All About Sluglines - Print Topic

Problem with SLUG lines... Is it good formating?! Give the tips where I do wrong...

INT. THE BOSSES HOUSE - DAY

Monday morning, the Boss is coming from auto salon. They
wait in a van in front of Bosses house and observe
installed cameras...

GUY
(seriously, wisely)
This is it! He's ordering money!!! You
just do that, you'll see what happens
later! Ha ha!

The Boss pours himself a drink, opens the safe and takes
out the check book. He takes the wireless phone, types in
the number and calls the bank.

Ordinary, elderly women who works at a bank counter answers
the phone.

BANK CLERK
Hello! This is Golden Bank. How can I
help you?

THE BOSS
(seriously)
Hello!
(with class)
I have an account opened here and I wish
to order 200 000$ for next Monday.

BANK CLERK
No problem! Your name, surname and
account number, please.

THE BOSS
(he opens his check book, and
says)
The account number is...

The bank clerk types in the data and she's a bit bewildered
when she sees the whole amount on the account...

BANK CLERK
(seriously, wisely)
OK, no problem! Your 200 000$ will be
ready on next Monday.

THE BOSS
(joyfully)
OK, thanks! Good bye!

The Boss comes down the stairs, leaves the house and gets
in the 850csi and drives off with tires shrieking...

"Problem with SLIG lines... Is it god formating?! Give the tips where I do rong..."

For starters, it's SLUG lines not SLIG lines... sometimes I wish it was God formatting but sadly we have to do it ourselves.

Anyway, I'll give you some advice on the example you posted (not just the slug line use)

Your slug line "INT. BOSSES HOUSE- DAY" is fine if we are inside the bosses house but the description that follows is confusing.

Firstly, we have no way of knowing that it's Monday unless you show us somehow- this could be a calender or dialogue on the radio- whatever. The information you describe needs to be something we can see (or hear)

"the Boss is coming from auto salon" - is this inside his house? If not, your slugline is wrong.

"They wait in a van in front of Bosses house and observe
installed cameras..." - this is outside the house so your slugline should be EXT. We don't know who "they" are (unless this is described in the previous scene)

Who is GUY? Is he in the van? You need to make this clear and introduce him as GUY in your description e.g. A GUY waits in the van and observes... This way we know who's talking.

Basically, you need to focuse on what we can SEE. If the action takes place outside, your slugline should tell us EXT. HOUSE, when it moves inside your slug should change INT. HOUSE

Take a look at this link for more info on slug lines

http://www.snappyquick.com/Screenplay_Slug_Lines_An_Important_Element_Of_Screenwriting_4446_13_article.html

(unless this is described in the previous scene)

so, this is the scene which mostly repeats the actions... so I am asking u how to put slug lines for actions like in the cat - in the house - on the phone third party...

OK?

If you're looking for sluglines for changing venues within the location the slugline (or Master Scene Heading) designates, those are called secondary headings. Such as:

INT. HOUSE - DAY

Stuff happens

IN THE KITCHEN

Other stuff happens. And then the guy walks

IN THE LIVING ROOM

where he watches TV.

If the setting changes from the house or the time of day changes, then you need a new master heading. And never end a sentence with a secondary heading.

If you want to indicate it is Monday Morning, then you would write:

SUPER THE LEGEND: Monday Morning

or even more simply:

SUPER: Monday Morning

The opening scene in your sketch appears to be EXT. BOSS'S HOUSE - DAY and then it seems to change to INT. BANK - DAY.

Sluglines should always be INT. or EXT. depending on where the CAMERA is supposed to be. You can have EXT. HOUSE and write "Person gets stuff off of kitchen counter visible through back door. He walks outside." After INT. or EXT. you have the Location and then the time of day whch should be either DAY or NIGHT. You should avoid the use of DAWN, EVENING, TWILIGHT, DUSK, etc. unless those are very important to the story.

If you have a movie like Star Wars with multiple planets and then multiple locations on each planet, you could do something like this:

EXT. HOMESTEAD - TATTOOINE - DAY

These would go from specific to general. If you wanted to be long winded throughout a house, you could say:

INT. BATHROOM - BOB'S HOUSE - NIGHT

INT. BEDROOM - MARIE'S HOUSE - NIGHT

If you have multiple years you need to keep straight you can say:

EXT. HILL VALLEY COURTHOUSE - DAY - 2015

These heading are for the filmmakers or reader to keep everything straight.

If you are doing a flashback, you could also have a slugline like this.

EXT. BATTLEFIELD - GETTYBURG - DAY - 1863 - FLASHBACK

It's a little excessive and there are other more concise ways of doing flashbacks, but it is a legal formatting option. A slugline is your only chance to control the direction, since past that point, it's all show not tell.

As far as I kow, CONTINUOUS isn't always necessary. I only use it when it seems necessary to avoid confusion. Most of the time it's not needed. For example:

EXT. JON'S HOUSE- DAY

Jon walks up the driveway.

INT. JON'S HOUSE- CONTINUOUS

John enters.

INT. LIVING ROOM- CONTINUOUS

Jon walks in and sits down.

This is an example of unnecessary usage. The reader can easily figue out that this is continuous. If it is not continuous you would write INT. LIVING ROOM- LATER or somethig similar.

An alternative to using continuous is "SAME" which is also widely accepted.

CONTINUOUS is not necessary if the condition remains the same. Using the above headers as an example, you could just write:

EXT. JON'S HOUSE -DAY

INT. JON'S HOUSE

INT. JON'S LIVINGROOM

If time has elapsed since the livingroom scene, you would then mention the time. If Jon went back out, you would then say:

EXT. JON'S HOUSE -NIGHT

Phil

There is an excellent summary here:

http://www.simplyscripts.com/glossary.html

:)

You'll get differing opinions on this one but the issue is simple. If you don't know what CONTINUOUS is used for, don't use it. No insult, Mr.Z, but that's the question you asked ('Is it necessary'?) You acknowledge that it's rather annoying and that could be because it's another technical term when spec screenplay format is always moving towards elimination of such things.

