12/3/2017

To be a writer you need a pen, to be a painter a brush, to be

a musician an instrument but to be a filmmaker you need the
collaboration of others to bring your vision that is the movie
screen

WRITTEN BY
AKREM ABDULMELIK
0
ABDULMELIK
 CONTENT
[Link] ONE
2.
INTRODUCTION TO FILM
2. definition of film.
3. definition film production
4. phase of film production
5. number of people of film production
[Link] TWO
2.
INTRODUCTION TO DEVELOPMENT PHASE
6. definition development phase
[Link] TO STORY
7. definition of story
8. definition of storytelling
9. type of story
10. elements story
[Link] THREE
2.
THEME
11. definition of theme
12. type of theme
13. way express themes
14. Genre and themes
15. difference between the subject (genre) and the theme
16. to determine the theme of a story
17. when developing theme
18. point use to developing theme
19. examples common themes
[Link] FOUR
2.
SETTING
20. Definition of setting
21. type of setting
22. card
23. work sheet
[Link] FIVE
2.
CHARACTER
24. character definition
25. dimension of character
1
26. one dimension character
27. two dimension character
28. three dimension character
29. type of character
30. function of characters
31. character relationships
32. element of interesting
33. characters dull characters
34. empathize
35. Character flow
36. character arc
37. character description
38. characterization
39. character notes
40. character development
41. character core
42. from character to plot
43. there dimensional character profile worksheets
44. character interview worksheet
45. character interview
46. action steps
47. anthropomorphism
[Link] SIX
2.
TONE
48. definition film tone
49. the difference between tone, mood, atmosphere & voice
50. difference between tone and mood
51. common mood
52. atmosphere
53. voice
54. elements contribute to a film’s tone
55. writer use elements to create tone
56. genre and tone
57. tonal consistency
58. tone mistake
59. establishing tone
2
60. some possible attitudes (tone
[Link] SEVEN
2.
GENRE
61. genre definition
62. genre conventions
63. genres element description
64. type of genre and sub-genre
65. hybrid genre
66. transcending the genre
67. a saleable genre
68. reason audience watch move
69. worksheet
70. Action Films
71. Adventure Films
72. Comedy Films
73. Crime & Gangster Films
74. Drama Films
75. Epics/Historical Films
76. Horror Films
77. Musicals (Dance) Films
78. Science Fiction Films
79. War (Anti-War) Films
80. Westerns
81. Biographical Films (Biopic)
82. 'Chick' Flicks
83. Mystery Films
84. Disaster Film
85. Fantasy Films
86. Film Noir
87. Guy Films
88. Melodramas, Women's or "Weeper" Films
89. Road Films
90. Romance Film
91. Sports Films
92. Supernatural Films
93. Thriller-Suspense Films
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94. Biographical Films (Biopic)
95. 'Chick' Flicks
96. Mystery Films
97. Disaster Film
98. Fantasy Films
99. Film Noir
[Link] EIGHT
2.
ACTION
100. action definition
101. action tell about character
102. pattern of action
103. writing action
[Link] NINE
2.
POV
104. definition POV
105. choice of narrator
106. position of narrator
107. camera narrator
108. genre and point of view
109. worksheet
[Link] TEN
2.
CONFLICT
110. definition of conflict
111. element of conflict
112. type of conflict
113. personal conflict
114. external conflict
115. amount of conflict in script
116. example of conflict
117. conflict handling
[Link] ELEVEN
2.
DIALOG
118. definition of dialog
119. dialog elements
120. function of dialog
121. effective dialogue
4
122. definition of text and subtext
123. reason using nose
124. reason using sub text
125. step to write subtext
126. example
127. secrets and gossip, laughter and tears
128. memorable lines
[Link] TWELVE
[Link]

