work

1. Screenplay Terms
1. Sluglines
Sluglines (also known as scene headings) tell the reader where the action is happening. It’s a location, followed by a time. When it comes to sluglines, you first
have to establish whether the scene takes place inside (INT.) or outside (EXT.) A period, then the location of the scene, followed by the time of day (Day, Night,
Morning, Evening, etc).
2. Action lines
Your action lines go right beneath the slugline. Proper screenplay format dictates that they always be written in the present tense and as visually descriptive as
possible.
3. Dialogue
Dialogue is straight-forward. You centre and capitalise a character ID and put dialogue underneath. Your character ID need not be your entire character’s name.
It could be a first name, a last name, or an alias.
4. Extensions
Extensions go next to a character name in brackets and tell us how the dialogue is heard by the audience. Voice-over/off-screen/into devices.
5. Parentheticals
Parentheticals are directions to the actor – they detail how the line should be performed. (eg. Tearfully, falling to knees….)
6. Transitions
Transitions indicate how an editor should transition between two scenes – they're on the far right of the page (right justified) and placed between two scenes.
Eg. Cuts to……smash to (an abrupt cut)…… dissolve to (to show time has passed)…….intercut (where focus jumps between two or more scenes)
7. Subheaders
Subheaders are like mini-sluglines that indicate another place or time within a scene. They’re even formatted like sluglines - left-justified and capitalised eg.
LATER…..
8. Shots
By indicating a particular type of shot in a script, keep in mind that you as a writer are also hammering home to the reader that this is a movie and cameras will
be recording it.

2. FADE IN:
INT. MORT'S KITCHEN - DAY
Mort chops carrots at the counter. Becky leans against the fridge and fiddles with a Rubik's Cube.
MORT
I don't think Dave will say yes.
BECKY
Oh, I think he will.
DAVE (PRE-LAP)
No, absolutely not.
EXT. ROCK QUARRY - DAY
DAVE, 45, rugged, with an edge, stands on a path in conversation with Mort and Beck.
DAVE (CONT'D)
I don't need you.
With a knowing smile, Becky raises a tattered journal.
BECKY
You might need this.
Dave's jaw drops.
DAVE
Where'd -- where'd you find that?
Becky turns and strolls down the path.
DAVE (CONT'D)
Hey, where you going? Gimme that.
DISSOLVE TO:
Action line visually descriptive
for the reader
Slug line- tells the reader where
the action is happening
Dialogue where the
character speaks
Directions to the actor,
tells them how to
perform their line
Transition tells the
editor where to edit
to the next scene

3. INT. SHANGHAI GARDEN RESTAURANT - DAY
Platters of noodles and veggies twirl on a lazy Susan as Mort and Becky eat lunch side-
by-side in a booth.
BECKY
Your only option is to join us.
Dave sits across from them, eating and sweating.
DAVE
Man that's spicy.
shrugging
That's how I feel right now.
Dave looks at --
THE RESTAURANT'S FISH TANK
Colorful fish swim this way and that.
DAVE (O.S.)
Trapped underwater, trying to breathe. A rat in a cage.
LOW-ANGLE
Mort, at the table, addresses Dave.
MORT
Those aren't rats, Einstein. And this is a way out.
DAVE
If I say yes -- we train now.
SMASH TO:
BEGIN MONTAGE…..
Shots shows
the reader
that this is a
film
Slugline tells the reader where the action
is happening
Action line visually
descriptive for the
reader
Parenetical details
how the line should
be performed
4
Dialogue the
character
speaks
Transition, tells the editor where to
transition between two scenes
Action line visually
descriptive for the reader