So if you guys don't like beat, who do you guys signify a pause in speech or action. Like I said, I've seen people use -- for it. What do you guys use?

If it's an action, do you go:

example:
.............................................................
John looks away, through the windows he sees Mary.

Pause.

John goes back outside.
.............................................................

Or do you don't use anything to indicate a pause?

You don't dictate the pace of the scene in that sense, it's down to the director.
You don't really, or should not, even dictate the actor or how they say their lines.

It's subjective unless ABSOLUTELY necessary.

State the scene, say what happens, move on.

If you want it dramatic and drawn out, it really depends on how you've written it. But I would propose something simple:

JOHN looks away.

He checks the windows.

Mary slams her palms against the glass of the window, begging him to come inside.

John looks down the street. Dust.

Something emerges from the distant dust. This something turns into a stampede.

John heads inside the diner...

Some shit like that.

There is no real reason for a BEAT to exist apart from silence in conversation. Unless I'm wrong, that's the only reason it exits? It signifies silence - which, really is a complete waste of time. I've done it a few times when I wanted Joe Bloogs to recieve an answer from Miss Bloggs and she hesitated - but it's kinda pointless.

* I know I will get called up on about using SOMETHING, but it is a genuine substitute for POV. It just means you don't have to call a slug-line a POV, it makes it move smoother and it just makes everything gel nicely.

I get what you're saying.

But it's kind of hard to leave out (beat). I constantly read produced screenplays from name writers, and they all use (beat) in dialogue. So, it's kind of ingrained in my mind that it's the "professional" way to go.

Quoted from Demento I get what you're saying. But it's kind of hard to leave out (beat). I constantly read produced screenplays from name writers, and they all use (beat) in dialogue. So, it's kind of ingrained in my mind that it's the "professional" way to go.

A produced screenplay has undergone a process whereby pauses and direction have been added. In a spec script, they are not needed and are usually a sign of a writer that would rather interject air rather than produce a movement or action where the (beat) could be replaced.

Shawn.....><

Quoted from Ledbetter A produced screenplay has undergone a process whereby pauses and direction have been added. In a spec script, they are not needed and are usually a sign of a writer that would rather interject air rather than produce a movement or action where the (beat) could be replaced. Shawn.....><

I worded that wrong. I meant to say, spec scripts that have gone on to become produce scripts still have beat in them.

I like beat. I think a pause adds a different dimension to what a person is saying. I don't think that's only the director's job. You as a writer still have control over the tone of the story. If you are writing a drama, a pause, a beat could add a sense of drama to what a person is saying. You can capture some emotions better with a pause, in my opinion.

What about (beat) in phone conversations? When someone is talking and we don't hear what the other person is saying. If some of you guys don't use beat, what do you use instead?

                 John:
          (into the receiver)
        Jane, I know.
            (beat)
        I heard.
            (beat)
        I know.

I would say you use the parentheses as a tool to keep it moving. However...
It is frowned upon, but if you need to do it, do it. There is no reason why your above example can't be like:

JOHN
(into to receiver)
Jane, I know...I heard... I know.

Unless there is some weird shit going off in the background, why would we even need to divert from the phone call?

The ... explains there is tension in the speakers voice. You don't really need anything more.

If something significant happens between the speaker's voice, that's a different matter altogether.

There's nothing wrong with using "beat".  It's a personal preference, just like using single dashes, double dashes, or elipses.

If dialogue is well written and thought out, there will most likely be times when one of the above will help in the read...in the believability of the dialogue, etc.

The thing about using "beat" is that it's a line waster and the more you use it, the more lines you waste.  Whereas the otehr options don't waste any lines.

Quoted from Dreamscale The thing about using "beat" is that it's a line waster and the more you use it, the more lines you waste.  Whereas the otehr options don't waste any lines.

Now I agree with this. It lengthens your script. A double dash instead is a better option.

I think BEAT is a waste of space. Serves little to no purpose.

JANE
I need to see...
(BEAT)
James.

Is always better as:

JANE
I need to see... James.

What does this BEAT do? Nothing. It does not describe an action, it says nothing, it's utterly pointless.
In an action line, maybe, just maybe it could work. But really? Who the heck needs to read a BEAT? It's pointless.

If you want to break/ make it suspenseful surely the last thing you want to read is BEAT.

There's a huge misunderstanding on when to use beat. Some of these responses are so misinformed, and consequently misleading, it makes me want to tear my hair out.

Quoted from Scoob You don't dictate the pace of the scene in that sense, it's down to the director. You don't really, or should not, even dictate the actor or how they say their lines.

