mirror of
https://git.lyx.org/repos/lyx.git
synced 2024-12-21 05:00:59 +00:00
1602415b98
Also MacOSX ReadMe files. Note that a few lib/doc files are
also "updated" because trailing spaces are removed, but their file
formats are the same because they were recently updated at 83672113
.
I did "git checkout LFUNs.lyx" because this file is generated
automatically and has a special header.
2276 lines
35 KiB
Plaintext
2276 lines
35 KiB
Plaintext
#LyX 2.2 created this file. For more info see http://www.lyx.org/
|
|
\lyxformat 501
|
|
\begin_document
|
|
\begin_header
|
|
\origin /systemlyxdir/examples/
|
|
\textclass hollywood
|
|
\use_default_options false
|
|
\maintain_unincluded_children false
|
|
\language english
|
|
\language_package default
|
|
\inputencoding auto
|
|
\fontencoding global
|
|
\font_roman "default" "default"
|
|
\font_sans "default" "default"
|
|
\font_typewriter "default" "default"
|
|
\font_math "auto" "auto"
|
|
\font_default_family default
|
|
\use_non_tex_fonts false
|
|
\font_sc false
|
|
\font_osf false
|
|
\font_sf_scale 100 100
|
|
\font_tt_scale 100 100
|
|
\graphics default
|
|
\default_output_format default
|
|
\output_sync 0
|
|
\bibtex_command default
|
|
\index_command default
|
|
\paperfontsize default
|
|
\spacing other 0.90
|
|
\use_hyperref false
|
|
\papersize default
|
|
\use_geometry true
|
|
\use_package amsmath 0
|
|
\use_package amssymb 0
|
|
\use_package cancel 0
|
|
\use_package esint 0
|
|
\use_package mathdots 1
|
|
\use_package mathtools 0
|
|
\use_package mhchem 1
|
|
\use_package stackrel 0
|
|
\use_package stmaryrd 0
|
|
\use_package undertilde 0
|
|
\cite_engine basic
|
|
\cite_engine_type default
|
|
\biblio_style plain
|
|
\use_bibtopic false
|
|
\use_indices false
|
|
\paperorientation portrait
|
|
\suppress_date false
|
|
\justification true
|
|
\use_refstyle 0
|
|
\index Index
|
|
\shortcut idx
|
|
\color #008000
|
|
\end_index
|
|
\leftmargin 1.5in
|
|
\topmargin 48bp
|
|
\rightmargin 0.75in
|
|
\bottommargin 30bp
|
|
\headheight 12bp
|
|
\headsep 24bp
|
|
\footskip 6bp
|
|
\secnumdepth 2
|
|
\tocdepth 2
|
|
\paragraph_separation indent
|
|
\paragraph_indentation default
|
|
\quotes_language english
|
|
\papercolumns 1
|
|
\papersides 1
|
|
\paperpagestyle fancy
|
|
\tracking_changes false
|
|
\output_changes false
|
|
\html_math_output 0
|
|
\html_css_as_file 0
|
|
\html_be_strict false
|
|
\end_header
|
|
|
|
\begin_body
|
|
|
|
\begin_layout General
|
|
[NICHOLL FELLOWSHIPS in SCREENWRITING]
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
http://www.oscars.org/academy/nichollindex.html
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset ERT
|
|
status open
|
|
|
|
\begin_layout Plain Layout
|
|
|
|
|
|
\backslash
|
|
thispagestyle{empty}
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Formatted text courtesy of Ann Garretson
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
http://www.halcyon.com/aga
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Copyright 1998 by the Academy of Motion Picture Arts and Sciences
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\threehyphens
|
|
\threehyphens
|
|
\threehyphens
|
|
-
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
FILE NOTES
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\threehyphens
|
|
\threehyphens
|
|
\threehyphens
|
|
-
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Source: Academy of Motion Picture Arts and Sciences (A.M.P.A.S.)
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
- The NICHOLL FELLOWSHIPS in SCREENWRITING
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
- http://www.oscars.org/nicholl/index.html
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
- E-mail: Greg Beal, gbeal@oscars.org
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
File Info: April, 1998 (online)
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
- http://www.oscars.org/nicholl/format_a.txt
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
- View in a monospaced font \twohyphens
|
|
preferably 12-point Courier.
