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1. Scriptwriting Unit Learning Aim B.
When writing a script of your own, one must typically look at the different scripts available in the industry and
understand how they are all different from each other and all have their own unique features. Whether you are
creating a master scene script, a shooting script, a radio script or a game script, you must learn the industry
standards of each one and plan accordingly.
Master Scene Script - Now You See Me.
Master scene scripts are the industry standard and are required for most screenplays, as they are the only
accepted format, this differs from the shooting script as it doesn’t denote camera directions. It is a design that is
accessible for investors to read, it allows a mixbetween dialogue and description as it is the most important factor
of the master scene.
In Now You See Me’s script, the scene heading indicates to us where the action is taking place, just by looking at
the scene headings alone, a buyer would be able to see what set’s they will need and also is an easy way to
condense the story without having to include long descriptions in each scene. The key information for the script
is often written in capitals, this makes it easier to see the most important details, likecharacter names and settings,
which makes the process of reading the script more efficient. However, in a narrative description, they will only
capitalise the character’s name the first time they are mentioned, so the actors understand when their character
is first introduced, since it catches the eye more.
When looking at how dialogue is structured in the master scene script format, we can see the small details that
solidify the scene being placed in lower case as the main information is capitalised, such as the characters name
“ETIENNE GLICKMAN” which is also easier for actors to see which lines are theirs. Both allow for an easier way
of forwarding the story, working as narrative devices that can compel a producer to pick up their scripts for
commercial use. As this is only for the producers and actors there is no need for it to include camera actions or
anything that will not help the actors convey their lines or get a grip for the scene.
This establishes how characters are feeling, with Etienne being “ exhausted and irate, ” which gives the actors
and readers the ability to fully understand how the characters in the scene are feeling without it being a large
block of information,with each page of the master scene script equating to one minute on screen. If there was a
large chunk of description that would make the length to page ratio mess up as the length is typically determined
by how long the script is. The more concise and compact the description leaves more space for dialogue and
also allows for the readers to not be bombarded with irrelevant information that can leave them uninterested and
confused.

2. Shooting Script - Room.
In a shooting script, there are some very visible differences to its counterpart the master scene script, however
there are some similarities, with both using the same font size of 12 and with each page equating to about one
minute of film. The size shows one page per minute of film, so if a script is 200 pages long then the filmmay be
200 minutes long, if they are looking for a film that is 3 hours plus then they wouldn’t even look at a script that
isn’t 180 pages plus. But compared to themaster scene script, these scripts are meant to produce the film,giving
the production crew the necessary information to format the film how the writer initially intended. These scripts
include the technical aspects required, compared to how a master scene script focuses on the narrative side, it
shows the different actions characters are taking in the scene and around the set.
Compared to Now You See Me’s master scene script, Room’s shooting script shows the difference, in it’s details
of the room which really allows those who are designing costumes, set design and just the overall production staff
who will be shooting in the set as well. While this information gives no indication on the characters moo ds or
emotions, it gives a very detailed look into where the majority of the filmtakes place so that everything that could
be fleshed out is, this allows for the production team to really do their thing and prepare shots, scenes, everything
apart from the acting that makes up a scene. This shows that the shooting script is primarily for the crew and not
the cast, including some hints to the characters emotions and movements, but these help position them in the
scene compared to the set, which again helps the director. The vast detail also saves time and ultimately money
that may be wasted trying to think of set ideas and costumes, however the script writer has included them for
time saving.
The “ faint background hum of a refrigerator,” also gives us hints towards sound design, with very few elements
of production being left out of the shooting script, to make sure that everyone knows what they are doing, giving
those in the crew directions that would never be seen in a master scene script. Conventionally, this has a lot more
description that it’s partner mss, meaning it will also be longer as the pages of description about a set’s
appearance, which also equate to about one minute of screen time, per page of script, if using the industry
standard format. If you were not to use it, there is a very strong chance your script will not even be read, as it may
have a different layout and font size, as there is a reason that there is an industry standard.
Now visually, this has both similarities and differences to the master scene script, with the similarities being- the
characters’ names only being capitalised upon first meeting them, the scene headings, giving thelocation, interior
or exterior and then the time of day. However, it also has its differences, with scenes being labeled by numbers (
this is the opening scene / scene one ) and with extra details about certain objects or props in the room- like the
“delicate mobiles”, being included in brackets, to expand on the object, giving the set design team an easier time,

3. since they have great detail to go from. This gives the prop design team exact details that really make the scene
immersive for audiences, as they would benefit from this detail more than the actors would.
Radio Drama - The Golden Bowl.
As an entirely auditory experience, radio dramas have to rely purely on sound to convey situations and emotions
without there being a visual, making it one of the more interesting genre’s to look into. However, because of this
fact, the format of the script reflects this, with plenty of audio cues for the actors and sound designers who play
a very important role in creating the atmosphere of a piece. The Golden Bowl, on Radio 4 is an example of this,
with the format showing audio descriptions and blocks of dialogue over other features seen previously in shooting
or master scene scripts which tend to favour descriptions that benefit visual cues compared to the auditory cues
that are required for radio dramas to run smoothly.
Unlikethe other scripts we have looked at previously, radio drama scripts have no narrative descriptions included
at all and instead have smaller descriptions of the sounds that are used to tell what sounds effects are needed to
play and when to immerse the audience in the drama without the need for visuals. Often there may be certain
songs that are included so ‘Timescales. Julie Cooper’ is highlighted in red as it is a key bit of information that the
sound design crew need to take into account and use. This means that the script can be used by both the actors
and the production crew, saving the writers time to start working on the script for the next episode instead of
having to create two separate scripts like used in hollywood movies. The sound design allows listeners to picture
an image in their head, and is a lot more customizable than a screenplay, due to the actors' appearances not
being needed. This also saves the production crew time and money as they don’t need to work on lighting,
cameras, costume design or set design, allowing radio dramas to have a smaller budget and be aired quicker.
The lack of descriptive techniques for the actors means that they have to rely on the hints given to them in the
brackets that provide a bit of narrative description while keeping it short and concise since the sound design

4. team wouldn’t need the description of how an actor should play a character because it’s not necessary for them.
There also isn’t any heavy amount of description as seen in rooms shooting script, because the cast and crew
have to share this script it’s pointless there being more information for one than the other. Directing actors on
how to use their pace can easily set a picture for listeners despite the lack of visuals, making the smaller details
very important. With dialoguebeing the key part of a radio drama, it needs to tell thestory, as if it were the narrative
description in a master scene script, this makes it so drastically different fromboth the master scene and shooting
scripts we have previously looked at.
In other radio scripts, speech delivery suggestions will be put in brackets next to the text, much like a wryline that
can be seen in master scene scripts, this can connote how the line should be delivered, like a (side) that is often
found in play scripts. This shows the vast amount of differences all the