You'll see what we mean as you read on below. When trying to determine how to write what many screenwriters feel are challenging scenes like phone conversations, it's important to remember who you are writing for.įirst and foremost, you're not writing for a director, editor, or actor, so don't worry about suggesting even the most minimal of camera placements, editing suggestions, or performance cues. And any time the flow of the script is halted by a complicated or unclear format that doesn't communicate the visual as quickly as possible, you've halted any momentum of the read.Īnd make no mistake - when you're writing spec scripts, you're writing for the script reader. However, script readers do need the broad strokes of what they are supposed to be seeing. They don't need to know every subtle detail of the action, characters, and environment - save that for when you write your novel. We're not talking specifics here, mind you. To accomplish that, spec scripts have to be void of complicated formatting, instead offering the best possible and most easily digestible description of what the reader is supposed to be seeing. That's one of the secret ingredients of every successful spec script - making that script reader see your film through their own mind's eye as quickly as possible. Spec scripts need to be written with cinematic flavor. There is a genuine difference between how a spec script is written - scripts written under speculation that they will be sold and produced - compared to how seasoned screenwriters write assignments or craft shooting scripts. Writing cinematically is a must for screenwriters trying to break through those Hollywood walls. We'll take a step back for a moment and cover the idea of writing cinematically before we tackle the basic formula of how you should portray such a scene within the confines of screenwriting format. The key element in the way we've written out that question is the word cinematic. But an even more common misconception is that the answer lies just within the format. This is one of the most common and basic questions screenwriters struggle with. You've got two or more characters in different locations talking through a phone, radio, or commlink - how do you cinematically format these types of scenes? We’re going to explore how to properly format cinematic phone conversations for this installment of our ongoing Screenwriting Basics series.
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