129. plot point

130. structure
131. act one
132. act two
133. act three
134. work sheet plot
[Link] THIRTEEN
2.
SCENE
135. definition of scene
136. element of scene
137. aim of sense
138. amount of scene
139. the structure of each scene
140. create 5 memorable scenes
141. memorable scenes temple
142. worksheet
[Link] FOURTEEN
2.
STYLE
143. definition style
144. element of style
[Link] FIFTEEN
2.
STEP OF STORY DEVELOMENT
145. definition story development
146. step of story development
147. getting idea use creative process
148. the creative process
149. list of creative process stages
5
150. great story idea
151. preparation stage
152. incubation stages
153. illumination stages
154. verification stages
[Link] SIXTEEN
2.
LOGLINE PITCH HOOK
155. pitching
156. definition of logline
157. reason writing logline
158. for writing script
159. to sell your screenplay or raise finance
160. element of logline
161. setup
162. protagonist
163. antagonist and force
164. conflict on logline
165. definition
166. features of main goal
167. specific
168. realistic
169. measurable
170. actionable (and adaptable)
171. time-bound
172. inner and outer desire.
173. inner and outer motivations
174. 20final tone
175. USP
176. questions unique
177. conclusion
178. format
179. the pitch definition
180. reason writing pitch
181. hook
182. logline library
183. logline
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184. the one-page pitch
CHAPTER SEVENTEEN
PREMISE
185. definition premise
186. structure of premise
187. this film’s premise template
188. example synopsis
CHAPTER EIGHTEEN
SYNOPSIS
189. definition synopsis
190. type of synopsis
191. technical element of synopsis
192. structure synopsis
193. screenplay-synopsis-template
[Link] NINETEEN
2.
OUTLINE
194. definition film tone
195. type of outline
196. beat outline
197. sample of beats outline
198. a step outline
199. difference bn beat outline step outline
200. outline
[Link] TWENTY
2.
TREATMENT
201. definition treatment
202. reason of writing treatment
203. organize your story
204. for submission
205. treatments is tricky
206. sample treatment
207. worksheet
CHAPTER TWENTY ONE
SCRIPT WRITING
208. script writing definition
209. SCRIPT FORMATTING
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 CHAPTER TWENTY TWO
REWRITING YOUR SCRIPT
210. screenplay software
CHAPTER TWENTY THREE
DOCUMENTS
211. from premise to screenplay
212. how to submit a screenplay to agents
213. script assessors
[Link]
2.
query letter
214. release form
215. NDA
CHAPTER TWENTY FOUR
PR PRODUCTION
216. definition
217. casting
218. pre-production activities
219. locations
220. shot list
221. tech scout
222. scheduling by the 1st ad
223. production design
224. script breakdown
225. cost
CHAPTER TWENTY FIVE
PRODUCTION
226. definition
227. Rehearsal
228. Setting up shots
229. Checking the take
CHAPTER TWENTY SIX
POST PRODUCTION
230. definition
231. Editing
232. Sound mixing
233. Music
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234. Test screenings
CHAPTER TWENTY SEVEN
MOVIE DISTRIBUTION
CHAPTER TWENTY ONE EIGHT
AUDIENCE
235. audience definition
236. the intended audience
237. entertainment values in storytelling
CHAPTER TWENTY ONE NINE
ORGANIZATION CREW
238. key creative team
239. production
240. camera & lighting
241. production sound
242. art department
243. special effects
244. stunts
245. post-production
246. animation
INDEX
247. script terminology
248. Wep info about script book reading

