Questions about capitalizing

[BrandonWalsh]

Hi All!

I am writing my first screenplay for a short and I have been reading up on how it should be formatted and generally what to do and not to do. One thing that puzzles me though is the capitalizing within "Action" segments. Am I supposed to capitalize everything when it is the first time that particular object is introduced into the story? So if my already introduced character is sitting at a desk never mentioned before, would that be capitalized? I know that characters are always capitalized the first time they are used but I am not so sure about objects and things.

I've read a couple of example screenplays but it seems that it's not done exactly the same all the time (or that I am too slow to understand why it's not).

By the way, I am using Celtx which has been a great help to me so far.

Thanks for your time.

 

[directorik]

No. Props, sets, objects or items of clothing are not
capitalized in a script.

The reason scripts are written differently is because
each writer is different and some script you read are
commissioned scripts, some are shooting scripts, some
are transcripts and some are spec scripts. And the preferred
format for spec changes. for a long time the Syd Field
method of writing in camera angles and direction was
the preferred method and some writers still write that way.

Currently the lean method it the preferred way.

 

[BrandonWalsh]

Thanks for taking the time to answer my question. This is great to know, I'll read up some more on the practicalities around writing my screenplay. I have the story well thought out in my head, now I just need to get it on paper in the proper formatting and style, which is kind of overwhelming at first.

 

[Beeblebrox]

So if my already introduced character is sitting at a desk never mentioned before, would that be capitalized?

No. Don't worry about props, objects, sounds, or whatever. Just the introduction of a character in the story.

I've read a couple of example screenplays but it seems that it's not done exactly the same all the time (or that I am too slow to understand why it's not).

Contrary to popular belief, there is actually a LOT of latitude in screenplay formatting of spec scripts. Celtx is a great program and will get you as close as you need to be. Just keep it simple and you'll be fine. Ultimately what matters is the story, the characters, and your ability to communicate those things as a writer.

 

[BrandonWalsh]

Thanks for the feedback Beeblebrox.

Things that puzzle me right now is exactly how specific I should be about certain things in the screenplay. I tend to want to write out stuff in a lot of detail resulting in very long paragraphs so I am really trying to control myself and instead stick to very brief actions and descriptions. In one scene I have a couple of guys just sitting and watching a movie, instinctively I want to detail who is sitting where (sofa, couch, and so on) but I think that the general idea is to refrain from this if it is not important for the events taking place in the scene, correct?

Celtx is indeed great, I have spent some time watching the tutorials and I've also been reading the most common screenplay writing howto's on the net to get at least some basic knowledge.

It's a really interesting and hands-on approach to writing which I really like so far. Hopefully I will be able to present my short screenplay later so that it can be shot down by you guys .

Again, thanks for the time.

 

[citychik]

I tend to want to write out stuff in a lot of detail resulting in very long paragraphs so I am really trying to control myself and instead stick to very brief actions and descriptions. In one scene I have a couple of guys just sitting and watching a movie, instinctively I want to detail who is sitting where (sofa, couch, and so on) but I think that the general idea is to refrain from this if it is not important for the events taking place in the scene, correct?

I've been told that Action paragraphs should never be longer than 7 or 8 lines. If you need lots of description, you can break it up into more than one paragraph, but the goal is to have a good balance of white space on the page. I think it's safe to say that you don't need nearly as much description as you think. And you don't always need complete sentences, either.

Just focus on what the audience would see onscreen, and always remember that a character is revealed through its actions. In other words, don't tell us what they are thinking, show us what they are doing. Also keep verbs in the present tense (no "ing" verbs), and use the most powerful verbs you can think of. For example, your characters aren't "just sitting" on the couch. They can plop down on it, slump, recline, laze, and so on.

Keep everything concise. Below is a link to a page on screenwriting by a writer and professor. He inserts notes in italics in his sample to explain the what/why/how of his writing:

http://www.ibiblio.org/cdeemer/specscript.htm

Not perfect, but a good example of how to be succinct in your screenwriting. Hope this is helpful!


.