You're wrong about both of these things. It's been done since the beginning of cinema and it has been done by the best screenwriters of all time.

Quoted from Scoob State the scene, say what happens, move on.

You misunderstand how writing a script works.

Quoted from Scoob There is no real reason for a BEAT to exist apart from silence in conversation. Unless I'm wrong, that's the only reason it exits? It signifies silence - which, really is a complete waste of time.

If you spent some time reading scripts that use it and ask yourself why they used it, you'd understand. Every script is different, however. We can't just talk about these things in the abstract, in a vacuum. Every script follows its own rules.

Quoted from Ledbetter A produced screenplay has undergone a process whereby pauses and direction have been added. In a spec script, they are not needed and are usually a sign of a writer that would rather interject air rather than produce a movement or action where the (beat) could be replaced. Shawn.....><

Once again, innacurate information. They are used in many spec scripts, and in fact, they allow the director to visualize the movie. Additionally, camera movement and angles are used in many spec scripts. Some more sparingly than others. Look at Stoker. Yes, the script and the movie are anything but great. But it got made. Somebody liked it, pulled the cigar out of their mouth and said, I want to throw millions of dollars into this thing.

So here's the first page of the script.

Quoted Text CLOSE ON a spider. Eyes. Fangs. Round hairy back pulsing with life. Cleaning itself at the center of its web, its small body is a blur of hideous industry. The image is grotesque, hypnotic, awesome. Nature at its deadliest and most efficient. WE WIDEN OUT, revealing our little friend is someplace dark and tight, an ideal spot for going about your business undisturbed... Until the web begins to shake. Violently. The spider is startled. (So are we.) Music. Someone’s playing the piano, a piece à la Gnossienne No. 4 by Erik Satie. It’s haunting, even when played with more precision than passion (as it is now). Each note sends vibrations shimmering down the web... The spider sets off to investigate, moving rapidly over a series of ridges and planes. It comes to a smooth lacquered surface, starts to descend. As we watch it wind its way down one of the piano’s front legs, we realize we’ve been lurking beneath the instrument the entire time. The music continues as the spider quietly touches down on the hardwood floor, begins crawling stealthily toward the pedals... CLOSE ON a shoe. The black and white saddle kind, the kind a young girl might wear, moving up and down on the gleaming brass pedals. The spider comes closer. Closer. The shoe moving up and down, up and down... And just as we’re sure this repulsive creature is about to skitter up that shoe and sink its teeth into tender skin, the shoe casually pivots toward the spider, crushes it underfoot. End of spider. WE PAN UP from the shoe.

This is visual writing. This is what you should be writing. Is it the best? No. Is it something that works? Yes.

Beat is used thirty times in the script, sometimes all by itself and sometimes in dialogue. Here's a place where it was used.... a lot.

Quoted Text UNCLE CHARLIE (waving) Goodnight, Sheriff. They’re about to close the door when the sheriff pivots on his heel, turns back to them. SHERIFF HOWARD Oh, by the way... Did your housekeeper ever get in touch with you after she left town so quick? Beat. Beat, beat, beat. INDIA No... She didn’t. Has her husband heard from her? SHERIFF HOWARD Nope. Not yet... (then) Strange how people can just... disappear on you. QUICK CUT TO: INT. STOKER RESIDENCE - FOYER - NIGHT - CONTINUOUS Uncle Charlie and India shut the door, locking it quietly behind them. Uncle Charlie looks out through the side lite, making sure the sheriff is getting into his car. UNCLE CHARLIE (whispering) He’ll be back. INDIA (also whispering) What are we going to do? There’s no panicking here, but they’re both aware the stakes have just jackknifed. Uncle Charlie takes a deep breath, turns to his niece... and leaps. UNCLE CHARLIE What I’ve been waiting to do ever since I got here... (beat) Leave. With you. There’s a pause while India looks into his eyes... And then she makes her decision.

Quoted from Dreamscale The thing about using "beat" is that it's a line waster and the more you use it, the more lines you waste.  Whereas the otehr options don't waste any lines.

How could it be a line waster when it shows that you know how to control pacing? Are all movies the same exact pace? No. Some are slower than others yet still feel tight and right.

As I said, every script follows its own rules and surely every writer is going to think differently about the story and what they want to communicate. What I don't like to see is when people who have no clue what they're talking about misinform others. Which is exactly what I'm reading here.

-J.S.

I wrote--

A produced screenplay has undergone a process whereby pauses and direction have been added. In a spec script, they are not needed and are usually a sign of a writer that would rather interject air rather than produce a movement or action where the (beat) could be replaced.