Here it is from the respected writer on screenplay format, Charles Deemer:

'Always use DAY or NIGHT as time (if afternoon, dusk, etc., are important, put them in action or in parentheses after day or night). Don't use CONTINUOUS and other variants -- some readers turn blue seeing them, why take a chance? Don't give them an excuse to dislike you.'

Thanks for your reply jonwood. Actually, I know what´s "CONTINUOUS" for, but as you well wrote, there are different opinions on this one, and that´s why I started this post. Your feedback is apreciated as well.

In my own opinion, using Continuous is usually unnecessary because the reader should be able to decipher what is going on from the text and action. As you've noticed, reading continuous all the time does get tiring.

That part of the slugline is intended to be used for DAY or NIGHT, and occasionally LATER. Designations such as DUSK, DAWN, and TWILIGHT should only be used if it is necessary to tell the story. CONTINUOUS does not really add to the story and scenes from an audience perspective flow one into another anyway...only the action and setting tells us what is happening and whether it is back to back or not.

I either stick to DAY/NIGHT or omit the time designation altogether in a "continuous" setting, since it is not necessary for the reader. Such is my opinion.

I don't really pay attention to the "continuous". That's a writer to writer preference. But doesn't bother me either way. I do it myself. Mentality of a reader here - you generally have so many to read, you just want to get through it as quickly as possible...and be hooked. But there's a signal a scene has possibly gone on too long and could be a pacing problem, you see too many of those "continuous" on one page and the same exact slug. JMO.

I want to show a plane flying above a forest. Should I either write it like:

EXT. SKIES ABOVE FOREST - DAY

or

EXT. FOREST - DAY

????????

Depends on what you want us to "see". Are we looking up, through the trees, or looking down at the plane and the forest below? A jet or a bi-plane? High amongst the clouds, or low, just above the treetops?

None of the "slug laws" are written in stone. The important thing is clarity, and your own use of words will dictate the image that comes to mind.

If you do not have something specific in mind, try something like this:

AN AIRPLANE - DAY

High above a forest.

EXT. FOREST

Our character looks up through the branches at the passing jet.

You are suggesting angles, but the director still has a little freedom as to how this image is depicted, and they like it better that way anyways, you know?

It really depends on the focus of the scene. A slugline is extremely objective and where you place the scene depends entirely on what you want the audience to be focused on.

EXT. SKIES ABOVE FOREST has been done before. It's passable.

I would suggest either:

EXT. FOREST and mention the plane flying above, if we're seeing the plane from the ground level.

EXT. SKY and mention the plane flying if we're supposed to be looking at the plane from above. You would, of course, mention the forest in the description saying that the plane is flying over.

Something like this is akin to writing EXT. LIVING ROOM or EXT. HOUSE when you have someone outside the dwelling watching the goings on through a window. Similar to above, either way works. It's all in the perspective you want the audience to have.

I have a scene that occurs on one side of a room and another on the other end. I dont want the reader to know it's in the same room until I (the writer) say so, for comedic purposes. Is this possible? And how do I do it?

Thanks

You can try using the character names as slug line, then reveal the entire scene with a new slug line later:

BILL

Sits at a table doing something.

SALLY

Sits at a different table doing something else.

INT. ROOM

Bill and Sally are in the same room. They look up and flip each other off.

That's one way.

That's actually not bad. But I'm going to be jumping between the two in the same room - and I actually dont want you to be able to tell that they're in the exact same room. You need some crazy camera tricks to do that. Or just really well worded scene headings - I dont know.

Go with what Bert said. Spec scripts should not have camera angles.

Phil

Quoted from Stephen Wegmann

I actually dont want you to be able to tell that they're in the exact same room. You need some crazy camera tricks to do that.

Or you need a crazy room (if it fits the story), different colours in different walls, different decoration, etc, will help to trick the audience.

Phil´s advice about avoiding camera angles is a good one, and Bert´s example looks like a smart way of achieving that.

If you are trying to hide the fact that they are in the same room, using secondary headings will give it away since you only use them in same or continuous locations.

An alternative to this is to make the two parts of the room relatively dissimilar so the different slugs can be used to begin with and then just intercut.

INT. BAR

Bill says such and such.

INT. RESTAURANT

Sally says such and such.

INTERCUT BAR / RESTAURANT

Bill and Sally say various things to their people.

INT. DENNY'S

Bob turns around to find Sally sitting in a booth just behind him. They flip each other off.

Here's some questions that have been bothering me.

If you're in a cave, technically you aren't INdoors, so that would be EXT. but you say IN a cave, so that would be INT. Wich is it?

If you're on a canoe, is that INT. or EXT.?

If you're scooba diving in the ocean would that be INT. or EXT.?

INT. is inside a place : that should have four walls! For inside locations. Sewer, cave, house, room, ....

EXT. is all the rest. OUTSIDE locations. : Ocean, street, city,...

A canoa isn't INT. canoe since a canoe is not a location so to speak but an object.

So for exemple if you are in a canoe it should be.

****

EXT. RIVER - DAY

Braksnen is quietly going with the flow of the river on his canoe.

****

The canoe would be explained in the action.

hope this helps.

Pedro's points are good. Another thing to keep in mind is that not every slug needs the INT or EXT designation.

Once you have established your locale, you can make them a little more specific, like:

EXT. LAKE - DAY

A canoe floats in the center of the lake.

IN THE CANOE

Braksnen holds a fishing pole. He feels a tug on his hook.

