I need someone know how to write script, writing homework help

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Snyru93

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Writing

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Write a script based on an original story. Be sure the story includes a clear beginning, middle, and

ending. The script should be at least 7 pages and include a good range of scriptwriting and visual

storytelling techniques (at least many if not all the aspects discussed in class).

In addition to overall polish, three main components will be evaluated:

(1) the quality of the premise and story-arc;

(2) the depth and quality of the dialogue and pacing;

(3) the ability to properly use

many scriptwriting and visual storytelling techniques.

OBJECTIVES:

Think of this as a “Final Exam,” as a chance to “show off” everything you’ve learned in this class.

The script should:

1. Demonstrate an ability to develop an entirely original story that follows traditional

conventions and three-act structure.

2. Demonstrate a good depth and quality of dialogue and pacing.

3. Demonstrate an ability to properly use several advanced scriptwriting and visual storytelling techniques.

Also I uploaded some files they can help you .

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SCREENPLAY FORMAT FOR TV SHOWS "Episode Title" Written by Matt Carless Every script should have a title page with one contact address only in the bottom left hand corner. Always include a phone number and an e-mail address if you have one. If you have an agent the address and number can go here. A draft number or date is not required on a spec script. 1. SERIES TITLE "Episode Title" TEASER FADE IN: EXT. LOCATION #1 - DAY If your show requires a pre-credits Teaser, then indicate it like this. All Teasers and Acts must begin with FADE IN: followed by a scene heading. Scene headings are typed in capitals and must indicate: interior or exterior, the location, and day or night. Scene action is double-spaced under the heading in upper and lower case text with double-spacing between paragraphs. Scene action should only deal with what is happening on the screen and must never stray into superfluous novelistic text related to character thoughts or back-story. A general rule of thumb is to limit a paragraph of scene action to four or five lines. Consider each paragraph as a significant beat of action within your scene. INT. LOCATION #2 - NIGHT Begin a new scene with the heading triple-spaced from the preceding scene. Always follow a scene heading with a line of scene action. CHARACTER #1 Character names appear in capitals indented to around the middle of the page, but not centered. A character is designated by either their first or last name, but a role designation may be used instead with personal titles abbreviated. The designated name should remain consistent throughout the script. CHARACTER #2 Dialogue appears under the character name in regular text. Similarly, it is not centered. (MORE) 2. CHARACTER #2 (CONT'D) (pause) Split dialogue between pages only if at least two lines appear on the first page, and only after a sentence. CHARACTER #1 (beat) Parenthetical instructions appear in lower case text enclosed within brackets on a separate line in the body of the dialogue. (pause) Never leave a parenthetical hanging at the bottom of a page when breaking a character's speech. Move it to the top of the next page under the character name. If scene action interrupts a character's speech on the same page... CHARACTER #1 (CONT'D) Then you must begin a new character cue when continuing the dialogue, but including (CONT'D) isn't essential. Dialogue must always be preceded by a character name and never appear on its own. End the Teaser and each Act in the following way. FADE OUT. END OF TEASER 3. ACT ONE FADE IN: EXT. LOCATION #1 - NIGHT Begin each new Act on a new page. On occasions, it may be necessary to indicate two characters speaking simultaneously. This should be used sparingly, but if you need to do it this is how. CHARACTER #1 Show your first character speaking on the left. CHARACTER #2 While the character on the right tries to get a word in edgeways. CHARACTER #2 And finally manages to achieve it. Try to limit the length of your overlapping dialogue. EXT. LOCATION #2 - NIGHT Sometimes you may need a character to speak in a foreign language. Contrary to belief, it is not a good idea to write the foreign language itself. A general rule of thumb is to always submit a script in the same language as the person who'll be reading it. CHARACTER #1 (in French) Indicate the foreign language in parenthesis and write the dialogue as you normally would in English. CHARACTER #2 (in Russian; English subtitles) If your character is speaking in a foreign language with subtitles, then this is how to show it. If, however, the entire scene is being spoken in a foreign language, then a special note should be included in the scene action. NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN HUNGARIAN AND SUBTITLED IN ENGLISH. 4. CHARACTER #1 Then just write the dialogue normally, in English. CHARACTER #2 And when you reach the end of the scene, include another special note. END OF SUBTITLES. If there is a specific reason for showing the foreign language and the translation, use the dual dialogue method with the foreign language on the left and the translation on the right -- indicating that they are subtitles in parenthesis. INT. LOCATION #2 - DAY Scene transitions are technical information indicating the method of changing from one scene to another and should only be used in shooting scripts. But, if it's absolutely necessary to specify one, it appears like this. DISSOLVE TO: SERIES OF SHOTS: A) SERIES OF SHOTS: is a group of short shots which make up a narrative sequence, useful for advancing the story in a rapid or economical way. B) The shots are presented in logical arrangement for the action with a beginning, middle and end point to the sequence. C) MONTAGE: is a series of two or more images that blend into and out of each other in order to create a particular effect. D) It is used to create an emotional environment, a main title sequence, or when representing archive stock footage. E) Both are used to avoid multiple scene headings when scenes are too short to conform to the usual formatting rules. EXT. LOCATION #1 - NIGHT Don't leave loose headings hanging at the bottom of a page. 5. It's sometimes a good idea to start a new scene on a new page if there is only a line