Questions about Scene Headings

1) i use "continous" exclusively for continuing action. i'm not aware of a use for "continuing". but, then,i ain't that bright, either.

2) i use "moments later". or "later"

3) i'd say "timmy's new apartment" or "timmy's lower east side apartment" to differentiate.

4) it's industry convention to capitalize all speaking characters the first time they're named. in addition to this, i will personally capitalize a character who may not speak, but who's presence is key to the scene:

"timmy turned just in time to see the panic-stricken eyes of a DRUNK DRIVER"

as for your original note about day and night -- it's probably best in a spec script. if you're writing on assignment or a shooting script for yourself... by all means, go nuts with "dawns" and "twilights" and "sunrise", etc.

hope something in this post was of some assistance.

-william

Anytime any character no matter how minor is seen for the first time - use ALL CAPS. This includes non-speaking parts.

Using all caps notifies the reader that it's a new character, this information is needed by casting directors and also for the budget breakdown. All roles - even non speaking roles need to be cast and accounted for in the budget.

Okay, here's my two cents.

Is there a difference between "CONTINUOUS" and "CONTINUING"? If so, when do you use "CONTINUOUS" and when do you use "CONTINUING"?

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There really is no reason to use either anymore. It is understood that unless there is a definite break in time from one scene to another, that it will always be continuous. Use it only is you need to clarify an otherwise confusing time break to remind the reader that it is continuous.

If you have two actions that take place in the same location but there are gaps in time between the two actions take place, how do you handle it? Do you use a Scene Heading for the second scene like "EXT: TIMMY'S APARTMENT - DAY" or "EXT: TIMMY'S APARTMENT - MOMENTS LATER" or "10 MINUTES LATER" or "SOON AFTERWARDS," etc.

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Generally, under this circumstance, I would not use a traditional slugline and just put.

Bob walks out of the room.

LATER:

Bob walks back in.

Unless it is important to show how much time, LATER is sufficient. But if it is important that replace with MINUTES LATER: or HOURS LATER:

If your movie takes place over many years, some locations may have the same names but actually be different places. For example, Timmy might live in an apartment in 2005 and 2006 but his apartment might not be the same craphole that he lived in before. In this situation do you use "EXT: TIMMY'S APARTMENT 2006 - DAY" or "EXT: TIMMY'S APARTMENT - DAY" followed by a short description of the time like "Timmy's apartment in 2006 is located on the Lower East side of Manhattan..."

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The reader would need to know that time has passed and that would be done in this case with in the action with a SUPER: One year later. I would think that the old apartment would be nowhere near the new one, so I would write, INT. LOWER EAST SIDE - TIMMY'S APARTMENT - DAY vs. INT. UPPER WEST SIDE - TIMMY'S APARTMENT - DAY

When you introduce a character for the first time in your script, which ones do you have to put in ALL CAPS? Only the main characters? Only the characters with speaking lines (ex.: HOSTESS: Your table is ready, sir)? Or any character, no matter how small the role (ex.: OLD MAN cranes his head to see how much urine Timmy got in the cup.)

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All characters get CAPPED on intro. Even those who do not speak.

The CAPPING thing also applies when you are talking about GROUPS of people.

A line of CUSTOMERS
A CROWD OF CHEERING FANS
A DOZEN COMMUTERS wait for the train.

That would probably be my script.

I tend to use CAPS for things other than the norm. Yes, sounds and characters are important, but sometimes, (debatable) some writers use CAPS to emphasize something to the reader which is key, like "He PUNCHED her sqaure in the jaw" or "Bob opens the door and walks down to the BASEMENT."

I find if used sparingly and for the right reasons, CAPS can be a subtle yet effective way to indicate a close up, a punctuation to action, and so on.

To each his own.

I totally agree with Joe. And the key is definitely to use ALL CAPS sparingly. If you've got them in every action description, they no longer stand out. But they are a great way to attract attention to a specific visual image or action that you want emphasized.

Disputing Joe

I figure since I've been gone awhile why not stir things up a little.

I agree pretty much with all that's been said but would like to take a deeper look at the Now and then Later question.

What is happening while the character is out?
If there are other things happening and parts of the story are still being advanced while that character is gone then you would use normal slug lines and everything in the script would be standard format.
The audience will know that the person has been out and come back.

IF it is vital we know about how long the character has been gone you would put something in the action line to indicate the passage of time. The puddle from the leaky roof has grown, wilted flowers, starving cat, longer shadows, or sunrise/sunset. Simple, yet visual. Don't waste more then one sentence on it.

If we STAY in the room then give us something cool to watch that indicates the passage of time. A spider building a web, a changing view seen through the window, hands on the clock moving.
The funnier, weirder, or more interesting it is the better.

The thing to keep in mind is, when writing a script SOMETHING always has to be ON THE SCREEN. What is on the paper MUST be able to be filmed and transferred to a visual.
The audience isn't going to be reading the script.
How will the viewer KNOW it's later unless it's SHOWN?

Oh, and you can always superimpose, put words on the screen.
Format thus:

SLUGLINE

Brief description, yada yada, yada.

SUPER: LATER.

More action, blah, blah, blah.

As you can see though that eats up more line space.

Changing Apts

Another way to deal with the housing situation is to clarify what kind of dwelling it is. Maybe he could move from an Apartment building to a duplex, townhouse, or condo.
Each one indicates a reasonably specific type of building.

I would also encourage you to think about how the change is part of the story. Have things gotten worse or better? How does the change in address indicate change in the character or his situation?
The location should be part of the story. (as opposed to something that just creates format questions.)

Times other then DAY or NIGHT.
I've asked this question myself.
The "rule" I've been told is that it should only be DAY or NIGHT in the slugline. I've had some people say that any other indicators of time should be written in the action line.
I don't really see how using DUSK or DAWN would cause that many problems as long as it's rare. To me there is a big difference between DAWN and DAY.
One the sun is just starting to rise, there is a little light, but it's still dark.
The other, the sun is shining, lots of light. DUSK, the light is fading, long shadows. NIGHT, well it's dark. It's the difference between 5 am and 10 am, 7pm and 10 pm.
To me it is a shorter way to add clarity to the lighting of the scene while saving line space.

berkus said:

What about using (continuing) when the same character is speaking with description between his lines? This is automatically put in on my software program (Scriptware) and is used in the Nicholl's fellowship screenplay format sample on the oscars.org web site? Has this changed and it's not used anymore?

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Berkus

The standard is to use CONT'D - not continuing when a character's dialogue continues after an action line.

Personally, I would disabled the placing of those "continueds." They take up space and are one of those vestigial shooting script artifacts that don't make a whole lot of sense.

Somebody speaks. Then they do something (instead of parenthetically doing something). Then they speak again. What is difficult to follow there?

We are witnessing a slow peeling away of all this useless clutter on spec scripts. Eventually it will probably all fall away. (even FADE IN

I agree. CON'T is falling out of favor. It's assumed, just as CUT TO:.

I keep joking with my peers that in 20 years all there will be in a script is bullet points and dialog and Final Draft will give way to Excel.

Berkus -

Formats may change over time, but using CONT'Ds when speech is broken up by action is still the norm. So I suggest using them.

As for taking up space - since they're on character lines - they're only take up width not length so it doesn't impact page count or waste lines.