 

[BrandonWalsh]

Thanks a lot for the info and the link. I will absolutely try to integrate this into my writing.

 

[Beeblebrox]

I tend to want to write out stuff in a lot of detail resulting in very long paragraphs so I am really trying to control myself and instead stick to very brief actions and descriptions. In one scene I have a couple of guys just sitting and watching a movie, instinctively I want to detail who is sitting where (sofa, couch, and so on) but I think that the general idea is to refrain from this if it is not important for the events taking place in the scene, correct?

Here's my general approach. Remember that a script is temporal; that is, it represents TIME, not just images. A scene shouldn't take longer to read than it would take for the action to occur on screen. That's why it's called an "action" paragraph and not a "description" paragraph, btw.

So in your example, note that people are sitting on the sofa and move on to the important stuff. And if the scene is just two guys sitting watching a movie, then DEFINITELY move on quickly.

 

[barnaclelapse]

No. Props, sets, objects or items of clothing are not
capitalized in a script.

The reason scripts are written differently is because
each writer is different and some script you read are
commissioned scripts, some are shooting scripts, some
are transcripts and some are spec scripts. And the preferred
format for spec changes. for a long time the Syd Field
method of writing in camera angles and direction was
the preferred method and some writers still write that way.

Currently the lean method it the preferred way.

Thank God for that. I still struggle to picture specific shots in my head as I write. There's a few, but generally I'm just looking to tell a story. I still need to re-format my scripts from the stage play format I've got going to something a little more generally accepted, and I'm hoping to do that when I finally finish this blasted second novel I'm working on.

 

[directorik]

citychik - that’s an interesting link. As you say, it’s not
perfect. In fact this writer makes a mistake early on and the
“notes” don’t mention it. The script reads:

EMIL COLLINS, 70’s, buttons his shirt after an exam.

and the notes say:

We begin at the point where the essential scene moment begins. We see a guy dressing, we see a doctor – we can figure out he just had an exam.

The reason the reader figures out the old man has just had an exam
is because the writer breaks the “show don’t tell” rule right away
and tells us. I’m not saying that line shouldn’t be there, I’m
saying that writing, “EMIL COLLINS, 70’s, buttons his shirt.”
would be just as good. The reader can figure out that the doc has
recently examined him without telling us. Readers are MUCH smarter
than writers sometime believe.

I urge new writers to sign up at both Zoetrope and Triggerstreet
and read five scripts from each of those peer review sites. Do NOT
choose a script based on the log line or your personal interest.
Read ten, randomly selected scripts.

Not for formatting, formatting is less complicated than you make
it out to be, but for the experience of reading the script. If you
find that writers who put in a lot of detail like where people are
sitting and what props they are holding (and many do) makes the
story more interesting to you then you may want to continue
writing that way. If you read scripts with camera angles and "we
see" and "we hear" and this helps you understand the story better,
then perhaps writing that way should be your style, too.

Read the ten in quick succession - say one week. Because that's
the way YOUR script will be read by a professional. As one of ten
(or twenty) they cover in a week. Think about what stays with with
you after the read is finished. Is it the capitalization? Is the
the details of where characters are in a room? Is it the writers
choice of camera angles or music? What do you, the reader, what to
know about the story and how well does the writer tell that story?

If you actually do this, you will become a better writer.

 

[Buddy Greenfield]

Brandon,

I agree with and can add nothing to what has already been advised on caps.

In terms of action lines in general, I think a “practical duality” is not at 1st gathered by (and I don’t mean you) many writers just starting out. On one hand, by the time you are “done” with a script YOU will know every word of it, but someone reading it for the 1st time obviously won’t.

Because of this, striving for a formatted page of 1st glance word clarity is important.

Simultaneously on the other hand and in much the same way (in keeping with what Beeblebrox is very importantly pointing out), an action line (Whole page) of script might be seen as formatted story in a state of suspended animation. When we look at it, it goes “off pause” as witnessed by the camera in real time.

Because of this, striving for a formatted page of 1st glance word clarity is important.