BENEATH THE WATER

A scuba diver tugs on the line.

Another thing to keep in mind is that the INT. and EXT. are the only camera directions that a writer is allowed to give. Those tags indicate where the CAMERA is placed in relation to the action that is to follow. They follow what would basically be common sense in relation to objects, so with the cave example, how would you describe ourself in relation to this cave? If you're inside a cave, it's obviously INT.

Where the hiccup usually comes in is abiguous places like under water or driving. Again, this is whereever the camera is placed in relation to the action occurring. The scuba diver might be under water, but if the camera is supposed to stay out of the water, the action is constantly EXT. OCEAN and you would describe what the scuba diver is doing as it could be seen from a boat or over the water.

Cars are even more difficult. A lot of people like to use INT./EXT. for cars so it isn't specified whether the camera is inside or outside the vehicle. Some prefer to be specific and place the action completely inside the car. It's a matter of preference.

You know you're getting creative when you have a slug for EXT. HOUSE and yet describe the interior MOS action as seen through the plate glass living room window.

For those that do not know,

Writing Vertically in Spec scripts is what most producers/directors will look for. Why? Well it is a lot more easy to skim through the story than say having 3 paragraphs of 5 or so lines of writing all cluttered up into one.

Parenthetical in character speech should be avoided at all cost, rather than having the way a person says their line under their character name it should be placed in the description/action.

You do not under any circumstances place in the slug line, MORNING - NOON - MIDNIGHT and so on, only DAY or NIGHT and don't use a CONTINUOUS...

Although should the time pass then you can add (LATER)

Spec script is a hard format to master for the new screenwriter, but it can be mastered. Never over write descriptions, keep your action to a powerful minimum.

Transitions in Spec format have been dropped and are now out of fashion so do not use them. (CUT TO) is never used in a spec script anymore...

For those newbie writers, I hope this helps you all...

Quoted from Combichrist

You do not under any circumstances place in the slug line, MORNING - NOON - MIDNIGHT and so on, only DAY or NIGHT and don't use a CONTINUOUS...

Although should the time pass then you can add (LATER)

Spec script is a hard format to master for the new screenwriter, but it can be mastered. Never over write descriptions, keep your action to a powerful minimum.

Oh okay, so if i want it to be continuous I... do nothing:

EXT. SHANTY TOWN - DAY

...

INT. SHANTY TOWN

....

Is that what your saying?

That's what I do. If it's a different location but on the same day, I don't put - DAY

I usually make it as:

INT. SCHOOL - DAY

Students rush through the hallways to get to class.

EXT. CITY

Like the students, adults rush through the streets to get to their work.

Sean

Quoted from Combichrist

You do not under any circumstances place in the slug line, MORNING - NOON - MIDNIGHT and so on, only DAY or NIGHT and don't use a CONTINUOUS...

Using MORNING - NOON - MIDNIGHT seem to have very limited to no purpose in screenwriting because the time of day is used to say whether it is dark or light outside, however other "subforms" of the time of day such as TWILIGHT or DUSK are not entirely taboo. They should only be used if absolutely clarity of the time of day is necessary. In most cases DAY or NIGHT is enough, but in rare instances, it is important to know about TWILIGHT or DUSK, which are an entirely different lighting scheme and signal the transition to either DAY or NIGHT. Their need is rare, but you are allowed to use them if you NEED to.

The only place I uses them is in my Fempiror work because of the need to know if we're closing in on day or night in some stories. I will sometimes have pivotal moments occur as the sun is rising or setting, a time of day that is neither day or night.

Just like everything else in a screenplay, clarity is the key, and everything you do should be to that end. If you don't need it, don't use it.

And if your action is continuous, the time signifier is optional, but preferred. One might wonder whether it is still day, or the screenwriter forgot the time part of the slug. About the only time I leave it out is between the rooms of a location when I can't really justify a secondary slug.

Quoted from Alex J. Cooper

Oh okay, so if i want it to be continuous I... do nothing:

Is that what your saying?

If you want it to be a continuous, the scene runs on. It can be used, sparingly... Other terms such as DUSK and so on, can be used if absolutely necessary. Remember you should never use to much but never to little.

But use of Continuous is not good. If the scene continues, and in a new location you don't add

INT. SCHOOL - DAY

chanage below.

INT. SCHOOL - GYM - CONTINUOUS (this is not how it is)

And yes Alex, you do nothing... As I posted above, that is how you write it. Sean you have it nailed mate. Not like a lot of these people. But as I stated you can feel free to use a CONTINUOUS sparingly, but I am telling you now... How Sean is doing it is how I do and how it is in SPEC FORMAT...

In a production script however you will see a CONTINUOUS why? because it is just that A production script, not a Spec script.

I wrote only 2 pages of my script then posted is on the"My Work So Far" forum, and it got ripped apart , i didnt know about spec format so my writing was stuffed with detail. Im actually glad that the replier was honest becuase this made me realize how crapy it looked but anyways i re-wrote a part of it, please tell me if this is right or if theirs anything i need to touch up on

thanks, Andrew

FADE IN:

EXT. FRANCE -DAY

The shore is crowded with soldiers, horses, and wagons.   Anchored ships line the edge of the beach, unloading their supplies.

A manmade dirt path runs parallel with the shore.  At the end of it lies a tarp, providing shade for a SLEEPING SOLDIER

He lies comfortably on a supply crate with a sandy helmet covering his face.

Just listing the country is not enough.  When you said France, I immediately thought Paris with the the Eiffel Tower in the back.  Try this:

EXT.  LONGERE BEACH.  FRANCE -DAY.

or, better yet:

EXT.  LONGERE PORT.  FRANCE  -DAY.

