Spec Scripts

Collapse

Announcement

Collapse
No announcement yet.
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • Spec Scripts

    Couldn't we save ourselves a lot of confusion if we stipulate what kind of script we're referring to when we disucss questions of format.

    For example, in the Covered Bridge thread (which Comic murdered while it was still healthy ) I thought the question referred to how to handle a covered bridge in a spec script.

    The primary, perhaps only, function of a spec script is to present a STORY to a reader, producer, or director. We want to capture the reader, absorb them in the story.

    Many of the answers in the thread had to do with lighting and camera direction which should, in my opinion, have nothing to do with how the story reads.

  • #2
    Re: Spec Scripts

    Originally posted by jonpiper View Post
    The primary, perhaps only, function of a spec script is to present a STORY to a reader, producer, or director. We want to capture the reader, absorb them in the story.
    Semantics perhaps but it's not just about presenting a story to a reader it's about presenting a movie on the page.

    The lighting and camera direction are important because you are writing a movie. There's a reason for their inclusion (by way of altered slugs as per your example) and while they are much more important in a shooting script they are part of script format - something everyone in the industry recognises, especially when it's fvcked with - and allow you to see the movie.

    Where the camera is placed can also dramatically affect how your script reads, not as a story but as a movie, and while many aspects of this are in the realm of the director there are certain elements that can be used to improve the writing
    twitter.com/leespatterson

    Comment


    • #3
      Re: Spec Scripts

      The confusion is part of the fun.

      If you wanna get all serious, well, format really shouldn't be discussed at length. It's irrelevant for everyone but absolute beginners.

      What we can do is take our formatting software of choice, work through a couple of the online format guides and The Hollywood Standard. Read a bunch of scripts and use them to answer any format question we have.

      It's the story elements that we've got to worry about, not format per se. Minor format glitches aren't hugely important, and if we've read enough scripts, proper format is just second nature. We need to know it well enough not to have to think about it.
      If you really like it you can have the rights
      It could make a million for you overnight

      Comment


      • #4
        Re: Spec Scripts

        There's no such thing as a spec format. There just isn't, despite what moviemagic would have you believe. A spec (speculative) screenplay is just one that no one paid for. Maybe one that nobody will ever pay for. Reading through many of the threads one might think that there are all types of rules for specs: No continueds, mores, must be 110 pages, two brads, no paranheticals, lots of parantheticals, etc, etc, etc. But if you have a kick-a$$ script all that stuff goes right out the window.

        Some frustrated low-level reader/intern might care that LATER is masquerading as a solitary Slugline in the middle of the page, but his boss probably won't give it a second thought. If it's in a bad screenplay, well it just makes that screenplay seem a little bit worse.

        "Well, readers are the gatekeepers" you might say? "You have to get by them first." Problem is, if your script is in the hands of a reader you're already in trouble.

        A good friend of mine has been a reader at Ridley Scott's company for many years, and you know how many recommends he's given? Two. A few more considers, but not many more.

        I love discussing the mechanics of screenwriting, slugline vs. scene headings, lines per page, INT. or EXT. It's fun and writers should care about those things (to a sane extent), but more important than any of it is learning to tell a great, original story with a unique voice that compells the reader to move from one page to the next. And it ain't done with sluglines. Me thinks there should be more threads devoted to that.

        p.s. Did that come off as cranky? I should never drink Shiraz and type. I'm going EXT. to smoke a cigar. But wait, if my patio if illuminated by my indoor lights, should I use INT?
        Last edited by dgl; 04-16-2007, 09:37 PM.

        Comment


        • #5
          Re: Spec Scripts

          While I agree that a script is a blueprint for a movie and that camera angles, etc. do help create a cinematic read, honestly, keep that stuff to a minimum. The number one thing you have to worry about is getting the script past a reader. Effing entertain the reader (rouge wavers will recognize that phrase) and don't try to get technical; nine times out of ten camera angles, etc. sabotage the writer by inadvertently cluttering the read and/or coming off as pretentious. Keep it simple.

          p.s. EXT. to smoke cigar = LOL - well done, dgl

          Julie Gray



          Comment


          • #6
            Re: Spec Scripts

            Just to elaborate I wasn't talking about explicit camera angles. Rather the more subtle implied camera angles and the way in which the staging of something can really affect the meaning of what's on the page.

            i.e. showing something from the outside of a building looking in / dialogue O.S. / images in reflections / from a certain characters POV (not necessarily as a POV shot - a little girl sat in the back seat of a car where we can only see the backs of her parents' heads) etc etc... there are many methods that can help create a better movie (on the page) from the same story IMO.

