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Can Jeff or anyone else recommend a trustworthy, up-to-date format site that deals with how to write slugs correctly?
Related question regarding the use of "continuous": I have a script in which several short scenes cut back and forth (one interior, one exterior). They are happening roughly at the same time. I've used "continuous" with each because it's the only way I know to show this without clogging up the pages with "intercuts" or whatever.
Last, to Jeff: When you have time, I'd appreciate another look at my revised slugs in "Conversion." When you commented on the original version, I believe you said "WTF" three or four times when you saw my slug-writing. "Some of the poorest I've seen," I remember you said.
I've tried to upgrade them and would appreciate feedback. Even if it's more WTFs!
There's not a correct way when it comes to slugs being utilized.
Inside/Outside, Location, Time of Day.
You can be descriptive "INT. LUXURIOUS STUDIO APARTMENT - DAY" or you can be bare "INT. STUDIO APARTMENT - DAY". It's really that simple.
"CONTINUOUS", I'd not worry about it. If it's a "chase scene" or something, which I'm guessing it could be, then it's relatively simple to write one without even using slugs at all. Just keep the action "EXT." and still write things that happen "INT.", such as "DRIVER floors it", no need to show him stomping the gas pedal as the car's gonna go faster anyway.
Some people do get a little picky when it comes to how things are written on the page, everyone is different and one person's "guideline" isn't another person's "rule".
Funny, as I've been thinking about starting up a thread on Slugs.
As I say so often, Slugs can be your best friends and say so much about what you're writing about and even you as a writer. And, on the reverse side, they can say very little to nothing, which will also reflect on you as a writer.
IMO, there's 2 ways to look at this, right off the bat...
Are you writing about specific places, or are you writing generically?
I think many write generically, thinking their script will have a better chance of being picked up and filmed, as it can be set and shot anywhere. I also think many write generically because they haven't put the time in to even think about the details.
I also beleive the more detailed you are (and that includes planning things out in your head long before you start writing), the "better" your script (and story) will actually be.
So, I always stress detail...detail that makes sense, in general and within your story.
I think things are more acceptable in shorts than in features, but I also beleive that you should always have that feature mindset, so why write to a different standard in a short? Always give it your all.
You know how many times I've started reading a script and see the opening Slug of, "EXT. FIELD - NIGHT"? I don't either, because there's now way to keep track of a number that high. It seems like every 4th or 5th script! Or how about this one, "EXT. HOUSE - NIGHT"? Really? is that really the way you want to start your script? Do you think anyone is going to be impressed with that?
Providing detail in Slugs, first of all, does exactly that - provides detail, and it doesn't take any extra lines - it's basically free of charge. It also shows that you've thought this thing through - you know where it's taking place, you know the name of a building, a bar, a restaurant, etc., you know your character's last names, you know detail of your setting...basically, it means you've done your homework, you've spent time on your planning, and your readers can trust you (hopefully).
I don't know about any sites that will show you "correct" formatting of Slugs, but I also don't think you need one. Slugs should be very simple, and they are, once you truly understand them...more on that in a later post.
As for CONTINUOUS as your time element in a Slug, I'm all for it, as long as it's accurate. I've seen peeps use "SAME TIME" and "CONCURRENT", but IMO, there's no reason to use something that is nonstandard and could throw peeps off while reading.
The reality is that many examples of "CONTINUOUS" are incorrectly used, as some time has passed. Using CONTINUOUS is basically the writer telling the reader that he hasn't missed anything at all from 1 scene to the next, or, it's happening at the same time in a different place.
Mini Slugs are really just like full Slugs, except the INT/EXT is assumed to be the same as the last Slug, and the time element is left off, because it's assumed to be CONTINUOUS. It's incorrect to use a Mini when the time element is not CONTINUOUS.
I hope more peeps comment here, as it's a great subject.
Last, to Jeff: When you have time, I'd appreciate another look at my revised slugs in "Conversion." When you commented on the original version, I believe you said "WTF" three or four times when you saw my slug-writing. "Some of the poorest I've seen," I remember you said.
