http://cal-mystuffs.blogspot.com/2009/12/children-of-world.html

https://www.dropbox.com/

http://en.wikipedia.org/wiki/Text_editor

http://www.randsinrepose.com/archives/2010/06/28/how_to_write_a_book.html

http://www.screenwriting.info/

Site Updated: Jan 1, 2011. I'm a longtime user of Final Draft screenwriting software, but I just came across a new online screenwriting software program that has a lot of the same features. I'll check it out and post what I find out later. The other students in my screenwriting course seem to really love it.

The Writers Store is running The The Ultimate Screenwriting Library Giveaway until the end of December. There is no purchase required and they are giving away the perfect suite of screenwriting software, Movie Magic Screenwriter, Dramatica Pro, Outline 4D along with a bunch of other really useful software, DVDs and books. It is worth checking out.

Introduction

If you are new to screenwriting, planning to write a screenplay or script of any kind, the good news is that writing in screenplay format is easier and more intuitive today than at any time since first Lanier Word Processing Machine. Advances in screenwriting software now save the hours you would previously have spent learning how to write a screenplay in professional Hollywood format can now be allocated to polishing your plot, honing your dialogue, or learning screenplay structure. Some think screenplay writing is eclipsing the pursuit of the Great American Novel but it certainly isn't any easier. At any rate the making of movies is a collaborative process which demands that those in screenwriting produce a document in particular format, notation, and length called a 'script.'
This overview will begin acquaint you with the screenplay format writing rules and screenwriting etiquette you'll need to know about, and as you browse the following material you may notice the words 'don't', 'avoid' and '...' unless you are directing the movie.' Take that advice to heart. As you become more familiar with the world of screenwriting you'll understand why but for now the scope of this document prohibits a deeper explanation.
Learning how to write a screenplay involves many facets but I hope this basic information will give you a head start on your endeavors, including practical information to help you get your scripts read. And hopefully turned into movies.

Chapter 1

What Exactly Is a Script?

A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Why "outlines"? Because film is a highly collaborative medium and the director, cast, editor, and production crew will, based on your "outline", interpret your story their way when it is filmed. They may consult you, or they may not. Other writers may be brought in or you may be asked to re-write the entire thing. That's life, in the world of screenwriting. But because so many people are involved in the making of a film, a script must conform to standards that all involved parties understand and thus has a specific format or layout, margins, notation, and other conventions. This document is intended to overview the typical elements used screenplay writing.
It is crucial to remember that film is a VISUAL medium. You don't tell your audience your story, you SHOW them. You must learn to write a screenplay VISUALLY. Write what they will SEE and what they will HEAR. You might love your characters and know what they are thinking, but the discipline of screenplay writing is how to show it on a screen. When it happens, it may be just done with a look, often improvised on the movie set. So just write the pictures, sounds, and speeches, and leave the rest for the filmmakers.

What Makes Good Story?

Let's hazard a guess. The movies you loved most featured characters that swept you up, who captivated your emotions, got you involved. The audience viewing a movie not only wants to be interested in and care about the people they see on the screen, they want to be PASSIONATE about them, whether they like them or not. Great heroes and heroines inspire us; great villains make us want to jump into the screen!
There is always something at stake in a good movie. Not just something someone wants, something that must be acquired, no matter what the risk, as in Indiana Jones and the Raiders of the Lost Ark. Or something highly desired by as many main characters as possible, like the small black statue in The Maltese Falcon. Some times it can be an intangible thing, like the freedom of a people in Lawrence of Arabia or Gandhi. All these things drive the character's quest, even gives the hero superhuman strength. It can be something personal (romance) or for the good of all (saving the world from aliens) but it must be powerful and grow more desperate as the story unfolds.
There are always obstacles, which provide that catchword that actors love so much -- CONFLICT. This is the heart of drama. Someone wants something and people and things keep getting in the way of them achieving the goal. At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad battle to achieve the same goal--the acquisition of the last popular action figure for sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical or emotional. But they have to be in your story or you don't really have a story. In most good stories, the protagonist will also have an inner obstacle, some mental or even spiritual problem, that will be resolved by the time s/he reaches the outward, physical goal of the story. Some people call this inner demon a "ghost," while others call in a "wound."
You need a hook. That's a songwriting term that describes that thing that catches the public's attention. A popular Hollywood term is a "high concept." A better idea might be a simple "What if?" In Galaxy Quest, for example, the concept is "What if the washed-up actors from the crew of a cancelled but still popular sci-fi TV show are pressed into a real war in space by aliens who think the TV show broadcasts they received were documentaries?" A good enough "what if?" will set your script apart from the pack. It is why people will leave the comfort of their homes and plunk down their hard-earned bucks at the local cineplex.
Hollywood buys genres. Agents, managers, and producers are drawn to and specialize in specific genres so approaching them with something they can recognize is a good idea. Successful stories have a fresh face but are identifiable. You know what makes your idea unique, but can you describe it quickly to others? Is it a fast-paced thriller, romantic comedy, action adventure?
Scripts have to look a certain way. I can't stress this point enough. You must present your work like an insider. The sheer volume of submissions makes it so that if ANYTHING about your script looks strange it's headed for the circular file. If you don't know the game they won't play. The scriptwriter has to adhere to conventions covering everything from how many pages to what font (Courier 12 pitch in the U.S.), and that's just the beginning. I recommend you follow those rules, unless you're independently wealthy and plan to finance, produce, and direct your movie. Even then, however, the people you'll need to work with will be accustomed to standard formats.