9
 CHAPTER ONE
INTRODUCTION TO FILM

FILM

DEFINITION it is motion of series picture to show story or event in

moving picture (movie).
FILM PRODUCTION (FILMMAKING)
DEFINITION It is art of illusion, to make believe the audients by fictions.
It accomplish with NUMBER OF PEOPLE AND DIFFERENT PHASE.
DIFFERENT PHASE OF FILM PRODACTION
DEFINITION The following step are different phase for a make film but
Most successful filmmakers have several filmmaking projects in various
phases of completion at any given time so many story ideas are in
development at the same time as other a finished
NOTE round-the-clock activity takes all the energy you can muster.
1.0DEVELOPMENT
1.1. STORY DEVELOMENT
1.1.1. FIND A SMALL IDEA(GREAT IDEA)
1.1.2. THEME
1.1.3. GENRE
1.1.4. LOGLINE
1.1.5. TITLE
1.1.6. FORMULATE A PREMISE
1.1.7. CHARACTER NOTE
1.1.8. CONFLICT
1.1.9. SYNOPSIS
1.1.10. PLOT POINT
1.1.11. EXPLORE THE STRUCTURE
1.1.12. SCENE OUTLINE
1.1.13. TREATMENT
1.1.14. STORY DEVELOPMENT CREW MEMBER
1.2. WRITING THE SCREENPLAY
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 1.3. RE-WRITING THE SCREENPLAY
1.4. SCRIPT WRITER CREW MEMBER
1.5. FINANCING THE MOVIE
1.6. FINANCING SCREENPLAY CREW
2.0 PRE-PRODUCTION
2.1 CASTING
2.2 LOCATIONS
2.3 SHOT LIST
2.4 SCRIPT BREAKDOWN
2.5 TECH SCOUT
2.6 SCHEDULING BY THE 1ST AD
2.7 PRODUCTION DESIGN
2.8 IN PER PRODUCTION CAW MEMBER
3. PRODUCTION
3.1. PRINCIPAL PHOTOGRAPHY SETTING UP
3.2. REHEARSAL
3.3. SETTING UP SHOTS
3.4. CHECKING THE TAKE
3.5. PRODUCTION CREW MEMBER
4. POST-PRODUCTION
4.1. EDITING
4.2. SOUND MIXING
4.3. MUSIC
[Link] SCREENINGS
2. MOVIE DISTRIBUTION
NUMBER OF PEOPLE
DEFINITION Many different people with full-time profession contribute
to making a film, the team typically 40+ people will need to organize a
production and shoot even a low-budget feature film or TV program.
NOTE in film production Screenplay must contain (give) the information
to different people with full time profession in different phase.
1. KEY CREATIVE TEAM
1.1. PRODUCER
1.2. DIRECTOR
1.3. SCREEN WRITER
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2. PRODUCTION
2.1. EXECUTIVE PRODUCER
PRODUCTION OFFICE
2.2. LINE PRODUCER
2.3. PRODUCTION ASSISTANT
PRODUCTION MANAGEMENTS
2.4. PRODUCTION MANAGER
2.5. ASSISTANT PRODUCTION MANAGER
2.6. UNIT MANAGER
2.7. PRODUCTION COORDINATOR
ASSISTANT DIRECTORS (AD)
2.8. FIRST ASSISTANT DIRECTOR
2.9. SECOND ASSISTANT DIRECTOR
2.10. OTHER ASSISTANT DIRECTORS
ACCOUNTING
2.11. PRODUCTION ACCOUNTANT
LOCATIONS
2.12. LOCATION MANAGER
2.13. ASSISTANT LOCATION MANAGER
2.14. LOCATION SCOUT
2.15. LOCATION ASSISTANT
2.16. LOCATION PRODUCTION ASSISTANT
ADDITIONAL PRODUCTION CREDITS
2.17. UNIT PUBLICIST
2.18. LEGAL COUNSEL
2.19. SYSTEM ADMINISTRATOR
CONTINUITY
2.20. SCRIPT SUPERVISOR
CASTING
2.21. CASTING DIRECTOR
2.22. CAST PA
3. CAMERA & LIGHTING
3.1. DIRECTOR OF PHOTOGRAPHY
3.2. CAMERA
3.3. CAMERA OPERATOR
3.4. FIRST ASSISTANT CAMERA
3.5. SECOND ASSISTANT CAMERA
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 3.6. FILM LOADER
3.7. CAMERA PRODUCTION ASSISTANT
3.8. DIGITAL IMAGING TECHNICIAN
3.9. STEADICAM OPERATOR
3.10. MOTION CONTROL TECHNICIAN/OPERATOR
LIGHTING
3.11. GAFFER
3.12. BEST BOY (LIGHTING)
3.13. LIGHTING TECHNICIAN / ELECTRICS
3.14. GRIP
3.15. KEY GRIP
3.16. BEST BOY (GRIP)
3.17. DOLLY GRIP
3.18. GRIPS
3.19. SOUND GRIP
4. PRODUCTION SOUND
4.1. PRODUCTION SOUND MIXER
4.2. BOOM OPERATOR
4.3. SECOND ASSISTANT SOUND
5. ART DEPARTMENT
5.1. PRODUCTION DESIGNER
ART (SETS AND GRAPHIC ART)
5.2. ART DIRECTOR
5.3. STANDBY ART DIRECTOR
5.4. ASSISTANT ART DIRECTOR
5.5. SET DESIGNER
5.6. ILLUSTRATOR
5.7. GRAPHIC ARTIST
SETS
5.8. SET DECORATOR
5.9. BUYER
5.10. LEAD MAN
5.11. SET DRESSER
5.12. GREENSMAN
CONSTRUCTION
5.13. CONSTRUCTION COORDINATOR
5.14. HEAD CARPENTER
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 5.15. PROPMAKER
SCENIC
5.16. KEY SCENIC
PROPERTY
5.17. PROPMASTER
5.18. WEAPONS MASTER
COSTUME DEPARTMENT
5.19. COSTUME DESIGNER
5.20. COSTUME SUPERVISOR
5.21. KEY COSTUMER
5.22. COSTUME STANDBY
5.23. BREAKDOWN ARTIST
5.24. COSTUME BUYER
5.25. CUTTER
HAIR AND MAKE-UP
5.26. KEY MAKE-UP ARTIST
5.27. IAL MAKE-UP EFFECTS ARTIST (SFX MAKEUP)
5.28. MAKE-UP SUPERVISOR
5.29. MAKE-UP ARTIST
5.30. KEY HAIR
5.31. HAIR STYLIST
6. SPECIAL EFFECTS
6.1. SPECIAL EFFECTS SUPERVISOR
6.2. SPECIAL EFFECTS ASSISTANT
7. STUNTS
7.1. STUNT COORDINATOR
8. POST-PRODUCTION
8.1. POST-PRODUCTION SUPERVISOR
EDITORIAL
8.2. FILM EDITOR
8.3. NEGATIVE CUTTER
8.4. COLORIST
8.5. TELECINE COLORIST
VISUAL EFFECTS
8.6. VISUAL EFFECTS PRODUCER
8.7. VISUAL EFFECTS CREATIVE DIRECTOR
8.8. VISUAL EFFECTS SUPERVISOR
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 8.9. VISUAL EFFECTS EDITOR
8.10. COMPOSITOR
8.11. ROTOSCOPE ARTISTS/ PAINT ARTISTS
8.12. MATTE PAINTER
SOUND AND MUSIC
8.13. SOUND DESIGNER
8.14. DIALOGUE EDITOR
8.15. SOUND EDITOR
8.16. RE-RECORDING MIXER
8.17. MUSIC SUPERVISOR
8.18. COMPOSER
8.19. FOLEY ARTIST
8.20. CONDUCTOR/ ORCHESTRATOR
8.21. SCORE RECORDER/ MIXER
8.22. MUSIC PREPARATION
8.23. MUSIC EDITOR
9. ANIMATION

