Pre-Production: Script Writing - Structure, Format, Dialogue and Examples
Having wrote scripts before within university, primarily in the first year I have some experience in creating a 20 page script. However, it is important that I go into the third year with as much research and guidance into each area as possible in order to make sure I am working to my best potential.
One of the most important things of scrip writing is the way it is formatted. Almost all scripts follow the same principles meaning that scripts usually look very similar if done correctly. Below is an example which shows how a correctly laid out script should look detailing where and what each piece of text is and details.
By correctly formatting my script it not only follows with script writing protocol, but also becomes professional. For the eventuality of casting, being able to produce a properly formatted script to and actor may give them a more professional approach as they can recognize that we as a group produce each stage properly.
It is also a good habit to get into so for future works, I know how to correctly format a script.
Narrative Structure
When dealing with narrative structure it is important to remember that every story has a beginning, middle and end. However, it does not necessarily need to be in that order. Also the majority of narratives have a Three Act structure, as you can see in the below picture.
Form and Format
BBC Writers Room - Form and Format
Through researching I was able to find out what the key was to good from within a script and a properly formatted one too.
Form is what kind and shape of story you are telling.
Format is where in a specific broadcast or performance schedule it might sit.
Naturally the script I am writing will be going on to become a film so it is important that i write it accoringly. It is very easy to write a story intended for film to not work. This consists of errors in dialogue, locations, areas that are personal to a student budget. It has to be written in accordance to the medium it will be presented in and these factors will be monitored when witing the script.
The more the script is coherantly formed and coherantly formatted, the more impressive and effective it will be, however don't be too attatched as drafts, developments and improvments can always make it better and better.
This research showed me that by writing a script for a 20 min film, it has to fit that criteria. Meaning the questions raised by the story need to be answered within that time frame and to respect the author auter relationship. A detailed 'story' needs to be finalised along side that the characters will help develop the story. In due time the plot comes about through character and story, and then the writing process can begin.
Script Writing is something I am still relatively new too but also keen on gaining a lot of experience in. In order to correctly structure and produce a solid and engaging script I needed to research into what make an effective script, structure, the key to good dialogue and 'moments'.
Structure
One of the most important things of scrip writing is the way it is formatted. Almost all scripts follow the same principles meaning that scripts usually look very similar if done correctly. Below is an example which shows how a correctly laid out script should look detailing where and what each piece of text is and details.
By correctly formatting my script it not only follows with script writing protocol, but also becomes professional. For the eventuality of casting, being able to produce a properly formatted script to and actor may give them a more professional approach as they can recognize that we as a group produce each stage properly.
It is also a good habit to get into so for future works, I know how to correctly format a script.
Narrative Structure
When dealing with narrative structure it is important to remember that every story has a beginning, middle and end. However, it does not necessarily need to be in that order. Also the majority of narratives have a Three Act structure, as you can see in the below picture.
The Set up being the first, confrontation the second and resolution the third. This basic structure can be seen in many famous films and applied to most stories. This means that as long as a film has this basic structure then it can structurally make sense and work as a piece of effective storytelling.
Plot Points are very important within script writing. They are a significant event in which the action is shifted into another direction causing the narrative to take a new turn. Usually there are two main plot points in an effective story which can be applied to most successful films.
On a different note however there are also Five Key Points to an effective screenplay, in which are different to Plot Points. The inciting incident which is the plot point, sets the story in motion, while the key incident is what the story is about. Below are the Five Key Points:
- Set Up
- New Situation
- Progress
- Complications and Higher Stakes
- The Final Push
Form and Format
BBC Writers Room - Form and Format
Through researching I was able to find out what the key was to good from within a script and a properly formatted one too.
Form is what kind and shape of story you are telling.
Format is where in a specific broadcast or performance schedule it might sit.
Naturally the script I am writing will be going on to become a film so it is important that i write it accoringly. It is very easy to write a story intended for film to not work. This consists of errors in dialogue, locations, areas that are personal to a student budget. It has to be written in accordance to the medium it will be presented in and these factors will be monitored when witing the script.
The more the script is coherantly formed and coherantly formatted, the more impressive and effective it will be, however don't be too attatched as drafts, developments and improvments can always make it better and better.
This research showed me that by writing a script for a 20 min film, it has to fit that criteria. Meaning the questions raised by the story need to be answered within that time frame and to respect the author auter relationship. A detailed 'story' needs to be finalised along side that the characters will help develop the story. In due time the plot comes about through character and story, and then the writing process can begin.
Dialogue
As research into effective dialogue within script writing I received pointers and valuable opinion from writer Steve Coombes, during one of his lectures at the Maidstone Studios with UCA. When discussing dialogue he provided those in the lecture with key points to take note of when writing dialogue for a character or in general within the script, they are as follows:
- Dialogue is need to know, not necessity. - What is meant by this is as a writer you are not required to include dialogue, if the scene doesn't need it, don't force it. Each scene does not require dialogue.
- Doesn't advance the story? Don't use it. - Avoid rambling or writing dialogue that doesn't drive the narrative, simple small talk isn't needed, unless it is used for a reason.
- Don't be too formal. - Characters shouldn't sound scripted, write how the character sounds. Try to avoid thinking dialogue has to be grammatically correct form specific characters, if it fits the character then it works.
- Don't use too much dialogue. - Especially with names do not repeat names, but more so to not be over descriptive unless it fits the character. There are other ways to communicate within scripts other than dialogue and sometimes less is more.
- Characters shouldn't sound the same. - Even if characters are from the same background, age or family, etc. Characters always sound different and are able to be distinguished between, so don't write characters to sound the same.
- Don't get too artistic with dialogue. - Look to what the character is like, in the famous words of Harrison Ford to George Lucas, "You can type this shit, but you sure can't say it". If it works for the character and its for a reason then it works but make sure the dialogue makes sense within the context of the narrative.
- Read dialogue out loud. - It is important to read written dialogue aloud to make sure it makes sense, not only to the audience but to the character and the actor reading it. It helps to speak the dialogue aloud in the way the character would say it to get an idea if it works.
- Unspeakable? Not Dialogue. It goes without saying that if you can say it, then it's not good dialogue.
- Good dialogue sounds real, but not too real. - Dialogue that is effective sounds like you would generally here it from a group of friends or works within the environment you are trying to create. However, real world dialogue is for the most part boring and scripts, television and film is looking to engage audiences not bore them, so if the dialogue is boring without purpose then the script will not be engaging.
- Not everything needs to be dialogue. - There are different ways of communicating than dialogue and its important when dealing with specific characters that sometimes the best things said, aren't said at all. Instead they could be gestured, implied or communicated in a different way.
- Beware of accents! - Scripting dialogue with accents requires insight. For example, some things written by an English writer may not make sense or hit the ear wrong from an Australian tongue.
- Sometimes less is more. - Sometimes a long line of dialogue or a speech can be much more effective when put bluntly, or in short. Whether or not it fits the scene of course.
- "I'm not in love" - Denial, subtext and pressure are key within dialogue, sometimes what a character says, can be the complete opposite.
- Monsters Talk. - Psychopaths, monsters and crazy characters love to talk. Make sure when writing them their monologue of madness that it fits their character. A fantastic example of this is Gunnery Sergeant Hartman in the Boot Camp scene of Stanley Kubrick's Full Metal Jacket (1987).
The lecture was incredibly helpful as a refresh, and as a guideline into writing my script. It will insure that I'll be able to nib any common mistakes in the bud and then be able to refine my dialogue in the future through draft viewings and constructive changes.
This also helped me understand how i want my dialogue to work within my script, allowing me to focus more on how to make this work. Through verbal practice I'll be looking to write dialogue that works as spoken dialogue which sounds genuine and real.
Examples
I found that in order to see how my work stacked up to those of professionals and or previous examples within our course, i needed to actually read some of these scripts.
GRIT
I was able to be fortunate enough to read a previous script from last year's work, GRIT. This piece, produced by students was a fantastic example of the depth of detail i could achieve within my own short film.
It also helped me to look at as a standard. Almost as a means of troubleshooting. If i found things that thier script had done that I hadn't, it could be something that I should consider, also finding areas in which the script didn't include which mine did.
This resource was fantastic because it worked as a fundamental checklist toward my own. While very different films ours both are, it was interesting to see another creative mind's perspective when writing, which is something that can offer inspiration and another style of thinking when writing.
Big Budget Films
I also looked into major Hollywood films to see how their scripts differed to that of our own. I found that description is key, to paint a perfect image in the readers head and fully represent that world through writing.
Although Major Hollywood films obviously have a larger budget and more pages to work with, the fundamental basics are still found within their scripts. Once again detailed creative description is key with dialogue that doesn't just look good written down but spoken aloud too. In none other than Quentin Tarantino's Django Unchained, the script is just as immersive as the film and its descriptive prowess is very engaging. This taught me to not be afraid to be charismatic when writing, and to remember that script-writing is about perspective and by writing we are writing the perspective of the audience.
I also looked at Wolf of Wall Street and Gone Girl
References
GRIT
I was able to be fortunate enough to read a previous script from last year's work, GRIT. This piece, produced by students was a fantastic example of the depth of detail i could achieve within my own short film.
It also helped me to look at as a standard. Almost as a means of troubleshooting. If i found things that thier script had done that I hadn't, it could be something that I should consider, also finding areas in which the script didn't include which mine did.
This resource was fantastic because it worked as a fundamental checklist toward my own. While very different films ours both are, it was interesting to see another creative mind's perspective when writing, which is something that can offer inspiration and another style of thinking when writing.
Big Budget Films
I also looked into major Hollywood films to see how their scripts differed to that of our own. I found that description is key, to paint a perfect image in the readers head and fully represent that world through writing.
Although Major Hollywood films obviously have a larger budget and more pages to work with, the fundamental basics are still found within their scripts. Once again detailed creative description is key with dialogue that doesn't just look good written down but spoken aloud too. In none other than Quentin Tarantino's Django Unchained, the script is just as immersive as the film and its descriptive prowess is very engaging. This taught me to not be afraid to be charismatic when writing, and to remember that script-writing is about perspective and by writing we are writing the perspective of the audience.
I also looked at Wolf of Wall Street and Gone Girl
References
- Steve Coombes
- A Guide to Scriptwriting
- How to Master Script Structure
- 5 Key Turning Points in all Successful Screenplays
- Magnificent 7 Plot Points
- Never Confuse the Key Event with the First Plot Point
- BBC Writers Room - Form and Format
- Wolf of Wall Street Script
- Django Unchained Script
- Gone Girl Script
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