Up until now we’ve

mainly looked at what your characters want. Emotional motivations deal with

why it is they want those things. Your hero could just rescue their imperilled

gender-neutral member of the aristocracy with no particular reason, and that

can be functional but not necessarily fulfilling. But if the audience are given the

opportunity to explore why the hero decides to do this, that is far more

engaging. Is it simply for love, or for glory? Was the hero’s town destroyed by

that nasty dragon, and now they want vengeance? Or did their cowardly father

run away from fighting the beast and now the hero yearns to restore the family’s

honour? Delving into your character’s psychological desires not only gives them

depth but also justifies their behaviour, so they are not simply doing things for

the sake of the story, increasing the feeling of realistic, three dimensional

characters. These motivations can also explain the character’s attitudes. If

someone wishes to be a hero then they will potentially approach everything with

noble and virtuous intentions. A character who wants to achieve their goals by

any means necessary will be inclined towards a more ruthless path. (And it can

then be very interesting when events challenge these moral attitudes.)

As ever it is a important to consider how you deliver this kind of information. If

your lead character gives a lengthy speech about how their mother never loved

them and that’s why they need to bring down this terrorist cell, not only is that

dubious motivation, it is quintessential telling rather than showing, which is

dissatisfying for an audience. You can hint at these kind of issues, perhaps the

character is uncomfortable talking about their family, has difficulty being

affectionate or emotionally open, and you can even show their troubled

interactions with their mother. The audience can then take the initiative to join

up the dots and understand their behaviour. Equally, be wary of being so subtle

that important aspects of your character are difficult to pick up on. Think of your

audience as someone putting together a jigsaw puzzle: They don’t want it to be

so simplistic that they don’t have to do any work to figure out the bigger picture,

nor do they want it so complicated and obscure that they cannot comprehend

what they are supposed to be seeing.

Emotional motivation is also significant though because it can have multiple

layers and added complexity. With practical motivations, having too many

desires is likely to make the story muddled. Additional emotional aspects though

can really help to solidify your character and give them more depth. Walter

White in Breaking Bad is an amazing example of a character with a lot of

complex but believable emotional motivations. (Spoilers if you haven’t seen it

yet!) This is particularly vital considering the extreme journey he takes of

becoming a drug dealer. His primary practical goal is to earn money to provide

for his family as he is dying of cancer. This is also emotional, not only in his love

for his family, but also his impending mortality and desire for a legacy. We see

that he is very intelligent, but this is under-appreciated in his job as a teacher,

he earns so little he takes humiliating part time work at a carwash, and he was

previously shafted by a business partner who made loads of money without

him. This creates a desire to prove himself and obtain money, power and

respect. All of these details give the audience a real sense of why he is taking

the route that he is, and his ruthless approach, so we never question why he

doesn’t choose a different, safer path. This is what makes a character satisfying

and compelling, not just what they are doing but why they are doing it.

Mmmmm, Motivations
While we’ve mainly focussed on the idea of the lead character’s goals, the

reality is every character who appears should have a motivation. Having

different character’s desires competing allows for conflict as they potentially

oppose one another, or offer varied perspectives and solutions to difficulties,

stemming from an alternative world view. If all of your characters want the exact

same things in the exact same ways then that simply isn’t very interesting. Even

if you have a group with a shared mission it is the different ways they wish to

achieve their goal which gives them personality and makes for more story. And

of course any villain or antagonist earns their pivotal status on the basis of their

desire, whether that be something completely opposed to your protagonist or

competing for the same thing but with a very different emotional attitude

towards how to get it.

The Royle Family

Now you may have read all of this article and thought, “This is all well and good

for some plot-filled blockbuster, but I want to write a slow-paced character

piece, this isn’t relevant to me.” Well let’s think about The Royle Family, a show

very much recognised for not being action-packed, and in particular focussing

on grumpy patriarch, Jim Royle. His short term motivation is that he basically

wants to watch TV in peace. His long term goal is for his kids to stop relying on

their mother and taking advantage. His emotional motivation is that he wants his

children to be independent and successful, because he is their father and he

loves them. He just doesn’t know how to express it well due to his upbringing as

a traditional, unemotional male, a position he seems keen to maintain. All of

these motivations explain his attitudes and responses, but also allow for those

interesting and moving moments when his emotional attachment to his children

is shown, such as when he comforts Denise as she goes into labour. All of the

characters have similar wants and emotional needs. They may be subtle, but

they are there, and they are what makes the ‘uneventful’ story so engaging. It is

not just people talking, but individual characters with wants, within a family

functioning as a unit.

It is possible to put together a script without clear and compelling motivations,

but it is unlikely this will be a high level piece of work. If you can find ways to

create and present interesting goals and desires it will demonstrate strength

and understanding of your characters and story telling, which will hopefully

excite people reading your scripts. Thinking about your characters' journeys

towards the things they want will allow you to imagine the map that will guide

their story, in terms of plotting and structure, with a desired destination and

twists and turns along the route. If you begin to think in these terms and develop

your instincts for a strong sense of motivation, then this will really help you with

strengthening your writing and giving your scripts promising foundations which

will encourage people reading them. And hopefully that is some good motivation

for you!