Another formatting question

Randomness said:

Hi,

I've been reading a lot of scripts and most of them all have "CONT'D" where conversation continues with the same character. Is this necessary? Also, "ON TV" is needed when characters talk on TV. But what if you need to write "CONT'D" and "ON TV" together? Won't it seem a bit crammed?

Also, where dialogue runs long, past a page break, then should i write the characters name again at the top of the second page and write "CONT'D" then continue the dialogue? Or is it better not to do anything and simply let the dialogue run past the page break normally?

Thanks

Click to expand...

Click to expand...

generally as a rule - yes.

MAC (on TV)
blah, blah.....

Page break.

MAC (on TV - cont)
yakkety yak..

Doesn't have to be capitals nor too cluttered. And it all depends on what stage the script is at. I've seen final draft scripts where writers haven't bothered with the character dialogue (cont) at a page break, but that same script had these standards then inserted for the read-through. The script editor took care of it. It's also helpful for the actors who'll be reading the work.

Some scripts also have 'cont' when a scene runs on to the next page, and the next, etc. Some don't.

A script with CONTINUED at the bottom of every page, and CONT'D whenever a speaker resumes his dialogue, is a shooting script that has been locked for production. That is, the script has been formatted for use as a production document. The scenes are numbered. If script changes are made after this point, the changes are reflected in the page numbering. Material added to page 80 would go on pages 80a, 80b, and so on, to keep pagination consistent.

The line producer, UPM, and/or AD's can now use it to make a shooting schedule. The other departments - camera, electric, grips, props, FX, hair, makeup, wardrobe, production design, props, etc. can use the script to plan their budgets, schedules, personnel and equipment needs.

You don't need to put CONTINUED's at the bottom of every page in a spec script. If and when the script goes into production, the script coordinator will reformat the script into production format.

It's good to put CONT'D in when the dialogue carries over the page break. Other than that, there's no need.

Seconding Odo

Use (cont'd) when there is a page break during dialog.

The cont'd lets the reader know that the same exact tone, emotion, etc is maintained in the dialog. That there hasn't been a break or change in the moment.

You shouldn't really need to write (cont'd on TV) very often so it won't look too crowded. If it has to be placed by a long character name then you can drop the (on TV) into a parenthetical.

The best thing to do is go back to the beginning of your script and trim up your descriptions, then tighten up your dialog. Cut cut cut.
This will bring your dialog back up before the page break and decrease the number of cont'ds you need.
It's a fair assumption that you likely need to trim down your script anyway.

odocoileus said:

A script with CONTINUED at the bottom of every page, and CONT'D whenever a speaker resumes his dialogue, is a shooting script that has been locked for production. That is, the script has been formatted for use as a production document. The scenes are numbered. If script changes are made after this point, the changes are reflected in the page numbering. Material added to page 80 would go on pages 80a, 80b, and so on, to keep pagination consistent.

Click to expand...

Click to expand...

Just a little technical detail here. In my experience, scenes added are reflected in the scene numbering 80a 80b, etc, and any changes made to the pagination after the shooting script is delivered is covered by pink pages, which are distributed to actors, producer, director, crew, etc, on set.

For what it's worth, I use Movie Magic 2000 and set its options to never break dialogue or action over pages. When I view the script with Print Preview and scroll through the pages, any noticable gaps at the bottom are an indication of too much yakky dialogue or chunky narration being pushed over onto the next page, which I re-attack to trim or split up. If nothing else it encourages me to keep dialogue and action paragraphs short.

-Derek
-> * <- Click on this magic star to be transported to my website. Ruby slippers optional.
________________________________________________
Take the critiques you get with a grain of salt. Invariably, some of the critics will be kooks, bitter curmudgeons, or complete fools. ~odocoileus

Randomness said:

Thanks for all your help.

So do you guys recommend that i put (ON TV) all the time that a character is talking on TV or should i just put it after their name for the first dialogue block then just put (CONT'D) on dialogue's following it?

Like for example when a news reporter is reporting -

DAN (ON TV)
Hello.

Does something.

DAN (CONT'D)
......

Does something else.

DAN (CONT'D)
.......

Click to expand...

Like somone stated before - that is for a shooting script. Not at spec level.