Shawn.....><

Quoted from J.S. Once again, innacurate information. They are used in many spec scripts, and in fact, they allow the director to visualize the movie. Additionally, camera movement and angles are used in many spec scripts. Some more sparingly than others. Look at Stoker. Yes, the script and the movie are anything but great. But it got made. Somebody liked it, pulled the cigar out of their mouth and said, I want to throw millions of dollars into this thing. -J.S.

What part is “inaccurate”?  The part about a script undergoing a rewrite to reflect direction, or the fact that (beat) is merely a replacement for an opportunity to write something more creative? I never said they (beat) weren’t used in spec scripts.  

As for the script you mentioned here (Stoker); is it the spec version or the shooting version? If it were the spec version, I wouldn’t have gone past this first page. Camera angles and spscific music selections don't belong in a spec script. My guess is that this is a shooting script. Spec writing is about the story, not the directions. Let the director-direct.

Shawn…..><

J.S. Sorry, you either have a rather misconstrued idea of what a spec script is or you just don't know what you are talking about.

Maybe we are talking about different BEATS here.

You seem to have them mixed up.

I'd check your facts.

I'm not WRONG about any of those things. If you think a spec script is a blueprint to a movie you are about ten million miles away.

Point is, BEAT is not NEEDED. It's almost as bad as WE see, WE hear, WE feel...

If you mean BEAT as in story beats, you should have read more closely. Either way, you should know better.

And that's when the fighting started....or so they thought

Beat

I love how these format threads kick off eventually

Personally I follow the ... For a pause -- for being cut off

I also use...when I want to emphasis something. Eg john walks into the room to see....Jane

I am sure this isn't technically correct and to be frank I don't care. I like it, it adds emphasis in my mind, so I'm going to use it!!

Cheers folks

I use the dashes, but I've eased back a ton on their use, and sometimes replaced with the ellipse...simply because it strikes me as less harsh.

The ellipse(or dashes) is also useful in steering through a slug.

example:

EXT. SHAWN"S HOUSE - DAY

Jeff loaded his weapon.

Kicked the front door down.

Charged into...

INT. SHAWN'S HOUSE

...pumping his shot gun over and over.

Killing each of Shawn's cats.

Quoted from Ledbetter What part is “inaccurate”?  The part about a script undergoing a rewrite to reflect direction, or the fact that (beat) is merely a replacement for an opportunity to write something more creative? I never said they (beat) weren’t used in spec scripts.

Both, technically.

In some cases, scripts do get heavily revised to suit the directors needs. Most of the time these directors don't know what they're doing to begin with. I've never heard of major rewrites by any major director.

But in other cases, they do not get so revised. If a director really wants to put in camera angles and camera movement, and whatever, they use storyboards instead of messing around with rewriting the script. I guarantee you that whenever a script is rewritten significantly, it means there is something wrong with it to begin with.


As to the other point. "In a spec script, they are not needed"

You say they are not needed. False. They are needed if one, like me and other writers, find it suitable to control pacing.

"and are usually a sign of a writer that would rather interject air rather than produce a movement or action where the (beat) could be replaced."

They are not a sign of a writer that would rather interject air rather than produce a movement. To you, maybe that's how it seems. And you don't have to use it if you don't want to. But that's just flat out wrong to people who actually use them. And misinforming to those that may actually consider using them. It's your particular choice of words that makes it sound like fact that actually irritated me about it. Which, as I said, it isn't.

Quoted from Ledbetter As for the script you mentioned here (Stoker); is it the spec version or the shooting version? If it were the spec version, I wouldn’t have gone past this first page.

It's the same script that made its way on the Blacklist in 2010. Funny, I read the entire thing. It's not great, as I said. But it was extremely visual and I could see why the director would be attracted by it.

Quoted from Ledbetter Camera angles and spscific music selections don't belong in a spec script. My guess is that this is a shooting script.

To you, Shawn, they don't belong there. But guess what? They are found in more than half of the spec scripts on the 2013 Blacklist, in varying degrees.

Quoted from Ledbetter Spec writing is about the story, not the directions. Let the director-direct.

If you honestly think that putting in camera direction is telling the director how to direct, you know nothing about directing. Camera angles and movement are suggestions. The director is either going to take it or leave it. But, to me, a script, a thriller script in particular, without any camera direction is as sterile as they come. Source Code is another example. The whole deal with Hitchcock was the fact that he would cut to the character, then their POV and then their reaction. How the hell are you going to tell the "same story" any other way without being explicit about it? I don't know where some writers get this misinformation, but it's just not helping you. Disagree with me till the cows come home, but you're only hurting yourself by not heeding my advice.

-J.S.