Chapter 2

Script Styles

Below is a listing of the most common script formats in use today. This document will be dealing with Feature Film/Television Movie of the Week which are very similar but the others are distinctly different. Their attributes complement the needs of production distinct to the medium, the working style of the actors, and production personnel:
In this document:

Not addressed:

Scriptwriters for any of the above formats will present their work in either of the two variants below depending on whether they are trying to sell their work or have sold it and are working in the production part of the process.

Submission Scripts

AKA a Spec Script. This is a script written without being commissioned or bought, on the speculative hope that it will be sold. This overview will favor the philosophies of spec script writing which is to say, 'stay out of the way of the collaborative process'! The do's and don'ts you'll see here will reflect this philosophy.

Shooting Scripts

Once a script is purchased, it often goes through a series of rewrites before it is put into production. Once that happens, the script becomes a 'Shooting Script' or Production Script. All the scenes and shots of a shooting script are numbered and each scene and shot are broken down into all the component pieces required to film it. 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.
Since feature screenplay format is the most popular form of script today, we will begin by exploring that layout. Later, we'll discuss the other formats, building on what we've discovered here.
A general comment about script formatting: Although a certain format has become more and more standardized in recent years, there isn't ONE way, ONE set of margins, ONE style. There is a RANGE OF CORRECTNESS. All the software program formats and measurements fall within this range.

Chapter 3

Spec Screenplay Page Properties

The Rules:
Screenplays are traditionally written on 8 1/2" x 11" white 3-hole punched paper. A page number appears in the upper right hand corner (in the header). No page number is printed on the first page. The type style used is the Courier 12 font. The top and bottom margins are between .5" and 1". The left margin is between 1.2" and 1.6". The right margin is between .5" and 1".
The extra inch of white space on the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page.
The Courier 12 font is used for timing purposes. One script page in Courier 12 roughly averages 1 minute of onscreen film time. Experienced readers can detect a long script by merely weighing the stack of paper in their hand.

Writing Tip:
Script writing software is pre-programmed with all these rules right out of the box.

Script Length

The average feature screenplay, traditionally, is between 95 and 125 pages long. In Hollywood these days scripts generally don't run longer than 114 pages. Comedy scripts are typically shorter, dramas longer. There are, naturally, variations. You could be writing an action-packed film where your description takes only 10 seconds to read, but will take 45 seconds of film time. Here's an example:

Cpl. Owens sheds his pack and picks up the machine gun. He runs from doorway to
doorway, dodging enemy fire while shooting back, until he reaches the church
bell tower.

Writing Tip:
If you had a script full of scenes like this, you could come up with a short script in total pages... but that doesn't mean when it is filmed it would be short. By the same token, another writer could write the same scene and have it take up half a page. It just depends on the writing style of the individual writer.
125 page scripts are considered on the long side for a screenplay. Length is a very important component of the script. When you turn in a script to a producer, the very first thing s/he will do is fan through the pages and look at the last page to see how long it is. It doesn't matter if you've written the most incredible screenplay ever, if it's too long they may refuse to read it.
The Industry's aversion to long scripts is due to economic considerations. Films under two hours mean more showings per day in a theater, which means more revenue for the exhibitor, distributor, filmmaker, and possibly even you, the screenwriter.
When you realize your script is long and have to start cutting your work, keep in mind that if a scene can be removed and the story continues to work, that scene wasn't necessary. EVERY SCENE should not only move the story along to its conclusion; it should be an integral part of the path to the climax.

Chapter 4

Script Elements

These are the unique margin, case, and position attributes that give feature film script text the format and consistency expected by all participants. Once you are accustomed to them you'll be able to tell your story the way an industry reader is accustomed to seeing it. The elements for a script are:

Scene Heading

Writing Tip:
Scene Heading are aligned flush left (which we learned is about 1.5" from the edge of the paper) and are rarely long enough to reach the page margin.
The Scene Heading is written in ALL CAPS. Use a period after the INT. or EXT., a hyphen between the other elements of the Slugline.

