John August

QandA

Script writing software

Formatting, QandA

Would you recommend that a
beginning writer use script writing software? If so, do you prefer a specific
program?

–Mike

I used the style sheet formatting on Microsoft Word for my first few scripts,
partly because screenwriting software was still in its infancy, and partly
because I was too broke to buy any other program. If you already have a capable
word processor, you can certainly get by with that, particularly if money is
tight.

I now use Final Draft, which does a remarkably good job with a lot of the
script formatting drudgery. It’s worth downloading the free trial version to
see if you like it enough to spend $199 for it. Given that 80% of my day is
spent using that one program, it’s definitely worthwhile for me.

Secondary scene headings

Formatting, QandA

questionmarkI have a very simple question that has to do with secondary scene headings. I know this differs writer to writer, but let’s say you have a character who walks into a closet — how do you label it in the script? Is it:

INT. CLOSET – MOMENTS LATER

INT. HOUSE – CLOSET – MOMENTS LATER

THE CLOSET

What is the best way to go? Thanks in advance.

–Dustin Tash
The Oreogod

Of course, there’s no one best answer that’s appropriate for every situation. In most cases, I would opt for the first format, without the "moments later," which I generally save for a minor time cut. So it would look like:

INT. CLOSET – DAY

This is assuming the character is in the closet long enough for there to really be a scene. That is, a few lines, or at least some dialogue. Anything less, and I might not break out the closet at all, and just let the scene description handle the location:

After searching the room from top to bottom, Jamie steps into the dark closet and begins pulling boxes off the shelves.

When in doubt, use the simplest form that works for the moment.

Where to find scripts

Education, QandA

How can I get my hands on the screenplays to movies I like (that aren’t mega-blockbusters)?

–Andrea

There are a few good sources online, such as Script-O-Rama,
which can point you to other places to check out. Most of these sites have
scripts you can download for free –
which is technically a violation of copyright, but is largely overlooked. These
sites do lean more towards blockbuster or science-fiction movies, however,
so if you’re looking for OUT OF AFRICA, you may be Out of Luck.

If you happen to be visiting Los Angeles, you can visit the Margaret Herrick
Library on La Cienega. It’s run by the Academy of Motion Picture Arts and Sciences
(the Oscar people), and has an amazing screenplay collection. You’ll have to
read the scripts on-premises, however, and the whole place has disquieting
feel to it, like an occult bookstore run by the Swiss.

For award-winning or indie-favorite movies, it’s worth trying Amazon or one
of the other on-line bookstores to see if the script has been published. Often,
you’ll find that even if the book version hasn’t come out in the U.S., it has
in the U.K.

Finally, if you’re considering working in Hollywood, you should know that
all the agencies and most producers have pretty extensive script libraries,
so an added bonus of an internship is the chance to read a bunch of great material.
USC’s film school has a great script library, but you have to be a student
there.

Incidentally, whatever script you do get your hands on, make sure you know
exactly what kind of script you’re reading. Generally, you’ll find three types:
the original spec script, which is what the writer wrote before it was produced;
the final continuity script, which reflects all the changes made during production;
and a transcript, which is simply a write-up of the movie, often made by an
overzealous fan.

Of the three types, the spec script is generally the most useful for a writer
to read, because it best reflects the intention and craft of the original screenwriter.
The final continuity script – which you can recognize because it has scene
numbers in the margins and odd breaks halfway down the page – is often something
of a Frankenstein monster, with hastily written descriptions by the script
supervisor of what the actors actually did in a scene, or lines they improvised.
And a transcript is more or less useless except as a quick reference, or a
typing exercise.

Moving to Hollywood

Film Industry, QandA

My question involves networking.
I’m at the level where most of my trusted, objective readers agree I have a
legitimate shot, but I live far from Hollywood. Time and again I hear how important
it is to network to get one’s work in the hands of the industry players, but
I don’t have access, being so far away (DC). Do you have any good ideas about
how to make such connections apart from simply relocating to LA?

–Robert Remy

Unfortunately, I don’t have any brilliant suggestions. Outside of a few screenwriter-specific
competitions, such as the Nichols Fellowship or the Austin Film Festival’s
screenwriting awards, the kind of networking you’re talking about relies on
some face-to-face interaction, and that’s pretty much impossible if you’re
in the wrong city.

If you’re trying to make Hollywood movies, this may be the time to move to
LA. If it’s independent films you aspire to, you may find just as many opportunities
in New York, Austin, Seattle, San Francisco or other metropolitan cities. The
Baltimore/D.C. area does have a film community (we used a crew based there
for my television show), so it’s even possible you could make a movie right
where you live.

But I suspect it’s big movies you’re talking about, and big movies require
big money, which pretty much means LA. Some of the bigger screenwriters live
outside of Southern California, but most of them started their careers here
or in New York. If you’ve done everything you can in D.C., consider whether
you feel ready to make the move.