Spec Screenplay Format - A couple quick Questions

A

armadillo

Well-known member
I have read several spec screenplays that use varying formats and just wanted to get a handle on the proper course to take regarding a couple points:

(a) Do I NOT capitalize sound effects like BANG or CRASH in a spec script?

(b) Do I include CUT TO and DISSOLVE TO in the far right margin of a spec script?

(c) Do I include (beat)s in the dialogue of a spec script and if so, do I put them (and actions in parentheses) in with the text of the dialogue, or do I insert a line break and use the same indentation as for a wryly (eg. whispering quietly).

(d) Is there latitude on whether to always use INT./EXT. PLACE - DAY/NIGHT, or if it is already established that we are INT. IN A HOUSE, can I simply say BEDROOM / BATHROOM / INTO THE LIVING ROOM if we are remaining in the house for a while.

(e) If the screenplay starts with a black screen and FADES INTO a scene in a room, would the proper format be something like:

The screen is black.
FADE TO:
INT. ROOM - DAY
Billy is carving a roast turkey, etc...
 
a,b, c, d, are correct.

e, needs only screen is black if a sound/dialogue is taking place, otherwise just start with fade in.
 
10s has it right.

(a) Do I NOT capitalize sound effects like BANG or CRASH in a spec script?
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I'd say there's no need to capitalize sounds, unless they're important. Maybe you're writing a scene where a main character gets shot off screen. So you might use BLAM, or whatever sound effect you want to write to hint that the gunshot is actually important. It's all up to you, really.

(b) Do I include CUT TO and DISSOLVE TO in the far right margin of a spec script?
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From my experience, you don't really need to. I've read many scripts where there are CUT TO, DISSOLVE, FADE, etc., and then I've read those that had absolutely none. I'd say, if you want to fill more pages or if you're going to direct the film, write it in. If not, then don't bother with them. Just worry about working on the story and not the CUT TOs.

(c) Do I include (beat)s in the dialogue of a spec script and if so, do I put them (and actions in parentheses) in with the text of the dialogue, or do I insert a line break and use the same indentation as for a wryly (eg. whispering quietly).
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Yes. In The Screenwriter's Bible, Trottier says "Avoid using the word beat ... It's usually best not to instruct the actor when to pause."

Honestly, you don't have to listen to what he says there. The book helps with laying down the basic foundations of screenwriting. But if you want to use beat, do it. Just don't overdo it.

(d) Is there latitude on whether to always use INT./EXT. PLACE - DAY/NIGHT, or if it is already established that we are INT. IN A HOUSE, can I simply say BEDROOM / BATHROOM / INTO THE LIVING ROOM if we are remaining in the house for a while.
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I think I understand. Do you mean, for example, this?:
INT. MURRAY HOME - DAY

Blah blah blah.

INT. BEDROOM - DAY

More blah blah.
​
to
INT. MURRAY HOME - DAY

Blah blah.

IN THE BEDROOM

Blah.
​
(e) If the screenplay starts with a black screen and FADES INTO a scene in a room, would the proper format be something like:
The screen is black.
FADE TO:
INT. ROOM - DAY
Billy is carving a roast turkey, etc...
Click to expand...
FADE IN:

INT. ROOM - DAY

BILLY is carving a roast turkey...
​
Hope this was helpful.

-Austen.
 
armadillo said:
(b) Do I include CUT TO and DISSOLVE TO in the far right margin of a spec script?
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I seldom use transitions and ALMOST NEVER use CUT TO:

The only time I use a transition is when it has an integral purpose the script. For instance, I may use DISSOLVE TO: to indicate a passage of time. And of course I generally use a FADE OUT. at the end.
 
Thanks guys, a couple other questions along the same lines:

(1) If the screen goes from a scene to black, and then holds on the black for a few moments before the next scene begins, would I use CUT TO BLACK?

(2) Is it okay to denote the OPENING CREDIT SEQUENCE in a spec script, if the sequence is over a series of images salient to the storytelling?
 
armadillo said:
(1) If the screen goes from a scene to black, and then holds on the black for a few moments before the next scene begins, would I use CUT TO BLACK?
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I'd probably use: FADE TO BLACK

(2) Is it okay to denote the OPENING CREDIT SEQUENCE in a spec script, if the sequence is over a series of images salient to the storytelling?
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I have only ever called out the opening credits in an adaptation I did. The way the intro to the story was handled actually lent itself to an OPENING CREDIT SEQUENCE. Normally, I'd leave this up to the filmmakers.
 
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armadillo said:
Normally I would - but I am finding some occasions where a cut to black has more impact. Would you still say just fade to black to conform with convention?
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The most important thing you need to do is tell a compelling story. Paint a story that the reader won't be able to put down. Stay away from camera movements, make sure your formatting is good, then let the story knock them out.
 
Agreed, that is good advice. I was still just trying to get to the bottom of whether I should be using cut to black as part of my formatting.
 
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