If this is a period piece (ie:  World War II), you would include the year:

EXT.  LONGERE PORT.  FRANCE.  1942  -DAY

You description could be a little more tightened and active.  Try something like this:

Supply ships envelope the port, hastefully load cargo from endless lines of wagons.  Soldiesr and civilians make their way along dirt trails between the wagons.

A sleeping SOLDIERS lays on an unattended crate, his head covered by his sandy helmet.

Phil

Quoted from dogglebe

If this is a period piece (ie:  World War II), you would include the year:

EXT.  LONGERE PORT.  FRANCE.  1942  -DAY

You description could be a little more tightened and active.  Try something like this:

Supply ships envelope the port, hastefully load cargo from endless lines of wagons.  Soldiesr and civilians make their way along dirt trails between the wagons.

A sleeping SOLDIERS lays on an unattended crate, his head covered by his sandy helmet.Phil

, I was going to put "April 1,1917 8 days before that battle of..." as a superimposition buti wasn't quite sure how to do it.

thanks

I'm somewhat confused. What do you mean by writing vertically? Because all the stuff I write is horizontal left to right with new lines for sluglines, action, dialog and so forth but it's still horizontal.

As for yours silent saint, you would probably want a subtitle to show you want it inserted onto the screen, or you could superimpose it.

SUBTITLE: D-Day 1942

or

SUPER: D-Day 1942

Whatever you wanted. Subtitles go at the bottom, superimpose goes across whatever picture you have.

There should be plenty of white place on the page. Short descriptions split up by short dialogue. You should be able to skim a script (reading vertically). Heavy paragraphs slow down the reading.

Phil

Ah, I understand you Phil. I was picturing a script printed out in portrait style and couldn't quite wrap my head around why that would be a good thing lol.

Basically writing vertically means,

Writing down the page, say a new line for every new shot you see in your description.

EXAMPLE FOLLOWS:

Joe brings a cup of coffee to the table.

He sits down, flips open his paper and leers at some articles.

Closes the paper and sips his coffee...

Vertical writing means the reader can skim it more quickly, it is a lot more easy than trying to read paragraphs of 5 or so lines all jumbled together.

A quick question, looking for some advise.

I'm writing a scene where a man is trapped between two rooms (both INT. shots). His upper body is in room1 and his lower body is in room2. I'm cutting back and forth between the rooms.

I've been contemplating on how the scene heading should look. Could it be done like this?

INT. ROOM1 / ROOM2.

Or is there another way to do it?

Cheers
Rob

I would write the scene as in one room, this is a spec script so the shift changes in camera angles would be apparent to the reader.

The general rule would be to use diferrent scene headings ("INT. ROOM 1 - DAY" and "INT. ROOM 2 - DAY") to describe what happens in each of these locations.

However, if you need to cut back and forth between them, multiple scene headings could disrupt the natural flow of the scene; to avoid this problem use: "INTERCUT - ROOM 1 AND ROOM 2"

Under the INTERCUT heading you can describe actions happening in both rooms without need to include a new slugline, which contributes to a faster read.

I was wondering about how to do this myself. thanks for that information.

I don't know, this is confusing for me. Is INT only for inside buildings, homes, etc? Or can it be for inside a vehicle? Does it depend on the view? Like, use EXT if we're seeing it from outside but if the view is INSIDE then we can use INT? Wha? :-/

Also, is it okay to go from INT to EXT rapidly?

Dumb Example:

INT - TACO STAND.

Bob goes near the door. He steps out.

EXT - TACO STAND FRONT.

He stands. Then goes back in.

INT - TACO STAND.

He explodes.

Can INT/EXT ever be too excessive? Does it matter? Does it look tacky and unprofessional?

IMO,

INT is used more for locations that the viewers need to see inside such as a building or home or a car. EXT. is used more for locations that the viewers need to see outside such as the street or outside a building or car. it just provdes the readers with a certain perspective on looking at the scene.

Any technicalities, descriptions can solve. it provides information to the director on what angle he should film from. And gives you space in between these headings so it does not look so rapidly.

If it's tacky and unprofessional why is it a rule to always write a heading starting INT. OR EXT.? It's not. Helps the reader understand where the location is.

Gabe

i always write INT. CAR when the scene takes place inside a car - which is correct.

and if it's a convertable car i just write.... INT./EXT. CAR - MOVING which is acceptable and used as an expample in the Screenwriter's Bible

INT. and EXT. are about the only camera directions permitted in a spec script. They are not used to designate where the action occurs, though the action usually does occur there. These are used to indicate where the camera is placed in relation to the location indicated. You can write EXT. HOUSE, but through the action indicate that the action is being seen through the kitchen window and actually inside the house, though viewed from the outside. To cross the line, each indicator shows where the audience is. The action paragraphs are used to tell where the characters are.

INT./EXT. is rare, but completely allowable when the camera will pass in and out of something, usually a car. Again, this won't happen a lot, but it's there.

These directions are a part of the screenwriting process, and their use is required, so it can't be considered excessive.

How would you right the time of day when the enviroment is in space? After all, there is no night or day? Would I just write

EXT. SPACE

Any help would be appreciated!

You don't.  If you don't know what time of day it is, you leave it out.  Examples:

EXT.  DEEP SPACE.

INT.  SPACE SHIP GALABO.

Phil

How would you write a header when the scene takes place underwater?

INT. LAKE- NIGHT

This doesn't seem right? Anyone know the correct answer?

I don't know what the "correct" answer is, but I always just use;

EXT. UNDERWATER

Hope this helps.

Matt.

Thanks Matt. I'll use that.

This is a judgement call. I'd personally use exterior with underwater scenes, unless it's an indoor pool.

Phil

I thought on top of water is written

EXT. LAKE- DAY

And underwater is written

INT. LAKE- DAY

But then again, I'm the amature.

