Took time off, now back at it

I know I'll get stoned for this)

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Script format is definitely harder when you're stoned.





I would underline the dialog lines you want to emphasize. It's better when you do this sparingly, one or two words at a time instead of an entire section. The goal is to make sure that the script reader understands exactly what is going on. The meaning of a sentence can change with the emphasis on one word versus another, so doing it on a word by word basis is more effective.

Parentheticals can be useful in making the writer's meaning and intentions clear, but some actors and directors will just ignore them.

Keep in mind also that the line reading you're giving the actor may be the most cliched reading. A good actor can do a variety of subtle, interesting line readings which can flesh out the character.


That said, the best way to figure this out is to read a bunch of scripts with situations similar to yours to see how pros do it.

Another easy option is to use exclamation marks, e.g. What?! You must be crazy! Put that down! Look out! Stop or I'll shoot! Hey, that's him! You gotta be kiddin' me! etc. The actor can't miss those.

-Derek

underline for dialogue
CAPS for exta significant sounds

now go smoke a joint and get writing!

I don't do any of this. I figure the actors will cut it all anyway. I use description lines to indicate the mood.

Am I making my scripts dull reads?

I don't think you're making your scripts dull reads just because you don't use parentheticals. Parentheticals and underlining for emphasis can help to make things clear, and this really the only time they should be used. That said, some working pros use bunches of them, so it's more a question of taste.

Many writers do use the action lines to help establish mood. It's a good technique.

The instructor in the script analysis class I'm taking constantly reminds us that the execs are often reading coverage while sleep deprived and with a thousand things competing for their attention. Anything we could do when writing coverage to make it clear and interesting would be appreciated by those execs.

I'd extend that to include script readers themselves. They're sleep deprived too, and have to slog through stacks of scripts. They don't like to read anything twice, and they want to get through a script as quickly as possible so they can go on to the next one.

Clear and interesting are the watchwords.

I've adopted a clever new tactic:

EXT. OFFICE BUILDING - DAY - WAKE UP!

INT. RECEPTION AREA - DAY - WAKE UP!

-Derek

joe - if you decide to use underline or caps then make sure it's during "significant" moments. ie - parentheticals need to be used when the dialogue can be interpreted two or three different ways and you want... no NEED it to be understood in one specific way.

depending on the scene

and the dialog you can just use the simple exclamation marks or you can add in either an action line that uses a nice powerful verb or you can use a paren.

If it's a drill sargent with his new troops that actor will assume he talks loudly, UNLESS specified.

Now maybe you've got a normally reserved coach who suddenly starts yelling then you can paren it BUT make it a cool verb.
(bellows) instead of yells. (barks) instead of shouts, audibly, shrilly, emphatically, blatantly, can all take the place of loudly.

SARAH (O.S.)
Who is it?

Off Screen = present in the location but not on camera.

-Derek

you could probably say he's writing in the action description:

Zach snatches a post-it and scribbles.

ZACH (V.O.)
Three thousand in cash, twenty five hundred in checks.

Please, do not direct in your script if you want to be taken seriously. If you do your job right, when an actor portrays the character, s/he will do the appropriate inflection. This screams amateur. If you're trying to convey intensity, pipe up the action.

when you say inflection, are you refering to parentheticals?