Is this the best approach heading-wise or is there something smarter, simpler. or what would be easier - as in my story, my narrator's story unfolds and pieces of the puzzle are put together (mystery story). While this is not my scene nor story but merely an example, I don't think this falls into the messy category of Series of Shots or Montage? Would the above be correct or use slug lines. PARK - DAY (this scene takes us to the present) Joey doing his thing, telling patrons about his dayĮXT. ![]() JOEY'S BAR - NIGHT (this scene is past, but not a flashback, just telling his story) Follow these rules for writing Scene Headings and you’ll have a much better chance of a reader getting past FADE IN: Until next week, happy writing.When writing two, or even three scenes or more which coincide with one another as one, in a sense, first - those Master Scenes are written, but when I go back to one of those scenes, do I write a master scene heading with back to scene to clarify back to where we are? Or even as we keep going back and forth, do I even need to write Back To Scene as long as its clear. Perhaps I’ll write that in a future blog. There are other things such as FLASHBACK, MONTAGE, and subheadings that I won’t get into here. ![]() These are the basics, what every beginning screenwriter should know. Just know that if you use CONTINUOUS that there should be no break in time, not even for a fraction of a minute. Slugging is a term used to describe a unique form of commuting found in the Washington, DC area sometimes referred to as 'Instant Carpooling' or 'Casual Carpooling'. CONTINUOUS is used incorrectly more often than not. terms: a well-constructed slug line includes the authors last name, book title. These two can be used interchangeably, but most often SAME is used to show that a scene is happening simultaneously with another scene, and CONTINUOUS is used when one scene follows on the heels of the previous scene without interruption. Yet clearly, at some point in the probably not-too-distant past. Occasionally you will use SAME or CONTINUOUS. Keaton lights the cigarette on the burning pack of matches before throwing them into the liquid. If it’s not important, then avoid using DUSK, LATE AFTERNOON, or 4:15. A thin trail of liquid runs past his feet and off into the darkness. The only time you want to be specific and use precise times of day is if it is pertinent to the story. Most of the time it will be either DAY or NIGHT. Or even better, give the drugstore a name like FRED’S PHARMACY.ģ) Time of day. HOUSE NIGHT Interiors are comprised of any location set inside of a building, structure, vehicle, etc. So all you really need for the location of this particular scene would be DRUGSTORE. Location Headings Should Only Have Three Pieces of Information INT/EXT LOCATION DAY/NIGHT Those are the general choices. This can be explained in the action lines below the slug line. Second, since we know it’s outside, there’s not reason to explain that it’s on the sidewalk. First, the camera location will tell us that the location is an exterior shot. Don’t give over complicated and wordy descriptions like the drugstore example above. Don’t write RUNNING or EASTER SUNDAY or STANDING ON THE SIDEWALK IN FRONT OF THE DRUGSTORE. What should never go in the scene location are articles, verbs, or any other describers. ![]() Normally this should consist of one or two words: JOHN’S APARTMENT, LIVING ROOM, STREET, etc. In this case it is acceptable to use INT./EXT., but that should be a rare occasion.Ģ) Scene location. ![]() Occasionally the action may take place between the two locations, like for instance a doorway. I will list them below in order of appearance:ġ) Camera location. There should only be three things in slug line. On top of the list, mostly because it’s the first thing a reader sees after the cover, is the Scene Heading, also know as the scene slug line. These common formatting errors will get your script dropped into the ‘pass’ pile quicker than collection plate gets passed on Sunday. If a reader sees these mistakes they automatically, and with good reason, assume you are an amateur or that you don’t care enough about the craft. Slugline recognizes Scene Headings that start with INT, EXT, and other common prefixes. This is when you’ll help Slugline understand what you want with a few simple text-based cues. But sometimes you want to break from the norms. One thing that will sabotage your chances of getting your script read is poor formatting. Slugline can infer the correct formatting from your typing in the majority of cases.
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