Post background: in case you missed it, about a month or so ago I realized I was sitting on over a decade of stories (all workshopped, edited, etc) that I will never have the time (or the inclination, really) to rewrite into novel form. I asked my readers if they’d be interested in reading some of these stories in screenplay format and they said “yes!” Hence this primer on How to Read a Screenplay!
Also if you prefer to just skip to it, my ‘first’ screenplay, Deception, is now available! 😘
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If you haven’t read a screenplay before, the trimmed-down formatting can be a little puzzling – I use this word deliberately because screenplays are definitely presented in ‘pieces’. But once you understand how those sections all work together, the entire story will (should) unfold smoothly.
So! If you read too quickly, it’s easy to get confused about who is talking or if the location or time period has shifted. Reading slowly, as well as pausing to absorb and visualize the descriptions is helpful (Warning, descriptions, etc, are NOT repeated after the initial intro of a character or setting). Let the script unfold in your mind like a movie. Each beat is a different shot, or camera angle, edited together with the dialogue to create the full narrative. The world-building is minimal because the action and dialogue are meant to carry/convey the story.
Location/set/costume design, as well as visual effects, and score (music) are added to turn a screenplay (aka the basic story) into a movie.
Things of note
One (1) page generally equals about one (1) minute of screen time, not including huge action sequences (which are often only a few lines but can be 5-10 minutes on screen).
Screenplays are formatted as PDFs for ease of reading on a computer and printing on regular ‘letter-sized paper. I’m offering my screenplays as PDFs (not ePubs) to preserve formatting. You can read on your eReader or phone, but a larger screen might work better (?). Also, you can print the screenplay out (note the page count though, usually 100-120 pages).
Logline: aka the ‘elevator pitch’. This is a tight one-line summary of the plot. Usually focused on the ‘hook.’ Some writers will include a ‘comp’, such as Hunger Games meets Jaws with a dash of Downton Abbey. I don’t.
Three-act synopsis (aka pitch sheet/one sheet for the producer): I’ve included the pitch sheet or one sheet in the back of each of my screenplays. The one sheet is a full synopsis of all three acts. This is how I would pitch a screenplay to a producer because they want to know the entire story before committing to reading the actual screenplay. Therefore, and warning to not skip ahead, it is rife with spoilers!!
Elements of a screenplay
After the title page and the synopsis page – which wouldn’t normally be added to a screenplay I was pitching to a producer, but I’m adding for ease of reading for my readers – the first thing you will come across is the:
SCENE HEADING
Also dubbed the slug line. The scene headings are written in all caps and INT or EXT for interior or exterior. This is followed by the name of the location and a designation of day or night.
Under the scene heading, you will find:
ACTION
This section describes action that can be seen or heard. Sounds Effects that are important to the story but are heard off-screen will appear in ALL-CAPS.
CHARACTER NAMES
In the action/description character names are written in ALL caps on first appearance, as well as above their dialogue. A character who is off-screen or speaking in voiceover is designated by O.S. or V.O.
PARENTHETICALS
Often found under the character name to provide context or instruction for the dialogue delivery.
DIALOGUE
Dialogue blocks are centered on the page. Parallel dialogue (overlapping dialogue) is written in side-by-side blocks.
FLASHBACKS
Will be noted in all caps after the scene heading.
INTERCUTS
Two separate scenes are cut together to increase tension and quicken the pacing of the story.
Note: I’m usually not a fan of flashbacks (or intercutting for that matter). And I actually now actively avoid them as a literal device, or try to be clever about how I provide that info to my readers, see Amplifier 4. But flashbacks, etc, are very much used in film to get the most story across to the viewer in the shortest amount of the time. And both flashbacks and intercuts appear in the first screenplay I’m posting, Deception (aka Abigale Awakes).
Please let me know if you have any questions!!
DECEPTION is now available for purchase. Click here for detailed background info, pitch, and purchase link.