The Scene Heading, sometimes called Slugline, tells the reader of the script where the scene takes place. Are we indoors (INT.) or outdoors (EXT.)? Next name the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD, inside a CAR? And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN... information to "set the scene" in the reader's mind.
The Slugline can also include production information like CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT. Here are examples of Scene Headings:

INT. BEDROOM - MORNING
EXT. LAS VEGAS STRIP - SUNSET
INT. OFFICE - NIGHT - CONTINUOUS ACTION
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE

Software Tip:
Script writing software will automatically file each new Scene Heading you use. This alleviates the need to retype the same text again and again, and it also helps you keep your script consistent. There is nothing more distracting to the reader than to see one Scene Heading read:

EXT. - OUTER SPACE RAIN FOREST - NIGHT

and two pages later:

EXT. - OUTER SPACE JUNGLE - NIGHT

Keeping Scene Headings consistent allows your reader to recognize locations and places and not have to figure out if this is a new set (location). You don't want to take the reader's mind off your story, ever.
Here is a sample in Scene Heading sample in script form:

FADE IN:

EXT. KEY WEST MARINA - DAWN - ESTABLISHING

We have 'established' that we're in a marina at dawn.

Chapter 5

Action

The Rules:
Action runs from left to right margin, the full width of the text on the page, the same as the Scene Heading. Be sure to use the word wrap function of your script writing software, to make editing and rewrites easy. Text is single-spaced and in mixed case.
When you introduce a speaking character for the first time, you should put the name in all caps.

Software Tip:
Script writing software intuitively formats the spacing and text between different paragraph styles for you as you type. All you worry about is your story!

The ACTION or Description sets the scene, describes the setting, and allows you to introduce your characters and set the stage for your story. Action is written in REAL TIME.

Writing Tip:
Every moment in a screenplay takes place NOW. Use the active voice (a window slams shut) not the passive voice (a window is slammed shut).
Always write in PRESENT TIME, not the past. (There are rare exceptions to this; for example, John Milius' The Wind and the Lion had description in past tense like a novel, but then, he also directed the film.)
Keep your paragraphs short... don't let them go on and on over 4 or 5 lines. The reader may scan long action paragraphs without really reading them.

FADE IN:

EXT. KEY WEST MARINA - DAWN - ESTABLISHING

Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.

INT. MASTER SUITE - MORNING

Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.

The reader begins to form an idea about the setting and the action taking place. We know we're on a boat, two characters have been introduced to us, we have some idea about their physical appearance. And we have a clue to their relationship.
Avoid a compulsion to write camera angles and shots. If you must emphasize some shot, write it on a single line. Angles and shots are the domain of the director an will likely be added in the Shooting Script.

Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and grins
at Julie's naked body. Suddenly, Frankie recoils.

There's a devil tattoo on her shoulder that he's never seen before.

Chapter 6

Character Name

The Rules:
The CHARACTER NAME is formatted in uppercase letters and indented 3.5" from the left margin.

Before a character can speak, the writer inserts a CHARACTER NAME to let the reader know this character's dialogue follows.
A character name can be an actual name (JOHN) or description (FAT MAN) or an occupation (DOCTOR). Sometimes, you might have COP #1 and then COP #2 speaking. It is okay to identify the speaking parts like this, but actors will like you more if you personalize their part with a name. Try to be consistent.

Software Tip:
When you use script writing software the use of long, difficult to type character names is a breeze. The programs automatically learn and keep track of the CHARACTER NAMES you use, allowing for consistency and ease. No need fear those JACQUELINEs and DR. FRANKENSTEINs; two quick keystrokes are all you will need to make them appear on the screen.
Script writing software will also insert the correct spacing from the previous paragraph style, saving you thousands of keystrokes during the writing process.

FADE IN:

EXT. KEY WEST MARINA - DAWN - ESTABLISHING

Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.

INT. MASTER SUITE - MORNING

Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.

FRANKIE
Chapter 7
Dialogue
The Rules:
DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5".DIALOGUE rules apply when anyone on screen speaks. During a conversation between characters. When a character talks out loud to himself... even be when a character is off-screen and only a voice is heard.
Writing Tip:
Great dialogue is a window into the soul of your character. It sounds real... It's conversational. The audience feels like a fly on the wall, hearing natural interplay between characters. Great dialogue may use common language but express great passion, and even become a catch phrase in popular culture, as the line from Clint Eastwood's Dirty Harry Callahan "Go ahead. Make my day."
It's not a bad idea to read your dialogue aloud to see how it really sounds. If you have a difficult time reading a line, it may not be good dialogue. You'll definitely be able to tell if you organize a reading of your script and hear it that way (best with professional actors, like they do in Hollywood and on Broadway).
Software Tip:
Script writing software now has the capacity to read your dialogue back to you via your computer's sound system. You assign a gender to your character name, even different inflections, and you can have a staged reading of your script right there in your living room.
FADE IN: