Such overwritten description tends to distract rather than enhance, especially when it interrupts an exchange of dialogue. Nor is it necessary to slug out a different camera angle (e.g. It’s not necessary to describe minor gestures and reactions. It’s possible to convey the shot you envision simply by describing the scene in a manner that leads the mind’s eye of the reader.
Slugline time rules year how to#
No director wants the writer to tell him how to move the camera. Such directions as “PAN TO,” “DOLLY IN,” and “CRANE UP” should be used sparingly. Open each scene with them already engaged in some action that relates to the story. Give them some business that indicates their personality or attitude. Don’t just write that a character is standing in a room, for example, or sitting at a desk. Strip your description of any clichés and generic phrases that contribute nothing to our understanding of the characters or situation. Don’t editorialize by using adjectives or adverbs that express a personal reaction, such as “hideous,” “amazing,” or “incredible.” “is”) with active verbs to make the action more dynamic. Make the description kinetic and visual, but succinct and specific. Insert a blank line to separate this description from the action that follows. The first time we see a particular setting, describe it briefly. Employ props and clothing to give us visual clues, or reveal a character’s identity subtly in dialogue.īefore you tell us what takes place, it’s a good idea to set the stage. For example, don’t describe a character in terms of their occupation, as this usually isn’t evident from their appearance. Refrain from describing what would not be visible or audible to us as we’re watching the movie.
In the movies, unlike in a novel, we are limited to the physical senses of sight and sound. To that end, you must describe images, sounds, actions, and speech in such a way that the scenes unspool as they would on a screen. A well-written script creates in the mind of the reader the experience of watching a movie.
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