Professional film scripts are one of the best tools screenwriters have at their disposal. There is nothing else that gives you the practical experience of how it all comes together than reading a produced screenplay. But what are the best movie scripts to read, and why? In this post, we break down. My short film scripts can be adapted and rewritten any way you like. 26 Short Screenplays for Independent Filmmakers is a collection of original short film screenplays by an up-and-coming screenwriter. My goals for these short scripts? Maximum flexibility for filmmakers in a wide variety of circumstances.
By: Travis MaiuroThere are numerous ways to describe your short film: your “calling card,” your “big break,” your “foot in the door.” Needless to say, having a solid short film (or two) in your arsenal is key to moving on to longer-form storytelling.But the short needs a starting point, a blueprint. It needs a script. And just because it’s shorter in length than a feature screenplay doesn’t mean it’s any easier. In fact, writing a short comes with its own unique set of challenges that arguably make it just as trying as writing full-length. Inspired by, we’ve collected some useful tips to help you navigate the often timultuous path that is writing your short film script. Do keep it simpleRestraint is key.
Make it about a moment. Whether it’s a scene or a few scenes, avoiding unnecessary complication in your narrative is crucial.
Keeping it simple and contained still allows plenty of room for a story with a beginning, middle, and end. Go back to basics: a character has a goal, someone or something is stopping her/him from achieving that goal. That’s a story.It’s tempting to take advantage of the freedom a short film provides by experimenting with narrative.
By all means, go for it – don’t let parameters stifle your voice. But at the same time, if your end goal is to use the short as an example of your ability to tell a story, it befits you to make sure your script makes sense.
Go too wild with experimentation, and you’ve lost the audience. The short film provides you a limited time to showcase your talent – whether it’s five minutes or twenty, keeping it simple will make the most of that time frame. Don’t treat it like a prologue for a featureThis one may be met with some flak, but hear me out. What this means is: keep your focus on the short at hand, for the sake of the short.
Yes, if all goes well, the end goal will be a feature, and maybe this short is the starting off point. But treating it essentially as a “prologue” for your feature, as if it’s an opening scene or a first act with an ending that basically says, “Find out what happens next in the feature film version” is a bad idea. To that viewers say, what feature film version?The short needs to be self-contained. Two example shorts that were later adapted into features – Andres Muschietti’s and Damien Chazelle’s – are prime examples of this.
Though two very different stories (and time lengths), both have their own beginning, middle, and end, rather than acting as the first minutes of a feature that doesn’t exist. These shorts are samples/previews of what Muschietti and Chazelle had to offer; the films are proof that these artists could tell a story. Focusing too little on your actual short and too much on a potential feature hampers your own ability to tell a story.
Do embrace the visualMany short films are light on dialogue. This can be because of artistic reasons or practical ones (perhaps the short is using non-actors and lack of dialogue elicits a stronger performance). But this tip isn’t to tell you to shirk dialogue altogether. No, by all means, embrace it if it works for the story you’re telling. But do also embrace the visual – remember what you’re writing for is a visual medium and the short film is a perfect opportunity to showcase this.Perhaps you consider dialogue to be one of your strengths. Great – show it off. There’s no need to sacrifice what you feel you’re best at in order to take advantage of the cinematic.
Dialogue and visuals are not mutually exclusive. What’s important here is making sure your script sets out to create a blueprint that allows for each scene to make the most out of what film has to offer. The short, obviously, has a limited amount of scenes – make sure the script allows for each one to pop. Don’t forget that you should be able to make thisAs the writer, it’s up to you to write something that can feasibly be made.
Know your budget. If you were hosting a dinner party, you wouldn’t put escargot on the menu if you knew you had no access to escargot. (Not to mention, an escargot dinner party sounds terrible, but that’s beside the point). Same goes for your short film – don’t write some sci-fi epic that asks for tons of expensive visual effects work if you know you can’t afford it or don’t know how to do it yourself. Write what is feasible.This tip might seem a bit “unsexy” as it seems to strip away the magic of writing, that it’s leashing your creativity. But in reality, it’s doing just the opposite. Your limited constraints – whether it be a budget of $300 or $30,000 – allows for you to be even more creative.
You must find imaginative ways to write around your lack of resources. Don’t write more than you can chew. Do make it personalOften, when a writer goes personal, the themes being explored end up being universal.