15
 CHAPTER TWO
INTRODUCTION TO DEVELOPMENT PHASE
DEVELOPMENT PHASE
DEFINITION It is biggest phase where filmmakers typically spend one
or more years looking and writing story and screenplays until they have a
great script to film.
INTRODUCTION TO STORY
STORY
DEFINITION story is more or less what it sounds like an account of
IMAGINARY or REAL PEOPLE and EVENTS told for entertainment
(enjoying) in order to escape from their boring lives (being in emotion), but in
the process they learn useful truths about life from a good film because a
good story lets you live someone else's life and learn from their mistakes.
NOTE Stories teach and entertain.
EXAMPLE
 E.g. story about fames athletes.
 E.g. about world war 2 events.
 E.g. Love story.
STORYTELLING
DEFINITION Storytelling is about presenting a series of events as words,
images and sounds in interest and novelty (a new or unfamiliar) way to
audience as a result, they become fully engaged in the presentation.
EXAMPLE
 E.g. novel
 E.g. Film
 E.g. Picture
TYPE OF STORY
Every story runs along two separate tracks
 PLOT STORY (PHYSICAL STORY )
 EMOTIONAL STORY
PLOT STORY (PHYSICAL STORY )
16
It is plot driven by outer motivation
OUTER MOTIVATION
The SPINE of the story, it is about the DESIRE of the character, it track
deals with the outer motivation
EMOTIONAL STORYTELLING
In many ways, a story is a way to experience emotions through other people
the characters in your story. To make your characters fascinating, to create
an emotional story, give them a flaw.
INNER MOTIVATION
the HEART of the story, it is about the NEED of the character, it deals with
inner motivation.
ELEMENTS OF STORY
There are 13 major components of a story
THEME, CHARACTER, STRUCTURE,
SETTING, ACTION, DIALOG,
GENER, CONFLICT, SCENE,
TONE, PLOT, STYLE.
POINT OF VIEW,

