When someone new tries to push a script is that a spec script?
Question by tr101987: When someone new tries to push a script is that a spec script?
When someone new starts trying to sell a script 9 times out of ten that is a spec script right (meaning the writer has no part of the C/U-fade to black/voice over commands/insert song a,etc) That is the shooting script right?
I have been looking at scripts to movies I have seen and some are just so different in structure. Wanting to print off some scripts and then watch the movie as it reads to try to understand it a bit more.
That is all the directors job and NEVER the writers correct? So one would just focus on the story and making it play out in a present tense and making it eye friendly.
I want to make sure I got the basic idea.
Also what is some good software to use for the format?
Lastly, on a spec script what do you do for minor characters or even extras? (do you give them names or cop1/suspicous looking man/stoner/etc..) Do you even acknowledge the existence of extras or is that someone elses line?
Funny how one question can turn into 100
Best answer:
Answer by kiwee@y7mail.com
Yes, you are correct that a spec script should be devoid of any camera references, scenes, etc. This is because you are wanting to put across the story in as few words as possible, and anything that clutters up the page, is going to detract from that. A shooting script doesn’t come into the picture until much further down the line, during the pre-production process.
Extras are referred to as CROWD, TOURISTS, OTHER RUNNERS, FAMILIES in the park with their CHILDREN, etc. depending on scene requirements. Only featured extras and speaking characters are given actual names. Credits list them as Cop 1, etc, but I prefer to put a small trait there, whether physical or emotional.
Scriptwriting… I use Final Draft. But I believe the free Celtx is pretty good.
The other thing to remember is you can use song suggestions etc. PROVIDED they serve the story. In fact, you can bend just about any rule, so long as it is for a solid reason: the story.
It’s also paramount to proof-read the screenplay three or four times for typos and grammatical errors. You wouldn’t believe how often that is over-looked. It’s incredibly easy to miss out on punctuation by mistake. Or worse, you may have deleted a scene which was there for the first four drafts, and for some unknown reason, you think still exists (I’ve done that a few times). Lastly, have someone you trust read it as well. Just to be sure.
Never send off a first draft. That is a template only.
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