or two at the bottom of the previous one, but scenes can break over the page easily like this. Shooting scripts include CONTINUED at the top of the page, but this is unnecessary in a spec script. LATER If you need to indicate the passing of time through the same scene then use LATER as a sub-heading. There is no need to continuously repeat the master scene heading. THE CORNER OF THE ROOM Similarly, you can break up lengthy and complex scenes by focussing on specific areas of action with a sub-heading. This is useful when scripting large party or group scenes. FADE OUT. END OF ACT ONE 6. ACT TWO FADE IN: EXT. LOCATION #2 - NIGHT Sometimes it may be necessary to hear characters when we can't actually see them. CHARACTER #1 (O.S.) Off Screen means the character is physically present within the scene, but can only be heard, e.g. they are speaking from an adjoining room. CHARACTER #2 (V.O.) Voiceover is used when the character is not present within the scene, but can be heard via a mechanical device such as a telephone or radio. It is also used when a character narrates parts of your story. CHARACTER #2 If you need to differentiate between a character's narration and their on screen dialogue, then handle it as separate speeches. CHARACTER #2 (V.O.) As (O.S.) and (V.O.) are technical instructions, they appear next to the character name. INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY If it's necessary to CUT back and forth between simultaneous action in two different locations in the same scene, then handle your scene heading like this. Use this method when you want to show a phone conversation. CHARACTER #1 (into phone) You can then type your dialogue as normal. 7. CHARACTER #2 (into phone) Whilst indicating that both characters are on the phone. CHARACTER #1 (into phone) Just make sure you indicate when the character hangs up. (hangs up) Especially if you are going to continue the dialogue and scene beyond the phone conversation. INT. LOCATION #1 - DAY Alternatively, you can establish both locations separately. CHARACTER #1 (into phone) Show your first character speaking into the phone like this. INT. LOCATION #2 - DAY Then establish your next location. CHARACTER #2 (into phone) And show your second character like this. INTERCUT: CHARACTER #1 (into phone) Then continue the conversation, intercutting comfortably between the two characters. CHARACTER #2 (hangs up) If you finish the conversation and stay with one character, you don't need to repeat the scene heading as it has already been established earlier. 8. INT. LOCATION #1 - NIGHT Another way to write phone conversations is to show one character speaking but only hear the other. CHARACTER #1 (into phone) This is the character we see on the phone. CHARACTER #2 (V.O.) Whilst we hear the second character speaking at the other end. CHARACTER #1 (into phone) But the first character remains on-screen throughout the scene. EXT./INT. LOCATION #1 - DAY If you have a scene where the action is continuously moving between the interior and exterior of the same location, such as the hall and driveway of a house, do your scene heading like this. But use INTERCUT for cutting back and forth between two separate pieces of action inside and outside. FADE OUT. END OF ACT TWO 9. ACT THREE FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." EXT. LOCATION #1 - NIGHT - 1956, FLASHBACK If you want flashbacks in your script, treat them as separate scenes and format your headings like this. YOUNG CHARACTER #1 If it's important, you can include the specific year or time period. YOUNG CHARACTER #2 If your flashback takes place across a number of consecutive scenes, then specify it as a flashback sequence in the heading. Indicate when the flashback or flashback sequence finishes and begin a new scene. END FLASHBACK. INT. LOCATION #1 - DAY Scene numbers are not included on a spec script. They generally only appear on shooting scripts along with camera and technical directions (which should also be avoided). Don't forget to number all of your pages -- page one begins with the Teaser, not the title page. And keep all your pages together with a simple paper binder in the top left corner. Unfastened pages can become separated and get lost. FADE TO: 10. INT. LOCATION #2 - NIGHT It is standard practice to sign-off a film script with THE END centered on the page, preceded by FADE OUT. FADE OUT. only ever appears at the end of an Act and the entire script. If you want to indicate a FADE OUT. and a FADE IN: between two scenes within an Act, then the correct transitional term is FADE TO: However, as mentioned above, scene transitions should be avoided in spec scripts where possible. FADE OUT. END OF SHOW Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner Things you should know about scriptwriting SCENE HEADINGS INT. HOTEL ROOM – NIGHT PROPER DESCRIPTION(S) CHARACTERS CAP FIRST TIME AGES (20s/late-‐20s/30s/70) PARENTHETICAL DIRECTION OR EMOTION ONLY ACTION FILMABLE!! PITHY AND ACTIVE (no “we hear a noise.”) NO CAMERA MOVEMENTS! DIALOGUE STORY OR ENTERTAINING GOOD DIALOGUE: [Advances Story / Explains Back-Story / Reveals Character / Establishes Mood] AND/OR [Think / Laugh / Entertain] TIPS: Dialogue should move the story forward – Avoid the unnecessary – Dialogue is NOT “conversation” – It is “Life with the dull parts taken out.” Listen to HOW people talk (People say words like “irregardless” and/or use words incorrectly sometimes). Less is more - Dialogue does not need to be complete sentences. Different people talk differently. Mix up dialogue and have it come from character. Think about the GENRE, how it informs how characters can/do talk and what’s considered “acceptable.” Remember that the text is not always the subtext of a scene. Write with your eyes. Break up dialogue with action.
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Writing a Script
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Act 1 Scene 1
As the curtain goes up, Mary Williams, Katy Perry, Steph Johnson and Pia Arianne are sitting on
Mary Williams’s bed. They are all smartly dressed in Brookhouse Academy’s uniforms with.
They are happily telling each other stories of their recent holiday.
Mary: I recently had a hilarious experience with our neighbor’s dog in Canada. It was trying to
grab a fly. (Laughing very hard) She kept jumping into the air trying to grip it by its mouth
(Jumping into the air and biting) Just before it could catch it, it flew away. It was so funny!
(Katy Perry, Steph Johnson and Pia Arianne are laughing uncontrollably)
Pia:

So, Steph how was your holiday? (Turning to Steph)

Steph: It was amazing. We visited our grandparents and all we did was listen to interesting
ancient stories till we fell asleep.
Katy: Oh really? I remember someone saying she met someone interesting in short a crush back
at your grandparent’s (winking).
Steph: Katy! Shut your front door! (Covering Katy Perry’s mouth) I had a crush on nobody, well
we kind of call things off. Well I did.
Pia:

Him? Pete? Pete Gomez?

Steph: Yes him. And no one is allowed to talk about Pete Gomez whether am present or not.
Mary, Pia and Katy: Yes ma’am. NO more Pete Gomez. Oops, we forgot that we are not
supposed to mention Pete Gomez! (Laughing loudly)
Steph: Guys! Seriously! (Rolling her eyes)
Porter: (A deafening knock is heard on the door) Excuse me; I am here to deliver your luggage.
Mary: Thank you, we will take it from here. (Walking to the door. Katy assists her to carry all
the bags placing them on the bed)

Mary: Finally our bags are here ladies. (Opens her bag and begins to take out her things) Well, I
carried lots of clothes, dozens of shoes and of course the most amazing story book, Harry Porter.
Katy: Girl you got yourself a book for your earth day (birthday)? (Rolling her eyes as she
unpacks)
Mary: Yes, I invest in my mind by reading a lot.
Katy: Okay bookie.
Pia and Steph: (They laugh as th...