This also falls in line with the old adage of “write what you know.” As boring as it may sound, it’s true. Take a look at the early work of many writers/directors. The short films that launched their careers, while perhaps not explicitly autobiographical, tackled subjects that they knew well. Subjects that we all can relate to – being an outsider, an underdog, feeling lonely. They explored their personal fears and desires. These are things we can relate to as we as human beings share more in common than we realize.
A short film with a relatable theme sticks with you. If your short film is essentially your business card, make sure it’s the business card that leaves a lasting impression that separates itself from the rest of the pack (of business cards).You can delve deeper with, which we highly recommend BEFORE you make the decision to move your screenplay into principal photography.
Remember, it all starts with the script. And if you’re script demands a budget beyond the size of your wallet, consider submitting your project to ScreenCraft’s recently relaunched.For all the latest ScreenCraft news and updates, follow us on!
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Don't let the seemingly endless parade of screenwriting elements scare you away from writing your first script. Since a familiarity with the basics of the craft is half the battle, The Writers Store has created this handy screenplay example and overview on how to write a screenplay to help you get up to speed on screenwriting fundamentals.Combine that with the right, and, and you'll be ready to type FADE IN before you know it. Sample Screenplay PageRecommended Screenwriting Software for Writing a ScreenplayWhat is a Screenplay?In the most basic terms, a screenplay is a 90-120 page document written in Courier 12pt font on 8 1/2' x 11' bright white three-hole punched paper. Wondering why Courier font is used? It's a timing issue. One formatted script page in Courier font equals roughly one minute of screen time. That's why the average page count of a screenplay should come in between 90 and 120 pages.
Comedies tend to be on the shorter side (90 pages, or 1 ½ hours) while Dramas run longer (120 pages, or 2 hours).A screenplay can be an original piece, or based on a true story or previously written piece, like a novel, stage play or newspaper article. At its heart, a screenplay is a blueprint for the film it will one day become. Professionals on the set including the producer, director, set designer and actors all translate the screenwriter's vision using their individual talents.
Since the creation of a film is ultimately a collaborative art, the screenwriter must be aware of each person's role and as such, the script should reflect the writer's knowledge.For example, it's crucial to remember that film is primarily a visual medium. As a screenwriter, you must show what's happening in a story, rather than tell. A 2-page inner monologue may work well for a novel, but is the kiss of death in a script. The very nature of screenwriting is based on how to show a story on a screen, and pivotal moments can be conveyed through something as simple as a look on an actor's face. Let's take a look at what a screenplay's structure looks like. The First Page of a ScreenplayWhile such as, and frees you from having to learn the nitty-gritty of margins and indents, it's good to have a grasp of the general spacing standards.The top, bottom and right margins of a screenplay are 1'.
The left margin is 1.5'. The extra half-inch of white space to the left of a script page allows for binding with, yet still imparts a feeling of vertical balance of the text on the page. The entire document should be single-spaced.The very first item on the first page should be the words FADE IN.
Note: the first page is never numbered. Subsequent page numbers appear in the upper right hand corner, 0.5' from the top of the page, flush right to the margin.
Screenplay ElementsBelow is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.Scene HeadingIndent: Left: 0.0' Right: 0.0' Width: 6.0'A scene heading is a one-line description of the location and time of day of a scene, also known as a 'slugline.' It should always be in CAPS.Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime.SubheaderIndent: Left: 0.0' Right: 0.0' Width: 6.0'When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations.ActionIndent: Left: 0.0' Right: 0.0' Width: 6.0'The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction.Remember - only things that can be seen and heard should be included in the action.CharacterIndent: Left: 2.0' Right: 0.0' Width: 4.0'When a character is introduced, his name should be capitalized within the action.
For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare.A character's name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example 'TAXI DRIVER' or 'CUSTOMER.'
DialogueIndent: Left: 1.0' Right: 1.5' Width: 3.5'Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs.ParentheticalIndent: Left: 1.5' Right: 2.0' Width: 2.5'A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. First, if you need to use a parenthetical to convey what's going on with your dialogue, then it probably just needs a good re-write.
Second, it's the director's job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's turf!ExtensionPlaced after the character's name, in parenthesesAn abbreviated technical note placed after the character's name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.).TransitionIndent: Left: 4.0' Right: 0.0' Width: 2.0'Transitions are film editing instructions, and generally only appear in a shooting script. Transition verbiage includes:.
CUT TO:. DISSOLVE TO:. SMASH CUT:. QUICK CUT:. FADE TO:As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed.ShotIndent: Left: 0.0' Right: 0.0' Width: 6.0'A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely a time when a spec screenwriter should insert shot directions.