I would repeat (ON TV) every time the character speaks while on TV. Using (CONT'D) in this situation is unnecessary and potentially confusing. (ON TV) is specific, and it lets everyone know that the speaker is not physically in the scene.

(ON TV) is basically a variety of voice over (V.O.). You can use (ON TV) in the same way.

Just a little technical detail here. In my experience, scenes added are reflected in the scene numbering 80a 80b, etc, and any changes made to the pagination after the shooting script is delivered is covered by pink pages, which are distributed to actors, producer, director, crew, etc, on set.

Click to expand...

If the changes made to one page run over to a new page, that page is put in immediately after the original page. The new page has the same page number as the page before it, with an A added on. This way, the pagination stays consistent. So if a big change is made to page 80, the page that comes after it will be 80A, continuing to pages 80B and 80C if necessary.

The Hollywood standard color code for script revisions is white (original), then in order, blue, pink, yellow, green, etc. A good source for up to date format info is Riley's The Hollywood Standard. http://www.mwp.com/books/writing/hollywoodstandard.php4

Wait, back up a second.

If the camera hasn't changed from fliming the TV to something else then there is no reason to write (cont'd On TV) at all.

If Dan just stays there on the TV doing stuff then don't write (On TV) everytime.

If the camera moves to Jill in the kitchen chugging Red Bulls and then you come back to Dan talking on the TV you would write DAN (on TV).

And ONLY use (cont'd) if the dialog is page broken, which you've been encouraged to avoid.

Let's take this a step further.
If the action Dan performs is a simple, one line action of only three or four, maybe five words, you can put it in parenthecticals within the dialog block.
[I have seen two line action breaks but you really need to try to keep them short.]

DAN (on TV)
And now for the health report.
(reaches for a stack of paper)
New study reveals that as people
age they become less healthy.
(pops a pill)
Now they tell me.

Just make sure you indent them like a standard paren.

Randomness.

Personally, and this is only my personal opinion, so take it or leave it. It's worked for me in the past, and it continues to work.

I write (contd) every time there is stage directions, but no vocal interruptions by another character. Several reasons for this. There may be a few characters interacting within the scene, and it tends to assist a script editor or producer when they are reading the draft. It also helps at a read-through, and a cast read-through can be scheduled even though the script may yet go through another couple of drafts before becoming the shooting script. Even if you get some friends to read through your script, this should assist with a smoother rendition of your work, keep it flowing so to speak.

I would always insert On TV if my character was speaking on TV, a sequence that again might be broken by stage directions. My reasons are varied. If he/she is a main character and the scene is lengthy, it again helps in the reading, makes it crystal clear just where the character is at that juncture, that any reader during their first brief perusal doesn't have to ponder whether the same character hasn't perhaps popped into the scene in real time.

Likewise, I was involved in a project where two guys were standing at the bar watching a recorded TV interview in which one of them was speaking to a reporter. We had the same character playing out two roles in the same scene. Imperative in this situation that ON TV is continued throughout. And again crucial for a read through, as the emotion was different, if you get my drift.

Just what works for me. I have read very few screenwriting books, tend to avoid them as although they can be very informative, read more than one and you can bet you'll get bogged down in the conflicting opinions on offer. Read one, if you must, and then stick with what it tells you.

None of the opinions on this thread are wrong, equally none are set in stone. But I'll guarantee you this, if you write a fantastic screenplay and as a reward you get that call, the last thing they'll be calling to discuss is whether you included (cont) in the characters' dialogue, or persisted with ON TV.

Go with what works for you. And good luck with your script.

Use (continued) with the dialogue after the page break. I wouldn't worry about adding (on tv - continued). I doubt a reader would assume that since "on tv" isn't included in the continued parenthetical that the person started magically speaking outside the box, as it were.

Besides, it keeps the parenthetical shorter. Long parentheticals (or "wrylies", as they're often called) show you're trying to direct the dialogue too much.

So, I'd go something like this...

CHARACTER (on tv)
You rambled on for eighteen pages.

---page break---

CHARACTER (contd)
Front and back!

You get the idea.

Houseboy

makes a very good point.
Take a deep breath, step away from the format for a little while and focus on your story.

Then you can go back and seek out clarity in the directional functions of the script. When in doubt go for clarity. If you think something will be overlooked or misunderstood then spell it out.