*Words that end in ING take space and steal clarity in action lines.
*Over use of a word or term can impart distraction and steal clarity from them as well.
*Telling not showing is king of all failures in action line efficiency.

This clutter is friction in the mental process of turning words into meaning and meaning into story in the mind of a reader who seeks action made story in camera like real time by way of a script.

-Thanks-

 

[2001 Productions]

I tend to want to write out stuff in a lot of detail resulting in very long paragraphs so I am really trying to control myself and instead stick to very brief actions and descriptions.

Hands down, the best example I've ever seen of lean screenwriting is the script for the original Alien movie: http://dailyscript.com/scripts/alien_shooting.html

Not a single word wasted. Reads like a house afire!

 

[BrandonWalsh]

Thanks all for your opinions, I'm learning a lot from your responses alone. The script for Alien is, as already stated, super clear and easy to read. Very impressive and a good exercise for someone like me, to whom words really come easy and in great quantities, to read it and appreciate the clarity, simplicity and the very effective way it conveys the images of that story!

I have a lot to think about and I will probably post something later on so that I can get some real criticism thrown my way.

 

[BrandonWalsh]

Another question from me. By the way, sorry for necromancing my own thread, I am not sure if this is frowned upon here.

When you have a long list of action items, for instance:

David gets out of his car.
David walks down the street.
David gets run over by a bus.

Is it customary to always include the character name or can I use "he" instead? Maybe there is no real generic answer to this.

Does my question make sense at all? Of course it must be very explicit who this "he" would be in the scene but I just want to know if there is any one approach that is favored (like, always include name no matter how many times in a row it will be included).

 

[Samiammi]

If you're writting, and going to make the movie yourself - just do it - Then see what works and what doesn't, because if you've got bad diologue or dumb ideas, then the format doesn't matter anyway.

 

[directorik]

If you're writting, and going to make the movie yourself - just do it - Then see what works and what doesn't, because if you've got bad diologue or dumb ideas, then the format doesn't matter anyway.

What if you're writing for a possible sale and not making the movie yourself?

 

[BrandonWalsh]

The ideas are dumb and the dialogue is bad - most likely true in this case, yes .

But no, I am not making this myself. I fully expect no one to actually shoot this in the end.

However, someone might read it at some point and I just like to learn these kind of things so that I do not have to sit and think about them.

 

[wheatgrinder]

The ideas are dumb and the dialogue is bad - most likely true in this case, yes .

But no, I am not making this myself. I fully expect no one to actually shoot this in the end.

However, someone might read it at some point and I just like to learn these kind of things so that I do not have to sit and think about them.

Not to be jerk, but gosh, you should have mentioned that you aren't making this movie, nor expect it to be made. So, whats the point?

If you want generic rules and what not, that's just part of it, I need to learn all that too, and I'm leaning heavily on this forum for help (they are most generous) But have some self respect Man! Buck up little camper and go for it. Write the first page of you "real" script and ask how you can make IT better. If you believe your ideas are dumb, and your dialog bad, expect everyone to agree! Come back with something that HAS good ideas and dialog. Certainly I know I have GREAT Ideas, some of the best ever, however, Im very lame at realizing those ideas, so.. that's why Im here!

 

[2001 Productions]

Is it customary to always include the character name or can I use "he" instead?

There's nothing wrong with pronouns. Some writers eliminate them entirely, to wit:

David gets out of his car.
Walks down the street.
Gets run over by a bus.

It seems like a lot of new screenwriters get hung up on worrying about nitty-gritty formatting details. Believe me, there are far more important things to be concerned about: story, characters, structure, to name a few.

 

[directorik]

Personally, I have no problem at all with writers
asking questions about format even if their aren't
currently writing a script. Or if they are writing a
script they will never show anyone.

I had a lot of self respect when I was just starting
and one of this things I did was write a lot of scripts
and make a lot of movies that I knew would never
be put up for sale or even seen by anyone. So far
I'm not convinced that a writer writing what they
think is dumb means that writer has no self respect.

Brandon, in this, specific example there is no customary
method. Write it the way it feels best to you.