Another option you have is something called a subheader, Zack. This has come up before.

Once you have established the scene, not every header needs to have INT. or EXT.

It could read like this:

EXT. LAKE – DAY

A rowboat sits on the lake.

UNDER THE WATER

A giant shark swims towards the boat.

IN THE BOAT

Zack baits his hook, unaware of the bloody fate that awaits him.

Subheaders can free up your format, and help you move the narrative quicker.

But you do need to go back to INT. or EXT. when you begin a new scene.

Thanks Bert. It seems Subheaders would work really good for a scene involving a moving car.

Since there is neither day nor night in space, you actually would not specify either, as Phil stated. The same would apply to inside (or outside) a space ship that isn't in an environment where day or night would matter as well as any slugline for a scene where there is neither day or night such as an enclosed room or non-locational dream states.

It's all about clarity for this one, since you want to be specific as to where the camera is in relation to everything else going on under water. Frankly, I am of the persuasion that if you're underwater, you would be INT. LAKE or INT. OCEAN.

Some might argue, though, that if you were looking at a submarine and then going inside that sub, you'd be INT. OCEAN and then INT. SUB which would be weird, but again, it's going to be about clarity. Technically, if you were writing about a school, you could be INT. SCHOOL *or* EXT. CLASSROOM while standing in a hallway outside a classroom, and in technicality, both would be correct.

That being said, there is no truly correct answer to the question. As long as the way you've written the slugline is correct and it is completely clear where the camera is in relation to everyone else, then it doesn't matter how you write it. But from a vernacular standpoint, when you go swimming, you are *in* the water, which would imply "INT."

As for moving cars, that's a whole other debat topic. Some would say INT./EXT. would be appropriate there at any time, while others would argue that it would depend as to whether the camera ever left the car. Anyway...

Well, thanks for all the help. At least now I have an idea of how to write underwater headers.

Bert’s example is correct; secondary headings are one way to go. But if you’re going to use full scene headings for and underwater scene, use EXT.

Underwater scenes are exterior scenes, and the fact that your characters/props are surrounded by water doesn’t change that. The opposite criteria would force you to write the rest of the scenes in your script as ‘INT. EARTH’S ATMOSPHERE’ because your characters are always surrounded by air.

Think more about structures (i.e. a submarine, a shark cage) to write ‘INT’ scenes underwater.

Here a couple of random examples I quickly collected.

In The Phantom Menace when the jedis swim with Jar Jar toward his city: “EXT. NABOO LAKE – UNDERWATER”

And when they reach the Gungan City: “INT. OTOH GUNGA - CITY SQUARE”

In Return of the King, when Deagol finds the one ring: “EXT. UNDERWATER, RIVER ANDUIN – DAY”

Hope that helps.

not sure if this is correct but it is taking directly from the script for Jaws 2 (found on this site)

they have it as

UNDERWATER - SEA BOTTOM - DAY

so if it was a lake and at night it would be

UNDERWATER - LAKE - NIGHT

I figured that. Thanks for making it clear George.

I am having trouble with format. I am writing a screenplay that takes place, for the most part, in the cars of several characters, but also houses. First off, I saw it used, and I just want to double check if it's OK to use, INT./EXT. "JEFF"'S CAR in order to describe both the action in the car and the action of the car itself or whether I have to say EXT. STREET first. Also, I have two characters that live next door to one another and one scene where a character crosses the lawn of one house, walks to the lawn of the other house and I don't know how to head that. Also, I have several scenes that start inside a car that is parked outside a house and lead into the exterior of that house. Can I describe those scenes as also, INT./EXT. JEFF'S CAR? Also, can I use EXT. STREET to describe two different streets? Sorry if these are fundamentals, but they are really confusing me.

INT/EXT is perfactly acceptable. Use it as much as you like.

For the lawn crossing scene, you could have the following:

EXT. FIRST MAN'S HOUSE

First man exits his house, walks across the lawn and comes to --

EXT. SECOND MAN'S HOUSE

-- second man's lawn.

Or you could have:

First man exits his house, crosses the lawn and walks up to second man's house.

It's all right to ask questions about the fundementals.
As long as you're learning, it's all right.
By the way, welcome to the site! Have fun here.

Matt.

thanks a lot. You've been really helpful. And thank you for the welcome.

Hey, no worries. We were all "the new guy" once, hehe.
It really is a great site for aspiring screenwriters. You'll learn a lot, I guarentee it.

Matt.

Keep in mind that you don't have to show him actually crossing the lawn.  You could do it:

INT.  JOHN'S HOUSE.

John opens the front door and steps out, SLAMMING the door behind him.

INT.  PAUL's HOUSE

Heavy, rapid KNOCKING forces Paul to rush to his front door.  He opens it.  John stands there.

            JOHN
    We need to talk.

No one is going to complain that they didn't see John walk over to Paul's house.

This is actually a problem I've seen with a lot of scripts.  The writer includes every step of something when it's not needed.

Phil

I agree with Phil.

Keep the descriptions lean. You should only touch on details when it serves a point.

Yup, like Phil said one of the most common newbie mistakes is doing the "transportation scenes" when they're not needed.

If you show JIMMY get up in the morning and shutting off his alarm-clock, then you can cut to Jimmy on the bus or Jimmy at work and the transportation that got him there will be inferred.

Of course transportation scenes can have meaning, especially in montages, but you should ask yourself when writing: do you wanna convey something in the transportation scenes or are they simply there to show your subject go from A to B? If the latter is the case, then, in most cases, they're not necessary and will end up as filler.

I have seen times show up in the scene headings in scripts for Doctor Who and Life On Mars. Is this a British trend?

tweak

If the time is important to the plot, I don't see any problem with it.