I've tried to upgrade them and would appreciate feedback. Even if it's more WTFs!Henry
The reality is that many examples of "CONTINUOUS" are incorrectly used, as some time has passed.
OK -- what if some time has passed, but inconsequential time in terms of the flow?
For example, the conversation in one scene has progressed a bit when you come back to it. In other words, I don't want to end at one point and pick up at exactly the same spot where it ended.
CONTINUOUS is one of the most misused time references. Jeff is right.
I don't know how many times I've read a character do something in one scene and then we go to another scene with a different character and place and the writer uses CONTINUOUS. It might take place at the same time, but it's not a CONTINUOUS!
Providing detail in Slugs, first of all, does exactly that - provides detail, and it doesn't take any extra lines - it's basically free of charge. It also shows that you've thought this thing through - you know where it's taking place, you know the name of a building, a bar, a restaurant, etc., you know your character's last names, you know detail of your setting...basically, it means you've done your homework, you've spent time on your planning, and your readers can trust you (hopefully).
Along those lines Dreamscale, let me ask your opinion on the two options below. It involves a car - specifically a convertible, travelling down a street in Los Angeles. The scene involves activity withing and outside the car. The first option is as I have it written now. The second is a revision based on what I think you're recommending.
OPTION 1
INT/EXT. CONVERTIBLE - TRAVELING - DAY
EMILY STANTON (35), attractive, short blonde hair, drives down a downtown Los Angeles street while she sings along with a love song playing on the radio.
She arrives at a stop light, looks to her right and sees a
COFFEE SHOP - OUTDOOR SEATING
A YOUNG MAN hands a bouquet of roses to a YOUNG WOMAN. YOUNG WOMAN
OPTION 2
INT/EXT. CONVERTIBLE TRAVELING ON DOWNTOWN L.A. STREET - DAY
EMILY STANTON (35), attractive, short blonde hair, drives while she sings along with a love song playing on the radio. She arrives at a stop light, looks to her right and sees a
COFFEE SHOP - OUTDOOR SEATING
A YOUNG MAN hands a bouquet of roses to a YOUNG WOMAN.
Was this the gist of your point (i.e., more detail the scene heading)?
Henry, IMO, it really comes down to the script specifics, in the example you gave.
The key is to offer as much credible info as you can in your Slugs, while also making it as easy as possible for your readers to follow.
When you completely shift to a new scene, unless it's critical to the script's timeline, you don't want to use such specific time elements (CONTINUOUS, MOMENTS LATER, etc), as it can actually be confusing...but then again, if you do have several scenes playing out concurrantly, you definitely need your readers to be aware that time and timing will come into play.
And I'll add this, simply my own opinion, chances are that if time and timing does not and will not come into play, if you do have concurrent scenes going back and forth, you've probably made a mistake in what you're choosing to show, or the timing itself doesn't matter.
Also, keep in mind that many things are understood and assumed in a script/movie and you don't want to or need to "waste" your readers' and your viewers' time. Things like opening and closing doors, entering places with nothing "waiting" for them on the other side, starting a car, etc. If someone walks to their car, chances are pretty good that they're going to get into their car, do whatever they do to get ready to drive, start their car, and drive off...so...you show your character walking to the car, and then your next scene will be him driving or even arriving wherever he is going, as no one wants to see all these other dull, assumed actions taking place. But, then again, there are times and even reasons why you may want to show these mundane actions, but only do it when you have a reason to.
Dave, you're probably going to want to kill me after reading this, but here's my response.
First of all, I am very against using INT/EXT, as I feel it's lazy writing. It's really the opposite extreme of trying to direct in your writing.
Secondly, 1 of my many Pet Peeves is when peeps use EXT CAR as their Slug. Is the location ever really "EXT CAR"? The only times I can think of would be if you're showing something happening on a car, outside, like 2 insects fighting on thehood of a car. The car is not the scene location, it's simply something in the scene, in whatever location it happens to be in Does that make sense?