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Copyright 1998 by the Academy of Motion Picture Arts and Sciences
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\threehyphens
|
|
\threehyphens
|
|
\threehyphens
|
|
-
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Permission to use this script as a \SpecialCharNoPassThru LyX
|
|
example file was kindly granted by
|
|
Greg Beal, gbeal@oscars.org.
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
I added a few lines at the end of script about binding.
|
|
The original script ended with the words
|
|
\begin_inset Quotes eld
|
|
\end_inset
|
|
|
|
I'd never let you miss a meal.
|
|
\begin_inset Quotes erd
|
|
\end_inset
|
|
|
|
There were also references to tabs, which don't exist in \SpecialCharNoPassThru LyX
|
|
, so I made
|
|
minor changes in the text.
|
|
Apologies and kudos to Ann Garretson.
|
|
Be sure to thank her when you get your Oscar.
|
|
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Garst R.
|
|
Reese
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
reese@isn.net
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Newpage newpage
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Title
|
|
FOR A FEW DAYS MORE
|
|
\end_layout
|
|
|
|
\begin_layout Author
|
|
by
|
|
\begin_inset Newline newline
|
|
\end_inset
|
|
|
|
April Rider
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset VSpace vfill
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Right Address
|
|
April Rider
|
|
\begin_inset Newline newline
|
|
\end_inset
|
|
|
|
555 George St.
|
|
NNW
|
|
\begin_inset Newline newline
|
|
\end_inset
|
|
|
|
Kaplan, ND 77777
|
|
\begin_inset Newline newline
|
|
\end_inset
|
|
|
|
999-999-9999
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Newpage newpage
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout FADE IN:
|
|
\begin_inset CommandInset label
|
|
LatexCommand label
|
|
name "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\begin_inset CommandInset label
|
|
LatexCommand label
|
|
name "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
Use Layout->Document
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Spacing Other to set the spacing between lines.
|
|
A value of .85 is probably the minimum.
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
To change:
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
dialogindent}{1in},
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
parenoffset}{.5in},
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
dialogLength}{4in},
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
parenLength}{2in},
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
speakeroffset}{1.2in}
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
click \SpecialCharNoPassThru TeX
|
|
and enter new values as above.
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Parenoffset is the offset to the left of parentheticals from speaker names.
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
Speakeroffset is the offset to the right of the dialog margin, so changing
|
|
dialogindent will automatically change the position of parentheticals and
|
|
speaker names.
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
You can put your Speaker names in labels, the insert cross references to
|
|
the labels.
|
|
The printed version will automatically be capitalized in Speaker even if
|
|
the label is not capped.
|
|
This way you can use them in dialogue also, and change all references to
|
|
your Speaker's names just by changing the label.
|
|
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset ERT
|
|
status collapsed
|
|
|
|
\begin_layout Plain Layout
|
|
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
parenLength}{1.7in}
|
|
\end_layout
|
|
|
|
\begin_layout Plain Layout
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Plain Layout
|
|
|
|
|
|
\backslash
|
|
setlength{
|
|
\backslash
|
|
dialogLength}{3.2in}
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
DRISKILL HOTEL SEMINAR ROOM - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
JOE and APRIL burst through the doors into a clean, well-lit seminar room
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
Use the description after INT.
|
|
or EXT.
|
|
to keep it on the same page.
|
|
Narrative is the same, except that it allows a pagebreak before it.
|
|
Notice that I did not use the labels for Joe and April here because they
|
|
are upper-cased in discriptions only the first time they are used.
|
|
You could make extra labels, but I think it would be error-prone.
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Are we in time?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
How could they start without us? We're the main attraction.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
catches his breath as he leans against the podium at the front of the room.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
looking about the room
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
We are?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Don't be a moron.
|
|
You know we've been invited to Austin to discuss script format.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
But why is the room empty?