Once again, that's the director's job.Examples of Shots:. ANGLE ON -. EXTREME CLOSE UP -. PAN TO -. LIAM'S POV -Recommended Books for Writing a ScreenplaySpec Script vs.
Shooting ScriptA 'spec script' literally means that you are writing a screenplay on speculation. That is, no one is paying you to write the script. You are penning it in hopes of selling the script to a buyer.
Spec scripts should stick stringently to established screenwriting rules.Once a script is purchased, it becomes a shooting script, also called a production script. This is a version of the screenplay created for film production. It will include technical instructions, like film editing notes, shots, cuts and the like.
All the scenes are numbered, and revisions are marked with a color-coded system. This is done so that the production assistants and director can then arrange the order in which the scenes will be shot for the most efficient use of stage, cast, and location resources.A spec script should NEVER contain the elements of shooting script. The biggest mistake any new screenwriter can make is to submit a script full of production language, including camera angles and editing transitions. It can be very difficult to resist putting this type of language in your script. After all, it's your story and you see it in a very specific way.
However, facts are facts. If you want to direct your script, then try to go the independent filmmaker route. But if you want to sell your script, then stick to the accepted spec screenplay format. Screenplay Formatting SoftwareScreenwriting software makes producing an Industry-standard script simple and straightforward. Programs like and put your words into proper screenplay format as you type, letting you focus on a well-told story rather than the chore of margins and spacing.There’s also a wide spectrum of outlining and development software at the ready to help you get your thoughts together before you begin writing. Popular story development software includes, a step-by-step guide to the storytelling process, a character-based structuring system, and, a program centered on successful screenwriter Blake Snyder’s own proven methods.And if you want a program that combines story development and formatting?
Check out, an all-in-one development package that uses step outlining to build your story, scene-by-scene, and Montage, which includes both outline and submission tracking functions. Script Presentation and BindingJust like the format of a script, there are very specific rules for binding and presenting your script. The first page is the title page, which should also be written in Courier 12pt font. No graphics, no fancy pictures, only the title of your script, with “written by” and your name in the center of the page. In the lower left-hand or right-hand corner, enter your contact information. In the lower left-hand or right-hand corner you can put Registered, WGA or a copyright notification, though this is generally not a requirement.
Sample Title Page. Below is a list of items you need to prepare your script to be sent out:. Script Covers, either or. (also called Brads), Acco number 5 size 1 1/4-inch for scripts up to 120 pages; Acco number 6 size 2-inch for larger scripts. (optional).Follow these directions to properly bind your script:. Print your title page and script on bright white three-hole punched paper. Insert the title page and the script into the script cover.
The front and back covers remain blank. They are just there to protect your script. And remember: pictures and text on script covers scream amateur. Insert two brass fasteners in the first and third holes. Do NOT put a fastener in the middle hole. Flip the script over, and slide the brass washers over the arms of the fasteners.
Spread the arms of the fasteners flat against the script. Use a Script Binding Mallet to ensure a tight, flat fit. Use the flat, self-seal script mailers to send your scripts out to buyers.Materials for Further ExplorationNow that you understand screenplay basics, you’re no doubt ready to continue your exploration of the craft and go beyond learning how to write a movie script. The books listed below are some of The Writers Store’s favorite guides to screenwriting.Wondering how to write a script?
This first-rate screenwriting primer provides a concise presentation of screenwriting basics, along with query letters, useful worksheets, checklists, sample scenes and more to help you break into screenplay writing.What goes into the making of Hollywood's greatest motion pictures? Join Linda Seger and Edward Whetmore as they examine recent screenplays on their journey from script to screen.The Hollywood Standard describes in clear, vivid prose and hundreds of examples how to format every element of a screenplay or television script.This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can Save the Cat.Interested in taking a screenwriting class? Visit our section for webinars, live seminars, online courses, one-on-one instruction and on-demand courses. You can download a free webinar on 'How to Write a Screenplay' from magazine site,. Meet the Author:Mario O. Moreno is the writer/creator of Maker Studio's LA Series, executive produced and co-directed by James Franco.
In addition to LA Series, Mario is the writer/creator/executive producer of Untitled Miami Series that was optioned by Franco's RabbitBandini Productions, and is currently at work on their third collaboration, a feature adaptation. Mario earned a bachelor’s degree in film from Miami International University, where he gained experience writing, producing, directing, and editing short films, eventually winning.