So:

INT. BEDROOM - NIGHT (9:00PM)

That's how I'd format it.

Most of the time, however, the time isn't important to the scene and should be left out of the scene heading.

Having the time in the scene slug (as in a previous example) tells the audience nothing, so if the time is pertinent to the scene, it needs to go in the scene itself.  Do it something like this:

INT. BEDROOM - NIGHT

Jack is in bed.  The clock on the bedside table reads 9:15.

If you don’t have a clock to show us the time, then you can have it superimposed over the scene, like this:

INT. INTERROGATION ROOM – NIGHT

Jack sits wearily at the table with the two detectives.

SUPERIMPOSE: 11:00PM

You can also show us the time over a black screen, something like this:

BLACK SCREEN.  Over this...

SUPERIMPOSE: MONDAY, 10:00PM

INT. FBI OFFICE – NIGHT

A dozen armed AGENTS fill the room...

If it's a British trend it's recent. I've read scripts for Classic Doctor Who and they have the usual slugline of NIGHT or DAY.

Unless the exact time is needed, don't include it. If you want to show the time, throw a clock in the background, or something like that. In a couple of scripts I've started writing, I show what time of year it is by the holiday decorations in store windows.

Use your imagination.

Phil

Is it okay have an INT. scene and still use NIGHT or DAY extenstion in the slugline?

Ex.

INT. HOUSE - NIGHT

I have a scene that takes place inside a house and one of the characters is looking out through the window into the night.

Cheers
Rob

you have the answer there

http://www.simplyscripts.com/WR_CS_sluglines.html

Michel 8)

If a scene takes place inside an apartment room, and I have my character walking to different places within it (example: from his kitchen to his bedroom) should I include another complete slugline for it? Right now, I'm writing something like this...

INT. ROOM WHATEVER - DAY

RANDOMDUDE gets up from his couch and walks into the--

BEDROOM

--Where he plops down on his bed.

Is this okay or should I include the whole INT. APRTMENT - BEDROOM - DAY? 'Cause I feel that's a bit too much.

--Julio

Julio, that's a good question and the way I have learned so far is that yes, when you change rooms, you are changing scenes so that's what you do.

When you think about it, it makes sense from a "shooting" standpoint. Movie makers might shoot all of the bedroom scenes first or last or whatever and play with the necessary lighting.

... but still, I feel awkward doing it the apparently "right" way.

Sandra

The way you have it is acceptable, but you could write the complete slugline as well.

I've seen this before:

INT APARTMENT - VARIOUS ROOMS - DAY

and then just describe each room as he walks into it.

If the scene in one continuation, all you need is the first slugline.

Phil

Thanks you guys. I'm keeping it how it is for clarity's sake.

Your first example (using secondary headings) is the best way to do it if the scenes are continuous. It reads very cleanly and makes the different rooms stand out so they're easy to find. The other options are acceptable, but placing the rooms in descriptions makes the changes harder to find and putting individual slugs for each room is tedious to read for a quickly changing scene.

I'm gonna ask this here since it's a slugline question.

I've started work on my first feature (WOO HOO!) and in the beginning, I have INT. ALEX'S BEDROOM.

Then around page 30, he flies back home, and now I have another INT. ALEX'S BEDROOM, for the scenes that take place in his childhood home.

I don't think this is okay. Should I do INT. ALEX'S APARTMENT - BEDROOM or INT. ALEX'S CHILDHOOD BEDROOM or INT. ALEX'S OLD BEDROOM or something else? For the rest of the childhood home, I've got INT. BECKY'S ____. Becky's his mom.

Thanks in advance!

If you're using a lot of common interiors across different places I'd suggest something like:

INT. BEDROOM - ALEX'S APARTMENT
INT. BEDROOM - ALEX'S CHILDHOOD HOME

When the scene report gets generated you have a consistent "place within location, location" format.

You can also reverse it to INT. ALEX'S APARTMENT - BEDROOM if you'd prefer.

It's just important to stay consistent with either "place within location, location" or "location, place within location" throughout the piece.

Hope that helps.

Thanks for the help.

I just went through the "All About Sluglines" thread but couldn't find what I am looking for.

My question is this: When you have a long scene that switches to several location (and by that I mean in the same general area), should you use continous and is it even necessary to use DAY or NIGHT?

Example:

INT. HOUSE - NIGHT

John grabs his coat and opens the front door.

EXT. HOUSE - NIGHT

John exits the house and heads for

EXT. CORNFIELD - NIGHT

John runs down a narrow passage.

EXT. SHED - NIGHT

John spots a shed up ahead.

INT. SHED - NIGHT

John storms inside and hits the light.

Instead of night I could have used CONTINOUS (which I'm not going to do cos' it looks terrible) but is it even necessary to state the time of day when it's a long continous scene? Or should I just go for clarrity even though all the NIGHT-mentions really clutter up the script?

Cheers
Rob

Sniper,

You are more experienced than me, but this is obviously a sequence; so my question would be: Might we label a sequence something like: "Escape Sequence Continuous - Night"?

Good question, because sluglines still confuse me-- especially when you've got someone looking out a window for instance, and the shots are back and forth. We might have a whole pile of back-and-forth sluglines that seem like a waste.

Sandra

It's not really necessary.

If you have established that it is NIGHT and then you simply change scene, it will be presumed that it is still the same time until the point that you change it to DAY again.

Yes, night would look terribly redundant and definitely clutter the script I think.

I've researched this and found out one possible solution:

Type in SERIES OF SHOTS as your slugline; then list them as an action sequence in ABC format.

