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1. Unit 19 sectionB
In thisdocumentIwill be talkingabouthow youmustwrite differentkindsof scripts;forfilm, games
and radio.
Film
For filmyoumustwrite yourscriptin masterscene script.Producerswill onlyreadscriptsinthisformat
so if youdon’tuse it youare wastingyourtime.Producersonlyreadthistype of scriptas due to the font
and fontsize (textisincourierandfontsize 12) a page will typicallyequal aminute of screentime.
Producerslike thissince itmeanstheycanlook at a script andknow if its too longor short. Furthermore
materscene scriptis layedoutinsuch a way itsmuch easierforthe producers/directorstonavigate;this
isbecause whenusingmasterscene script you'll have page numbersandbreakup:scenes, dialogue and
description inaorganizedfasion.
This isan example formGoodWill
Hunting. Here we have fade in
whichisa conventionof MMS as it
helpsconnectingscenes asthis
scene followsanotherbut now, we
have the slugline.EXT.SOUTH
BOSTON ST, PATRICKSDAY
PARADE– DAY, thisis forthe
establishingshot.Thenwe have a
cut to anda secondsluglineINT. L
STREET BARAND GRILL, SOULTH
BOSTON – EVENING.Sluglinesare
an importantconventionof MMS
as theytell the directorwhere and
whenthe scene is, exterioror
interior,thenlocationthentime of
day.
Thenwe get some descriptionof
the bar. It's importantto describe
howyou wantthe setting,writing
a script is like writinganovel asin
youmust showwhatthe setting
and howthe characters are. Here
we get that.The writerhasused
the adjective dirtyandthenused
made the settingrelatable tothe
readerwiththe sentence”if there waseveracook onduty he'snot here now”. Thissentence engages
the readeras its describingnotjustthe locationbutthe people init; furthermore, youcouldinferthatif
the cooks are not there that they don'tcare about the bar. You can furtherimplythatthe people inthe
settingof the movie don'tcare abouttheirjobsand thattheydon‘tapply themselves;thisreflects Wills

2. character. Fromthisone line the reader whoeverthatmaybe produceror directortheycan get a sense
for the writer's intentionandmessageof the story.
Thenwe get the firstdialogue inthisscene. Wheneverthere isdialogue there mustbe abreakand the
name of the character talking. The dialogue inthisscriptismeantto show to the readerthat these guys
are friendandhave beenfora while.Thisisdone byhavingthe characterstart the story and havingall
the guys respondatthe same time givingthe characterspeakingtheirattention. It'scleartothe reader
that these charactershave known eachotherfor a while;this makesthe readerfeelthatthese
characters are real andthat theyhave a past whichbringsthisscriptto life.Whenthese characters
introducedtheirnamesare inblockcapitalsastheymust be inmasterscene script,inmaster scene
scriptthe name inblockcapital are followedbybrief description of the character.
Shootingscript
Shootingscriptsare similartoscreenplays formanyreasons. Firstly, theyboth use the conventionof
sluglines tobreakup scenes;this,like inascreenplay,directorsandproducerstonavigate the shooting
script. Furthermore, anothersimilarity tothe masterscene scriptformatthe textisin courierandfont
size 12; thisalsomakesitso that a page usuallyequalsaminute. Thisagainmeansthatproducerscan
lookat a script and knowif it'stoo longor short.
Where theydifferisinitspurpose;whilstscreenplaysare usedtotell the narrative shootingscriptsare
usedto tell howthe narrative isshownoncamera. For an example inascreenplayitcouldsay howa
character was or isfeelingorhowa settinglooks;ashootingscriptwouldsayhow a character isshown
frowningina close upor howthere'sfocuson a brokenwindow.
Thisscene starts with
an extreme close up.
Extreme close upsare
conventionsof
shootingscriptsand
are usedto showa
character's emotions.
In thisexample italso
usesanother
convention describing
howthe camera will
move duringthe
scene.
Radio
In radioscriptsthere
isonlydialogue and
soundso all radio

3. scriptsa mix of soundeffectsand dialogue.Furthermore, radioscriptsmayhave descriptiononhow
linesare saidweatherits quiet,loud, etc. SFX are anconventionof radioscriptsand stands forsound
effectsandinradioscripts;producerswill throw awayscriptswithoutthese astheyare a must forradio
dramas.Furthermore,asa writeryoumust be descriptive withyouruse of soundeffects;since the
audience canonlyhearwhat's goingonits extremely importanttosetthe scene withyouraudioeffects.
Since there isnovisual contentthe scriptsare formattedintolinesof dialogue andsoundeffectswith
sluglinesatthe beginningof everyscene.
Like inmaster
scene script
we are told
where the
scene takes
place. Asis
saidbefore
radioscripts
tell the sound
effect,thiscan
helpthe voice
actors and
producersget
a visualization
for whatthe
writer
intended. goingon.
Whenusingdialogue punctuationisoftenusedbywriterstogive the actorsand indicationonhowto
deliverthe line
Throughoutthisscriptis hasalmoststage direction;again,thisisto helpthe actorsvisualize what's .