17
 CHAPTER THREE
THEME
THEME(ጭብጥ)
DEFINITION it is total MEANING of the story, the writer’s MAIN POINT,
WHAT THE STORY IS ABOUT, THE LESSON/MESSAGE about life learned
from the story, that WEAVES sub plot and main plot of the story together
and often a statement about society or human nature.
NOTE In good scripts, it spread or present throughout most scenes and
story carry theme in throughout all aspects of films action, dialog, setting…
to sending overall message.
EXAMPLE
 E.g. There’s no place like home.
 E.g. Great love defies even death.
 E.g. Tell the truth.
TYPE OF THEME
There are four types of themes in film
1. EXPLICIT THEME
2. IMPLICIT THEMES
3. MAJOR THEME
4. MINOR THEMES
EXPLICIT THEME
DEFINITION It is when the writer states the theme OPENLY and
CLEARLY.
EXAMPLE
 E.g. children's literature, as the writer wants to be sure the reader
finds it.
IMPLICIT THEMES
DEFINITION It is IMPLIED (suggest as a logical consequence) themes, don’t
hit readers over the head with writer own interpretation of the meaning
Writer provide the right detail and audience find out.
Audience may not be able to express themes but they are beginning to build
an understanding of them.
18
EXAMPLE
 E.g. If two such unlikely animals as a spider and pig can be friends,
then so can we.
 E.g. if rich man die, which is better many or good did?
 E.g. Best friends can do no wrong.
 E.g. Friendship is reciprocal
MAJOR THEME
DEFINITION It is an idea the author REPUTES. It becomes one of the
most important ideas in the story at climax.
MINOR THEMES
DEFINITION These are ideas that may appear from time to time, it is
multiple and secondary themes because Theme is not one word a story may
have more than one theme. Since a story speaks to us on our own individual
level of varying experiences
EXAMPLE
 E.g. People don't give credit where credit is due,
 E.g. Youth and innocence have a unique value,
 E.g. Be what you are,
 E.g. There is beauty in all things,
 E.g. Nature is a miracle,
 E.g. Life is continuous.
WAY FOR EXPRESS THEMES
There are four ways in which a writer can express themes are as follows:
1. WRITER MAKES AUDIENCE TO FEEL
2. CONVERSATIONS
3. CHARACTERS
4. THE ACTIONS OR EVENTS
WRITER MAKES AUDIENCE TO FEEL
DEFINITION Themes are expressed and emphasized by the way the writer
makes audience to feel by sharing feelings of the main character you
also share the ideas that go through his mind.
CONVERSATIONS
DEFINITION Writer put words in their character’s mouths only for good
19
reasons one of these is to develop a story’s themes. The things a person says
are much on their mind. Look for thoughts that are repeated throughout the
story.
CHARACTERS
DEFINITION The main character usually illustrates the most important
theme of the story. A good way to get at this theme is to ask yourself the
question, what does the main character learn in the course of the
story?
THE ACTIONS OR EVENTS
DEFINITION People naturally express ideas and feelings through their
actions. One thing writer thinks about what an action will "say", In other
words, how will the action express an idea or theme?
GENRE AND THEM
The genre you are working in will also affect the kinds of theme that are
appropriate to present.
EXAMPLE
 E.g. not fruit full in war this them is not in romantic genre it is better
in war genre
DIFFERENCE BETWEEN THE SUBJECT AND THE THEME
The difference between the theme and the subject, the subject is the topic
on which a writer has chosen to write and the theme, however, makes
some statement about or expresses some opinion on that topic.
NOTE writer choice subject that convey the theme or him /her choice
theme that convey the subject.
EXAMPLE
 E.g. the subject of a story might be war while the theme might be the
idea that war is useless.
 E.g. the subject is about friendship the theme is how is your friend
when you are at critical moment
TO DETERMINE THE THEME OF A STORY
1. Examine the subject of the story.
20
2. Look at characters that describe in a particular way, how they are
representative of real people life?
3. Look at the character's situation, what is the similarity to real life?
4. Examine how characters react to each other, to certain situations and
what happens to them as a result.
WHEN DEVELOPING THEME
 AT BEGINNING
DEFINITION This can change a lot as you go along but it's good to
start thinking about it from the beginning.
Got a general idea for a theme? Don't worry if you don't have it fully
thought out at this point. It will change as you write your story, anyway.
Sometime the best theme for a story doesn't come out until far into the
development process.
 AT PARTIALLY WRITTEN
DEFINITION Some screenplay writers don't even bother to try to find
a theme until the story has been outlined or partially written. Eventually
the right premise will show its face.
POINT USE TO DEVELOPING THEME
Spend some time thinking about what you are trying to say in your story