He's on the run:

A. The barn, but vicious dogs race suddenly from the house

B. Turns sharply, scuttles a chain-link fence

C. Jumps down the other side as the dogs bark wildly

D. He hurdles over rough terrain and makes it to

E. His car where he guns it

The radio plays happy-dappy music while the engine roars and the tire's squeal.

It seems to me that this kind of formatting is less blocky looking then writing a bunch of Sluglines, but I really don't know.

Sandra

No, Dec's short answer is right Sandra. If the scene is "continuous" -- and I do not use that either, Snipe -- we do not need constant reminders that it is night. He can leave them off.

But what you've got is not quite right, Sandra. A "series of shots" -- kind of a second cousin to a montage -- are for actions that would be much to long to show in their entirety. Such as making a bomb, or cooking lasagne.

We would see everything in the action scene you've described -- being chased by dogs and scurrying up the fence would be scripted out in its entirety, and a series of shots would be inappropriate.

Not trying to be argumentative -- but a slight correction is warranted here to keep from muddying the waters.

Quoted from bert

But what you've got is not quite right, Sandra. A "series of shots" -- kind of a second cousin to a montage -- are for actions that would be much to long to show in their entirety. Such as making a bomb, or cooking lasagne.

We would see everything in the action scene you've described -- being chased by dogs and scurrying up the fence would be scripted out in its entirety, and a series of shots would be inappropriate.

So the answer here is:

Don't use continuous.

And only use SERIES OF SHOTS

To bridge time and/or action where it's too long to script the whole thing out in its entirety.

Is that correct?

Sandra

If it's continuous, I don't think you need the sluglines at every scene. You can start with the first one and write every afterwards. When the story changes to the next 'chapter,' you use another slug line.

Phil

Quoted from dogglebe

I would suggest going back to basics, the idea of a slugline is to highlight to the director, cinematographer, lighting dept etc... where this scene takes place. What they need to prepare and what they should expect etc..

So as long as you keep that in mind it should come quite naturally when deciding what to write in your slugs. i.e. unless the light changes then you do not need to mention a time of day. if however you next scene takes place later on in the evening then you do. Of course you would use the slug to denote a passage of time, i.e. the next day. This helps the props and wardrobe dept prepare for a change of clothes etc..

But this does mean that when action moves from say a parking lot to an indoor market then yes I would say you need to change the slug, a new location is needed. But if it is just generic action taking place outside in a series of streets/gardens etc. then probably not.

So if you read your scene from the directors point of view and think that it would require a new location, and thus an extra days shooting, then yes you should add a slug.

Quoted from Sandra Elstree.

So the answer here is:

Nothing is absolute. Everybody does things differently. That is why it is so important to read scripts. You have to find what works best "for you".

Quoted from Sandra

Don't use continuous.

I do not. I find it redundant, and it seems to have fallen out of favor lately anyway.

That said, plenty of people use it, and they are not wrong to do so.

Quoted from Sandra

And only use SERIES OF SHOTS

To bridge time and/or action where it's too long to script the whole thing out in its entirety.

Very generally, yes -- that is my understanding. A montage is big -- like a courtship between lovers, or a road trip across the country -- while a "series of shots" is smaller, like cleaning a house.

That said, there are very likely to be different and better definitions out there.

Look for "series of shots" in the scripts you read and see how it is utilized.

Quoted from Murphy

When writing a shooting script, you should have sluglines everywhere. Things are different with spec scripts, though. Spec scripts should be an easy and quick read and such sluglines are just unnecessary hurdles.

I remember reading a script, here, where a character left his bedroom and walked through several room before leaving his house. All the sluglines (and spaces around them) took up about three quarters of a page of paper.

Completely unnecessary.

Phil

Write a kick ass story. Make sure it's understandable and anyone can follow the action...

That other stuff is details that not that many people really worry about...

I'm now waiting for someone to tell you I'm soooo wrong and that the reader at the All Important Studio will throw your script away if you fuck this detail up. IMO, the most important thing is to make sure your first ten pages blows the reader away. If it does, no one gives a damned about details like that.

That's just me though and I'm nobody. :-)

Quoted from Grandma Bear

IMO, the most important thing is to make sure your first ten pages blows the reader away. If it does, no one gives a damned about details like that.

Keep in mind that, while this is very true, adding unnecessary sluglines and other formatting thingies will take away from the story.

Quoted from Grandma Bear

That's just me though and I'm nobody. :-)

You're someone to me, Pia.

Phil

Quoted from Grandma Bear

That other stuff is details that not that many people really worry about...

You may be right, but Sniper asked a very specific question that deserved a response, and even sparked a little discussion.

We are all aware of the recent trend to "buck" the rules a bit, but let's not go leaping onto every thread shouting "rules be damned!" when a formatting discussion is going on, OK? :)

I think it comes down to the old "know the rules first before you break them".

First, I'll try and learn how to color inside the lines, and then someday I might paint a masterpiece.

But first, I have to... What was it I was going to do? Oh yeah! I gotta go buy some more Crayolas.

Sandra

Hey guys,

Thanks for all your input.

Quoted from Scar Tissue Films

That's exactly how I feel. I did that in one of my script but a reviewer pointed out that my slugs didn't have time of day (even though the opening slug did), so I got unsure about that.

Quoted from dogglebe

I remember reading a script, here, where a character left his bedroom and walked through several room before leaving his house. All the sluglines (and spaces around them) took up about three quarters of a page of paper. Completely unnecessary.

I totally agree with you, Phil. However, the way I see it, that would mainly work with INT. shots.

Quoted from Grandma Bear

Write a kick ass story.

Oh, I will!!

Quoted from sniper

Hey guys,

Thanks for all your input.

That's exactly how I feel. I did that in one of my script but a reviewer pointed out that my slugs didn't have time of day (even though the opening slug did), so I got unsure about that.