When you have someone driving a car, you have 2 options - showing what's going on inside the car, or showing the car driving along, but as the car drives, it's actually in a location somewhere, which is what the Slug hould actually be.
EXAMPLE...
EXT. HIGHWAY 550 - NIGHT
A dark, snowy two lane road snakes back and forth through snow covered trees.
A single car on the road comes into view. It's a four door white Jeep.
INT. JEEP - CONTINUOUS
Danny drives while Carlie rides shotgun.
BLAH BLAH BLAH..............
Now, in your example, you have several things going on at once, but it sounds like the key is that Emily sees certain things outside her car as she drives. There are numerous ways to shoot this, and it's not going to be your choice, so IMO, the clean, easy, simple way is to write this with 2 different Slugs - kind of like I did - 1 showing the car driving, and the other, showing Emily inside. Once inside, she'll look out and see...whatever...but you can write this inside the car still, as that wil show both Emily looking at it, and whatever she's looking at. You just have to clarify by saying something like, "Emily looks to her right and sees Jason Voorhees behead a hot college coed. She turns to her left, sees Michael Myers stab a scantily clad young hottie..."
That way, it's completely clear to your readers and the Director has the choice of filming this any way he chooses...but...whichever way he does choose will not effect the story 1 bit.
In my example above, a character has sneaked away from the group to do something. For dramatic purposes, I'm shifting back and forth. What's being said by the group, and what he's doing, are important (none of the dull stuff you cited). Hence, my choices noted above for scenes 1, 2, and 3.
I know it's hard to evaluate without seeing the real thing, BUT -- let's stipulate that I have made the correct decisions about using concurrent scenes. Are the uses of Continuous and Moments Later correct in your view?
In my example above, a character has sneaked away from the group to do something. For dramatic purposes, I'm shifting back and forth. What's being said by the group, and what he's doing, are important (none of the dull stuff you cited). Hence, my choices noted above for scenes 1, 2, and 3.
I know it's hard to evaluate without seeing the real thing, BUT -- let's stipulate that I have made the correct decisions about using concurrent scenes. Are the uses of Continuous and Moments Later correct in your view?Henry
Yes, I'd agree with you, assuming that in the "MOMENTS LATER" scene, we have missed what was being said, while we were away with the 1 character, and also assuming that no time was lost when that 1 character snuck away.
BUT, I'd also say this...it's unlikely no time was lost when the 1 character snuck away, unless we're literally following him as he leaves. It's very possible they're both MOMENTS LATER scenes, but hard to say unless you showed me exactly how you write it.
BUT, I'd also say this...it's unlikely no time was lost when the 1 character snuck away, unless we're literally following him as he leaves. It's very possible they're both MOMENTS LATER scenes, but hard to say unless you showed me exactly how you write it.
OK, based on that, to be EXACT about it, I'd say Moments Later for all. (My use of Continous was to get across the idea of simultaneous activities, even if they are not PRECISELY simultaneous.)
In the end, the choice ( Moments Later or Continuous) is info for the movie-maker, not the average reader.
OK, based on that, to be EXACT about it, I'd say Moments Later for all. (My use of Continous was to get across the idea of simultaneous activities, even if they are not PRECISELY simultaneous.)
In the end, the choice ( Moments Later or Continuous) is info for the movie-maker, not the average reader.
Thanks.
Well...the "movie maker" won't be able to show this unless a SUPER is used saying, "AT THE SAME TIME" or whatever...so, I wouldn't quite agree with that.
As long as what you used "appears" to be correct...or could be correct, and it's easy to follow, you're golden.
It can get tricky when time does come into play and it makes a difference when different scenes are playing out, but when filmed, it's much easier to follow what the intention is, and if you decide to leave a scene for dramatic reasons, make sure you return to exactly where you are (continuous), or else, your readers will assume things have happened in the time we've been away.