            But of course, as is La Femme's motto it seems, the important thing is just to effing entertain.
            twitter.com/leespatterson

            Comment


            • #7
              Re: Spec Scripts

              Originally posted by -XL- View Post
              But of course, as is La Femme's motto it seems, the important thing is just to effing entertain.
              Actually, my motto is: Always turn off your left turn signal.

              But yes, effing entertain. I stand by it.

              Julie Gray



              Comment


              • #8
                Re: Spec Scripts

                Then it seems that the spec script is a presentation of your story that is between prose and a full blown script complete with shooting angles, lighting, etc.

                The spec script retains the essential format of a script so it is familiar and comfortable to read. Those in the industry can more easily picture the movie when they read a spec script than when they read a short story or novel.

                Comment


                • #9
                  Re: Spec Scripts

                  I think that was to show the reasons behind whether it is INT or EXT in order to help with situations that were not a covered bridge.

                  Even though a spec script is going to be different than the one they shoot - with many things that work on screen that just won't work on a page - the target for any screenplay is production. Screenplays really have no purpose other than to be made into films.

                  Good writing shows the reader the movie - and they "see" that movie. Just by using *words* we can indicate what is being seen (no need to indicate camera angles). We write the pictures.

                  I have done the production drafts for many of my films - and mostly it's just numbering scenes.

                  - Bill
                  Free Script Tips:
                  http://www.scriptsecrets.net

                  Comment


                  • #10
                    Re: Spec Scripts

                    Jon, I think you're talking about a shooting script. A spec script is just a script that you're hoping to sell - someone said that earlier. The format is is basic, fundamental and easy to find resources on.

                    Julie Gray



                    Comment


                    • #11
                      Re: Spec Scripts

                      La Femme, and everyone else, after reading many articles and many threads here, it's all comming together. I'm finding the spec script format is really flexible and allows for many styles.

                      Comment


                      • #12
                        Re: Spec Scripts

                        Originally posted by dgl View Post

                        but more important than any of it is learning to tell a great, original story with a unique voice that compells the reader to move from one page to the next. And it ain't done with sluglines. Me thinks there should be more threads devoted to that.
                        Good idea for a thread. What compells READERS to eat up your script, get goosebumps, and give it a pass?

                        Comment


                        • #13
                          Re: Spec Scripts

                          I think it's important to know that though there are always pedants in any working industry, the reality is that there are some details and styles that aren't set in stone. Or if they are, no one expects you to know which stone.

                          If you get me.

                          One example is that I have a lot of Japanese in my scripts, currently written as English (with a note on the cover saying it's subtitled). I've sent this script out all over the place, and had feedback on it (in its earlier drafts) from consultants, assessors, funding bodies, and several different established (here) as well as up and coming producers, and over this time I've presented the translation/English subtitles format in THREE different ways. Note that: THREE distinctly different ways.

                          They all gave excellent feedback, some have offered to help me get it produced, others (one anyway) is researching how to fund it... and no one, NOT ONE PERSON, has told me I had it formatted incorrectly, or suggested I change it.

                          My point? They can't all have been "right" - or not for each and every person who no doubt has his/her own preference. But it just wasn't an issue for any of them.

                          Sure, if the script had been riddled with problems and fundamental formatting errors, I doubt they'd have read it at all. But a couple of variations on the detail of format - style choices, or difficult/complex scenarios that could technically be portrayed different ways, is NOT going to kill your script.
                          sigpic

                          Website
                          Tweets
                          Book

                          Comment


                          • #14
                            Re: Spec Scripts

                            There isn't really much else to say that hasn't already been said. The whole spec script vs shooting script myth originated from books and articles (written by...) that newbies seemed to have taken so literally that it's become widespread amongst online discussion forums. The truth in the matter is that nobody in the industry gives a rat's ass. The only thing they care about is, "Does this read like a movie?- To me, format is margins, font, and using sluglines; the rest is pretty much up to the individual style of the writer.

                            Writers aren't asked to start inserting camera angles and stuff like "we see-, "our view-, and "we hear- by the director. If that was the case, then every shooting script by director X should read same, making them the writers of the shooting script. If a writer has used a specific convention, then it's more than likely that the same convention exists in the original spec -- because that is the adopted style of the writer.

                            When you think about it, why aren't there posts by sold writers discussing topics like, "My spec has gone into production and the director wants me to write this shot that has a wine bottle filling the whole screen. Do I use CLOSE UP, CU, ECU, or A WINE BOTTLE as a mini-slug?- The reason why we don't see these kinds of questions is because the sold writer is mature enough in his craft to know that this kind of sh!t doesn't matter. If a director was pedantic enough to ask the writer to specifically include that shot in the script, then the writer will use whatever his natural style dictates.

                            When a script goes into production, only the contents change not the style. I've read enough specs to know that most of the "must not" rules are BS. The writers job is to create a seamless read that reads like a movie. That's my two cents.

                            Okay, next topic: asides and unfilmables...

                            Comment


                            • #15
                              Re: Spec Scripts

                              Over the past couple of years I've read countless discussions about script formatting. I've even been involved in some of these debates myself and made the same mistakes of stating facts based upon opinion when in fact, that's all they, "opinions"...

                              One screenwriter will write a script very differently to another. Some will choose certain formatting techniques and other writers will find alternative solutions. Its the law of averages.

                              The problem lies in finding the right solution for the story, character, situation. All should be linked, posses through lines, have significance to the unfolding drama and inherent conflicts built into the story, scene by scene.

                              Once you get over formatting and concentrate on the gestalt of the story and plot and the two main characters everything else should fall into place. There ought to be a story logic to the way you write and you should strive for that in your work. Some do, some learn this along the way, some don't.

                              I used to worry about formatting and one day I purchased Ronald Harwood's THE PIANIST screenplay. I read it and loved the simplicity of the way the story was presented in screenplay format. I tried to consider what I'd experienced, why it was so subtle on the one hand and so profound on the other and it struck me; Ronald Harwood removed every obstacle possible in his writing. He simply didn't use extraneous formatting or let this get in the way of him telling the story. He kept it as simple as possible. scene slugs, scene action descriptions, character slugs, occasional parenthetical and that's it. Nothing more.

                              I don't even have to mention, as a screenwriter, what he left out, because you know by me not mentioning these.

                              This is what you do when you write your own screenplay. You write your screenplay with as little attention to formatting as possible. As long as you use screenplay formatting software, you shouldn't have any problems because the software locates the text where it should do on the page for you. Everything else is arbitary. Tell your story, with your characters and simply use screenplay formatting as a means of locating that story within that framework. Nothing more, nothing less.

                              If you read THE PIANIST by Ronald Harwood, you'll notice his screenplay is very basic, lean, almost simplicity itself. I use this model myself. I keep it basic and simple. I don't clutter my screenwriting with unnecessary stuff which may call attention to itself. I tell a story. Let the characters speak for themselves. I find solutions which integral to the telling of the story, the characters, how they deal with conflict, their reactions, their dialogue. I strive for continuity. What I strive for is ensuring the read is a page turner, to ensure the read is as addictive as possible so when somebody reads my work I get a favorable reaction. It may not sell but the reaction informs me I'm on the right track, I'm getting somewhere.

                              Don't let formatting get in the way of telling a good story. Let the pain and anguish, the passion and heart show in your writing and you'll be on the right path of what it means to write.

                              Writing is about connecting and that is your aim, your goal, to connect. Worrying about formatting simply gets in the way of connecting. The more clutter you add in a screenplay then this will get in the way of the read; clutter the read and prevent the reader from feeling connected to your story and characters - this is the very thing you should avoid - at all costs...

                              THE PIANIST by Ronald Harwood, if you've not read it I suggest you do. If you don't have this screenplay PM me, leave your email address and I'll send it in PDF file format to you. This screenplay is simplicity itself and once read you'll see this for yourself.

                              Less is more...


                              Kevan
                              Last edited by Kevan; 04-17-2007, 05:30 AM. Reason: typo

                              Comment

                              Working...
                              X