I totally agree with you, Phil. However, the way I see it, that would mainly work with INT. shots.

Oh, I will!!

Let us help you edit and revise it and then give us a teensy tinesy reference of some sort and we'll be happy.

Lots of good vibrations at ya!!!

Sandra

Hey guys, again I'm choosing to revive an old thread rather than start a new, probably uneccessary and short-lived one.

I'm back to writing my first feature, and actually am making some pretty good progress with it. I have a quick question about the distinction between SERIES OF SHOTS and MONTAGE. I have three bits of the script that will use either of these devices, depending on which is appropriate. Two of them I've written - one near the opening of the story, and one near the end (I've written the beginning and end am now filling in the middle - weird, huh?). Rather than try and describe them and get into a whole theoretical debate, I'm just going to paste them in here and ask you which would be more appropriate.

Both of them are compressed journeys characters take across London. Both are SERIES OF SHOTS...for now.

Sequence One:

- Charlie puts his Tube ticket into the barrier. It doesn't work. He tries again. It doesn't work. A TFL STAFF MEMBER comes over to help him out.

- Sam and Charlie stand on a Tube platform.

- Sam and Charlie stand in a crowded, swaying Tube carriage. Sam glances sideways at Charlie, who looks glum.

- Sam and Charlie ascend on an elevator.

Sequence Two:

- Charlie closes the door to Maria's house. He walks away, turning once to look back as he keeps walking.

- A Tube train pulls into a quiet platform. Its door open, and Charlie boards.

- Charlie walks up to Sam's house, puts the key in the lock.

- Charlie closes the front door, glances around the quiet, empty hallway.

- In Sam's bedroom, Charlie finishes packing his suitcase. He puts the lid down, begins to zip it up.

- Charlie exits through the front door, locks it, and puts the keys through the letterbox. He grabs the suitcase handle and heads off down the street.

- Charlie sits in a quiet Tube carriage, his suitcase in the adjacent seat. He stares straight ahead, in a world of his own.

The section in the middle - where one character (Maria) shows another (Charlie) round her favourite bits of London - feels like it would be more appropriate as a montage. I haven't written it yet, so we'll see. But the two above are more 'series of shots' type material...yes? Or am I way off?

Basically, are the two above sequences best put as

A) SERIES OF SHOTS
or
B) MONTAGE

Cheers guys. I really want to finish this!

Hello Johnny,

Michael Cornetto once elaborated that a montage is usually used as a "time passage" device. For instance, a child growing up-- showing the relevant parts you want to show. It might be "how a criminal became a criminal", with relevant moments depicted. In this way, the action is drawn with a kind of connectivity to prove one point.

One way "Series of Shots" is used is to tell a story within the greater story. It has dramatic action and/or resolution.

Sandra

So...my sequences should be montages? Or is the passage of time they are depicted too short?

Quoted from JonnyBoy

So...my sequences should be montages? Or is the passage of time they are depicted too short?

There's a fine point here that I think needs to be discerned. In the case of your above examples, it would seem to me that they are more "series of shots". The reason why, is because they seem to exist to "move" the character along in time and place, but they're not necessarily to serve some "grand idea".

Right now, it seems to me that a montage is more of a "grand notion". Like a wedding sequence montage. Or a "touring Paris" montage. That's the way I'm thinking of it, but I could be wrong.

For instance, I haven't read the script, but in the last Bourne movies, it would seem to me that you've got a lot of "series of shots" that help us to identify "where" we are and move from place to place with the character, but they're not all "la-te-da this is "the mood and feeling" type with a definite context.

Wait and see back for some more responses on this because I know it can be confusing.

Sandra

I think the difference between MONTAGE and SERIES OF SHOTS is:

as said before MONTAGE is to tell a short cuts of a story. (i.e. the "Ain't No Sunshine" sequence in Notting Hill)

SERIES OF SHOTS can be at ramdom. A bit of this, a bit of that, a little bit of this... with no evident pattern.

Michel 8)

I'd say the first sequence is fine, it makes sense as it is.
As for the second one as long as you've scenes in Sam's house, bedroom etc before this sequence then it should be fine too.
Hope that makes sense.

Okay, another question now. Rather than getting involved in the big, sweeping, theoretical arguments, I think I'm just gonna stick to asking specific questions I don't know the answers to.

Do we like bold, under-lined sluglines? I mean as a community, are you against them, or are they an okay personal choice?

Because a lot of professional scripts seem to have them, and I actually think they look good and work really well - help to highlight the beginning of a new scene, give a bit a visual variety. I also remember Rob used them on his latest script (Escape from the Killing Fields), and I think they worked pretty well there.

I'm trying out the first few pages of an action/horror/comedy script - finished exams, had a good idea and thought I'd try it out, also practising writing action sequences - and think they look good. My question, I suppose is this: if I were to use them in a script, would you comment on them? And if so, why? I understand that 'we sees', camera direction etc. can be accused of taking the reader out the story, but what's the problem with bold, underlined sluglines?

Cheers.

I can imagine people here being bothered by bold slugslines. But I don't think the industry batters an eyelid to them as I've seen them quite a number of times in specs by newbies. But then again, I can't speak for the industry.

Quoted from JonnyBoy

Do we like bold, under-lined sluglines? I mean as a community, are you against them, or are they an okay personal choice?

Because a lot of professional scripts seem to have them, and I actually think they look good and work really well - help to highlight the beginning of a new scene, give a bit a visual variety. I also remember Rob used them on his latest script (Escape from the Killing Fields), and I think they worked pretty well there.

It's definitely a matter a taste but I personally think the bold/underlined slugs more clearly separate the different scenes. Plus, a few of the pro scripts I've read lately also uses the bold/underlined slugs (that's actually what inspired me to use them). I would not comment on them either way.