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
and
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
both look out across the room \twohyphens
|
|
rows of empty chairs and nary a person
|
|
in sight.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Okay, okay, don't panic.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
She takes three deep breaths.
|
|
Then she looks at her watch and smiles.
|
|
\end_layout
|
|
|
|
\begin_layout Continuing
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
We're an hour early.
|
|
We should rehearse.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Okay, you start.
|
|
Margins?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Left, 1.5 inches.
|
|
Right, 0.75 inches.
|
|
Top, 1.0 inch to the body, 0.5 inches to the number.
|
|
Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Page break?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Right above me.
|
|
Rules for breaking a page.
|
|
Scene headers, like INT., remain attached to Description.
|
|
If a page breaks between a Speaker and a one sentence Dialogue, move it
|
|
above the Speaker.
|
|
A long Dialogue passage would be split \twohyphens
|
|
but I'll get to that later.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
What about fonts?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Courier, 12 point, 10 pitch.
|
|
Make sure it's a non-proportional version of Courier.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
's grimace suggests that he's deep in thought.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
What about bold-face or italics? Or a Gothic font? I love to jazz up my
|
|
scripts.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
|
|
Stick with Courier.
|
|
That's the industry standard.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Oh, we're talking about industry standards?
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
Suddenly,
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
bolts from behind the podium and runs out into:
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
DRISKILL HOTEL HALLWAY - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
glances up and down the hallway, then reaches back to open the door.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
calling
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
\twohyphens
|
|
come on! There's no one here.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
walking through the door
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Ah, a scene heading.
|
|
Or a slug line, as I was taught in film school.
|
|
Always CAPPED.
|
|
What happens if we \SpecialChar ldots
|
|
|
|
\end_layout
|
|
|
|
\begin_layout EXT.
|
|
TEXAS CAPITOL BUILDING - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
pinches himself as he stands with
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
before the seat of Texas politics.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
How'd you do that?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
There was a cut \twohyphens
|
|
from the hallway to the capitol.
|
|
What'd you want to do \twohyphens
|
|
ride in a cab?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Dialogue margins.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Left, 3.0 inches.
|
|
Right, 2.5 inches.
|
|
Of course, you can cheat those a tad.
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
These are from the paper edge, but you specify them from
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
the left margin using dialoglength and dialogIndent.
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
So, you have about 3.0 inches for each line of your dialogue?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You've got it.
|
|
Though you can go out another three or four spaces to the right and no
|
|
one will hold it against you.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
jots down several notes on a 3 x 5 card, studies the card for a moment,
|
|
then scribbles another note.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
looking up
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
And the position of the speaker's name?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
All CAPS, and about 2.7 inches from the left margin.
|
|
Some writers center all the speakers' names.
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
Use More to break up a dialogue across a page boundary.
|
|
It will put (MORE) at the bottom of the page, and insert the current speaker
|
|
name and (CONT'D) at the top of the next page.
|
|
You should not break mid-sentence.
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout More
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Personally, I don't think it matters.
|
|
The look of the script pages is slightly different in either case.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Hey, what happened?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
A page break appeared in the middle of my dialogue.
|
|
You use (MORE) at the bottom of the page to show that the speaker's dialogue
|
|
continues onto the next page.
|
|
Then (CONT'D) next to the speaker to show that it has roots in the previous
|
|
page.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
But not everybody uses MOREs and CONT'Ds, do they?
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
CAPITOL BUILDING - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
stares up into the dome.
|
|
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
examines the portraits of Texas governors on the nearby walls.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Some writers just plan their page ends so as to avoid them.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
considering
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
What about parentheticals?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Start them about a half-inch to the left of the speaker name.
|
|
In our case that would be at 2.2 inches from the left margin.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
And what are they for?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
For years, parentheticals were used to express emotion, the manner in which
|
|
a speaker spoke her lines.
|
|
Loudly, passionately, sadly, and so on.
|
|
In recent years writers have often used them for brief bits of action.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
going up a stairway
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Something like this?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
following him
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Exactly.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
How wide are parentheticals?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Not very \twohyphens
|
|
about 1.5 inches.
|
|
And they should wrap to the following line when they extend beyond that
|
|
point.
