Action lines and Dialogue. Less the slugline and a transition or two, that is all there is to a screenplay. While it might be argued that dialogue is far more important, the ability to write clean, crisp screen direction is essential. What is the best way to go about it? You hear talk of unfilmables—and how you should never, ever write them. Action is what the camera sees. Who is in the shot and what’s happening. Funny thing is, the pros break this rule all the time. The pro formula for action lines is more like: What the camera sees—with attitude. There are two parts to this, let’s examine them both:
What the camera sees … This is the easier part, one would think– to write in a clean and basic style only what the audience sees. Sadly, there is nothing easy about it.
How much should you describe? If you read scripts at www.simplyscripts.com or www.script-o-rama.com you’ll note some of them have massive action detail, while others are spare. How the hell do you know what’s best for you? Start by making the script a good read.
– See more at: http://www.scriptmag.com/features/script-gods-must-die-action-lines-key-pov#sthash.snkGBnke.dpuf
Action lines and Dialogue. Less the slugline and a transition or two, that is all there is to a screenplay. While it might be argued that dialogue is far more important, the ability to write clean, crisp screen direction is essential. What is the best way to go about it? You hear talk of unfilmables—and how you should never, ever write them. Action is what the camera sees. Who is in the shot and what’s happening. Funny thing is, the pros break this rule all the time. The pro formula for action lines is more like: What the camera sees—with attitude. There are two parts to this, let’s examine them both:
What the camera sees … This is the easier part, one would think– to write in a clean and basic style only what the audience sees. Sadly, there is nothing easy about it.
How much should you describe? If you read scripts at www.simplyscripts.com or www.script-o-rama.com you’ll note some of them have massive action detail, while others are spare. How the hell do you know what’s best for you? Start by making the script a good read.
– See more at: http://www.scriptmag.com/features/script-gods-must-die-action-lines-key-pov#sthash.snkGBnke.dpuf
Published an article about action lines on Script Magazine this week. Here’s a sample, and a link to the full article…
Action lines and Dialogue. Less the slugline and a transition or two, that is all there is to a screenplay. While it might be argued that dialogue is far more important, the ability to write clean, crisp screen direction is essential. Action is what the camera sees. Who is in the shot and what’s happening. Funny thing is, the pros break this rule all the time. The pro formula for action lines is more like: What the camera sees—with attitude. There are two parts to this, let’s examine them both:
What the camera sees … This is the easier part, one would think– to write in a clean and basic style only what the audience sees. Sadly, there is nothing easy about it.
How much should you describe? If you read scripts at www.simplyscripts.com or www.script-o-rama.com you’ll note some of them have massive action detail, while others are spare. How the hell do you know what’s best for you? Start by making the script a good read.
See more at: http://www.scriptmag.com/features/script-gods-must-die-action-lines-key-pov#sthash.snkGBnke.dpuf
