There truly is nothing quite like revelling in the art form that is film and TV. To create a film, hundreds—sometimes even thousands—of people work for months in tandem, pouring their expertise and love for the arts into one, single project.
There are a million and one different roles that work on a film: actors, a director, the camera and lighting teams, art department, a sound recordist, hair and makeup artists, stylists, animal trainers, stunt people, catering… the list is endless.
However, we, as writers, have one of the most important jobs to fulfill: the screenplay.
Unless a movie or show is entirely improvised (which very few are), you can’t make one without a screenplay. Not only does the screenplay outline the plot, but it also guides the director and other film departments on the movie's mood, style, and visuals.
You want light to filter onto the actress’s face, illuminating her eyes? In the screenplay. Your main character should be happy yet still sound slightly confused. In the screenplay. Or maybe you want very specific props in the background of your shot to create an ambience that matches the emotions in your scene. It’s all in the screenplay.
That’s one of the main differences between a script and a screenplay.
Scripts (which are a more general term that also refer to scripts for plays on stage, whereas screenplays are just for the screen) are focused solely on dialogue and basic physical movements the actors will perform. Screenplays are a step up: they provide vital information to the crew, such as editing instructions, camera cues, character intentions, and more. They provide the basis for the show as a whole, directing the entire cast and crew so they can perform their jobs to the highest standard.
Now that you have an appreciation for the art form that is a screenplay…
First, let’s break down the structure. A screenplay shouldn’t be written in the same form as prose. Your diction needs to be no-nonsense, providing all the information the crew needs to know. That means no flowery language, no tangents, and no ambiguity.
For a guide focused on the formatting of a screenplay, check out our resource here. But I’ll run quickly through the basic structure for a screenplay, which looks something like this:
INT. LILY’S FLOWER SHOP - DAY
This is a slugline. It details whether your scene is set inside (INT.) or outside (EXT.), your location, and the time of day. (You can learn more about these terms and abbreviations here.)
LILY, Canadian, overly confident and clumsy florist, 20s, is struggling to tie string around a large bouquet of flowers.
Now we’ve set up your scene with a quick description of Lily (character names are always in all caps), her ethnicity, a few important notes about her personality, and her age. We also want a brief description of what your character is doing in their opening scene.
LILY
(frustrated)
Oh come on, you stupid thing!
Again, character names are in all caps! If you want your actor to portray a specific emotion, you can use parentheticals to disclose it.
She rips the bouquet apart, scattering the flowers carelessly on the ground. The camera pans from left to right, surveying the damage. Close up of LILY’S hand as she clenches her fist.
Continue to keep your dialogue short and sharp, providing only the necessary information. You can add instructions for the camera here, such as panning from left to right, close-ups, or wide shots. This will help your reader visualize the screenplay as it should be seen through a camera lens.
Once you have your structure down, it’s time to get writing! Even though it’s in a different format, a screenplay can be much like a novel in the sense of its storytelling. In our Screenwriting Competition, you have a maximum word count of 1,000 words, which includes not only dialogue but also all the directions we described above. You may choose to use an excerpt of a larger screenplay, where action is at its peak, and focus on just one or two scenes. Or you might opt to think of your piece as a very short film, fully complete in 1,000 words.
Screenplays are unique because you need to tell rather than show—the opposite of what is usually recommended for good writing! However, being direct is critical for clearly portraying the world that you, the screenwriter, has pictured. A director can later bring your vision to life through the purest sense of “show-don’t-tell” that there is.
Even though screenplays come at an earlier stage of a completed product, they’re still an art form of their own accord, and are worthy of a close read just like any other genre. Screenplays still tell poignant, moving stories while also walking readers through the process of making a film. They are the core of the film industry, and the blueprint for every movie and show you love today.
One last question for you: why don’t you put your newfound tips to the test and enter our Screenwriting Competition this March?