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
pointing up to the top of the page
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
If you place a parenthetical in the middle of a dialogue passage, it should
|
|
remain distinct from the dialogue.
|
|
\end_layout
|
|
|
|
\begin_layout EXT.
|
|
MISSISSIPPI RIVERBOAT - NIGHT
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
A gambling boat rolls slowly along the mighty river.
|
|
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
and
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
wander about its upper deck.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
I have to ask \twohyphens
|
|
what happened to CUT TO:s between scenes.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Many writers still use transitions such as CUT TO: and DISSOLVE TO: between
|
|
scenes.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Those would introduce a new scene header?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
And typically a different time and/or place.
|
|
But many writers have dispensed with such transitions, feeling that a new
|
|
scene header signifies a cut without the need of any additional indicator.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
stares out at the river.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
How did we reach the Mississippi and when did the sun set?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
If you'd like \SpecialChar ldots
|
|
|
|
\end_layout
|
|
|
|
\begin_layout EXT.
|
|
AIRPLANE - SUNSET
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
A jet liner cruises East across Texas.
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
AIRPLANE - SUNSET
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
A customized interior, replete with lounge chairs and sofas.
|
|
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
and
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
sip margaritas.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Is this a flashback?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Or it could be tomorrow.
|
|
Or next week.
|
|
\end_layout
|
|
|
|
\begin_layout TITLE OVER:
|
|
October 19, 1997
|
|
\end_layout
|
|
|
|
\begin_layout Continuing
|
|
|
|
\end_layout
|
|
|
|
\begin_layout General
|
|
\begin_inset Note Note
|
|
status collapsed
|
|
|
|
\begin_layout General
|
|
Selecting
|
|
\begin_inset Quotes eld
|
|
\end_inset
|
|
|
|
Continuing
|
|
\begin_inset Quotes erd
|
|
\end_inset
|
|
|
|
will insert the current Speaker followed by (continuing) as a parenthetical.
|
|
Don't worry, it will look right on the printed version.
|
|
\end_layout
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You see, a few weeks have passed.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Okay, I didn't notice.
|
|
But I thought only DAY and NIGHT were allowed on scene headers.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Production managers would certainly prefer it that way, but many writers
|
|
use headers as a means of showing a particular time of day, especially
|
|
SUNRISE and SUNSET.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
So that's allowed?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
On writer's drafts, without a doubt.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
A writer's draft?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Essentially, any draft that hasn't been paid for.
|
|
Any draft to be sent to agents, studio execs, production companies, development
|
|
people.
|
|
Those are writer's drafts.
|
|
And they all should be FIRST DRAFTs, no matter how many versions the writer
|
|
has actually written.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You really think so?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
That's my recommendation.
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
BLUE CAMARO - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
drives along Austin's Congress Avenue as
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
rides shotgun.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You speak any foreign languages?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
in French
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Why do you ask? (Pour quoi tu demandes?)
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
What about action scenes?
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
SUDDENLY, A BLACK CADILLAC whips around a corner, racing quickly towards
|
|
them.
|
|
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
punches the accelerator and \twohyphens
|
|
THE BLUE CAMARO leaps forward, leaving a
|
|
trail of rubber.
|
|
The Camaro takes a left, then a quick right to accelerate into \twohyphens
|
|
A DARK
|
|
ALLEY The Camaro quickly reaches a dead end, just as \twohyphens
|
|
THE BLACK CADILLAC
|
|
pulls into the alley, sealing it shut.
|
|
\end_layout
|
|
|
|
\begin_layout EXT.
|
|
DRISKILL HOTEL DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
leads a dazed and confused
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
to the front door.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
That's one way to do an action scene.
|
|
It's a variation on the Bill Goldman style that's used by many writers.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
coming to
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
But other writers just use normal description and standard scene headers
|
|
for action scenes, don't they?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Many do.
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
DRISKILL HOTEL ENTRANCE HALL \twohyphens
|
|
PHONE BOOTH - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
A slightly less dazed
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
speaks on the phone.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
I thought we were walking together.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
(O.S.)
