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We discussed, in our previous two articles Backstory Thru Subtext, Part1 & Part 2, how just a few words can make a big difference in a scene.This time we will explore the screenwriting format world, and how a very few words can create a vivid picture in the mind of the reader.The one thing you don’t want is a reader, at any level, reading your months/years of work with a negative attitude that your script must now overcome. One longstanding piece of advice given all screenwriters is, ‘Create memorable moments in your script.’ The Caveat; Make sure the moments are positive from the title page forward rather than a reader moaning, ‘Oh NO, not another one.’ Attention to these title page and other, vital screenwriting format details is what invites the reader to view your script as a potentially pleasant experience.It helps set the tone for the reader that quite possibly there is a good read ahead. Over 60,000 screenplays, plays, outlines and treatments were registered with the WGAw in 2012.Most, but not all, of what is posted in screenwriting format is a copy of some umpteenth re-write post purchase or a late version of a production script.Unfortunately, very few, if any, of the specs that sold ever appear on those sites in their original condition.It also makes it less likely you and your work will be mentally tossed in the proverbial round file before page one is seen. Question, how many made it through the vetting process? This was exemplified by the disastrous movie summer of 2013 and the subsequent executive blood bath that followed in all the major studios.

You do not want any distractions that jar the reader from your story.A fancy font, misplaced or missing info on the title page means that this tome is now a step closer to the round file before the first page is even seen.Given the volume of ‘scripts’ on the streets, this is one way the industry ‘separates the wheat from the chaff.’ Title page creativity does not impress in the way the writer hopes it will. The first line on the first page usually confirms this ‘snap’ judgment.However, and the ladies agree, it will take some time and expense to negate the first impression.Scriptwriting is not dating, and you rarely have any second chances.” These answers most often fall in between 7 to 10. ” This self-revealing answer usually settles any arguments.I share with them that he may overcome these negatives with charm and persistence.Over the years, I have been fortunate to be the final reader of some great scripts of films that have gone on to become Oscar winners, () and (Michael Clayton).Unfortunately there are many, many more I have read that are so verbose and novelesque that all they earn is the Dickensian ‘word repetition award.’ It is a challenge to read them with a positive attitude.Writing in the style of Tarantino () have been so badly copied so many times most readers utter an audible groan when another of that ilk crosses their desks.By all means, I encourage you to create your own style and voice.Many times, I can tell if the scribe of my current analysis project can write just by what is on (or not on) the title page.An attempt to impress managers, agencies, analysts or readers with an e-mail address along the lines of “[email protected]” is a dead give-a-way.First; writers don’t have production companies (and if they did the project would be produced in-house), and Second; if anything, they create a Personal Service Corporation for tax purposes. Thus, in one line, the title page now screams amateur, readers beware. With the availability of all the books and software on screenwriting format both online and off, there is absolutely no excuse for non-conforming, creative title pages.The spec script title page is NOT the place to be creative if a burgeoning writer wishes to be taken seriously in this business.




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