A brief introduction to materials that will be covered.

1. SCREENWRITING:
intro to writing the industrial film script
BY JER SKLAR

2. WHAT IS A SCREENPLAY?
 While you are writing something to be read, SCREENPLAYS are
intermediary documents. They are WRITTEN TO BE SEEN & HEARD…
 If you are writing something that cannot be filmed or audio recorded
(SEEN or HEARD) then why are you writing it?
 SCREENPLAY writing has a Two different FORMATS (narrative and two-
column.) Each format serves the same function, for while a screenplay is a
creative document to be read, it primarily is akin to an “instruction manual”
as to how to create something that can be SEEN & HEARD.

3. NARRATIVE
FORMAT
 These are the basic
format headings of a
Narrative Screenplay as
written with FINAL
DRAFT software, CELTX,
WRITER’S DUET, etc.

4. 2- COLUMN
SCREENPLAYS
TITLE OF SCREENPLAY DATE OF DRAFT AUTHOR OF SCREEENPLAY
VIDEO AUDIO
(Scene heading) INT. LIBRARY – DAY
(Action description) A MAN (ALL CAPS for
the first time a character makes an
appearance) behind a counter, 60s
wearing classes, files some papers as
CAMERA approaches.
CAMERA nods up and down.
CAMERA follows MAN behind counter,
and through a door.
(always capitalize and bold CHARACTER
who speaks)
MAN: Good Morning, are you here for
the interview today?
MAN: All-righty then. Let’s start with
where you can hang up your coat and
store all your belongings while you’re
here… Right this way…
(New Four Walls, New Scene Heading)
INT. LIBRARY BREAKROOM – CON’T
Man leads CAMERA into room with a few
tables, couches, vending machine and
some lockers.
(SUBHEADER – Used to direct
Cameraperson’s Shot or if the scene is not
taking place in another room per se but
has now gone to a specific part of a room
for a large part of the scene.)
CLOSE UP – CARD KEY INTO LOCK
MAN: So… just behind the main counter
we went through the office hallway door
and down the first stairs to the right,
that’s how we got here, to the breakroom
area. This is your locker that can be
opened with your card key.
MAN: That’s all there is to it, just wave
the card by your assigned locker, and
voila, it opens!
THIS FORMAT IS COMMONLY USED IN:
 ADVERTISING
 TRAINING FILMS
 NEWS SCRIPTS
 DOCUMENTARY

5. BUT ANY SCRIPT’S SUCCESS BEGINS
AND ENDS WITH A STORY ENGINE…
Or… WHAT MAKES THE SCRIPT “GO”
AND KEEP AN AUDIENCE WANTING
TO SEE WHAT HAPPENS NEXT?

6. THE SCREENWRITER’S LOGLINE
 A LOGLINE IS MORE THAN A BRIEF SUMMARY OF YOUR STORY
 A LOGLINE CONTAINS 4 KEY ELEMENTS THAT MAKE YOUR STORY ‘GO’

7. FOUR ELEMENTS OF A LOGLINE
 INCITING INCIDENT – something happens to or indirectly to the Protagonist,
inspiring them to seek change in their life.
 SPECIFIC, PROACTIVE, PROTAGONIST – This is the character that drives the
story. ”Specific” in that the one or two words used to describe her here are not
mere descriptive adjectives, but give us a hint as to how difficult it is going to
be for this Protagonist to change their life with…
 MEANINGFUL PROACTIVE GOAL – This is what the character MUST do in order
to effect the change they want in their life
 SPECIFIC ANTAGONISTIC FORCE – Not necessarily a bad person, or even a
person. This is merely the main, specific force that makes accomplishing the
MPG so difficult.

8. LOGLINE TEMPLATE
After AN INCITING INCIDENT occurs, A SPECIFIC PROTAGONIST must DO A
MEANINGFUL PROACTIVE GOAL against a SPECIFIC ANTAGONISTIC FORCE or
else…(the stakes.)

9. MY GOALS FOR THESE TUTORIALS:
 To guide you through 2-Column Formatting
 To help you develop a solid Logline that will be both entertaining and
informative
 To give you proper advice as to how to revise and rewrite your screenplay.