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
filtered
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Well, we were, but I realized a phone call was needed.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You're filtered?
|
|
\end_layout
|
|
|
|
\begin_layout INTERCUT
|
|
|
|
\end_layout
|
|
|
|
\begin_layout EXT.
|
|
STATE CAPITOL PHONE BOOTH - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
With the dome looming large behind her,
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
speaks into the phone.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Only when you hear my voice over the phone.
|
|
Radio voices and phone calls often are filtered, though it's a convention
|
|
that isn't used by everyone anymore.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Let's try something easy.
|
|
What about page numbers?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Number each and every page, though you can start with page two.
|
|
The numbers should appear in the upper right hand corner, about 0.5 inches
|
|
down and 0.75 inches from the right page edge.
|
|
Those dimensions are not set in stone, but page numbers should always be
|
|
placed in the upper right hand corner.
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
DRISKILL HOTEL HALLWAY - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
walks slowly towards the seminar room.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You know, that pronouncement almost seemed godlike.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
(V.O.)
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
If it were, I probably would have spoken in a voice over and not on the
|
|
phone.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
searches the ceiling, trying to decide just where this disembodied voice
|
|
is emanating from.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
What's a V.O.
|
|
used for?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
(V.O.)
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Oftentimes for narration, for a narrator's voice.
|
|
In film noir the protagonists often filled the audience in on their thoughts
|
|
or story details.
|
|
Documentary films are filled with voice over.
|
|
\end_layout
|
|
|
|
\begin_layout INT.
|
|
DRISKILL HOTEL SEMINAR ROOM - DAY
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
races past
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
to reach the podium first.
|
|
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
walks slowly past the still-empty chairs.
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
At the podium
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
gestures with his hands as if he were making a major political speech.
|
|
\end_layout
|
|
|
|
\begin_layout Description
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
sneaks up behind him and mimics his movements \twohyphens
|
|
until he notices.
|
|
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
spins to confront her.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Why I ought'a \SpecialChar ldots
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
I was just demonstrating the way many writers break description into shorter
|
|
paragraphs.
|
|
I've seen blocks of description covering an entire page.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
That makes for tough reading, doesn't it?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
I know studio readers who just skip long description and read only dialogue.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
But there are pros who write scripts with extended descriptive passages.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
When you make a half-million or so per script, you can pretty much use any
|
|
format you want.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
climbs atop the podium.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
But when you're like me, you have to stick to format.
|
|
Is that what you're trying to say?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
That's the story.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
jumps down from the podium and runs out the door just as conference ATTENDEES
|
|
begin to enter.
|
|
\end_layout
|
|
|
|
\begin_layout Continuing
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
By the way, the first time you introduce a speaker in description, you CAP
|
|
his name.
|
|
And when you break dialogue with description, the standard is to place
|
|
"continuing" within parentheses when a speaker chatters on and on.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
watches as a number of people sit down before her.
|
|
\end_layout
|
|
|
|
\begin_layout Continuing
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Of course, many writers have dropped "continuing" from their repertoire.
|
|
I mean, it's obvious that I'm still speaking, isn't it? And that I never
|
|
stopped speaking.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
(O.S.)
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
shouting from beyond the door
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Hey,
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
, c'mon.
|
|
There's a buffet at the hotel and a shuttle leaving in two minutes.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Parenthetical
|
|
shouting
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
We haven't mentioned master scenes.
|
|
\end_layout
|
|
|
|
\begin_layout Narrative
|
|
A sheepish
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
enters, then glances about the room as he slowly approaches the podium.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
That one I know.
|
|
No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
|
|
Just scene headers, description and dialogue.
|
|
And no scene numbers.
|
|
Those are left to shooting scripts.
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
Don't worry, I would never let you miss a meal.
|
|
Do you know how to make a script sandwich?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "Joe"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
A script sandwich?
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
\begin_inset CommandInset ref
|
|
LatexCommand ref
|
|
reference "April"
|
|
|
|
\end_inset
|
|
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Dialogue
|
|
You need your script, two sheets of plain manila binding stock, a three
|
|
hole punch, and three 1.5 inch brass brads.
|
|
No title or name on the binding stock.
|
|
When you get it all assembled, you can hammer the brass brads down to make
|
|
it good and tight.
|
|
Now lets go eat.
|
|
\end_layout
|
|
|
|
\begin_layout FADE OUT
|
|
|
|
\end_layout
|
|
|
|
\begin_layout Speaker
|
|
THE END
|
|
\end_layout
|
|
|
|
\end_body
|
|
\end_document
|