 Write down what facts about the human condition you are trying to
show.

 about life learned from the story

 What are lessons you've learned about how to live life and how did you
learn them?

 What are moral issues you've always felt strongly about?

 What foolish things do you see other people do that really bugs you?

 What foolish things do you do over and over that really bugs you?

21
  Think of a person you really admire. What is it about how they lived
their life that you like?

 What do you wish you had understood when you were much younger?

 What mistakes do you see young people making over and over.

 How have people's expectations and behavior changed since you were
young.

 genre

EXAMPLES OF THEMES
These are examples of a few common themes
 Nature is at war with each of us and proves our helplessness.
 People are destroying nature and themselves with uncontrolled
technology.
 You can't change who you are. (Always be true to yourself).
 A child must go through a series of obstacles before becoming an adult.
 A person grows by facing obstacles. (Never give up!).
 Death is part of living, giving life its final meaning.
 Honesty is always the best policy.
 True beauty comes from within.
 The human conscience is very powerful.
 The division between social classes creates conflict within a community
 Sometimes people want what they can never truly have.
 Don't judge a book by its cover.
 The fittest are most able to survive.
 With freedom comes responsibility.
 It is important to be your own person (Always be yourself).
 Love is stronger than hate.
 Good is stronger than evil.
 Love is blind.
 Hope and optimism can survive even the worst situations.
22
 Freedom of self and of the mind can overcome hardship.
 Faith is difficult to hold on to in the face of destruction and despair.
 Family, love, and acceptance are more important than material
possessions.
 Friends are the family you choose.
 Heroes are often flawed.
 The virtuous whore
 The troubled hero
 Salvation by a god
 Soul mate love
 The mother
 The value of work
 Fate
 The origin of evil
 and self-sacrifice.

23
 CHAPTER FOUR
SETTING
SETTING
DEFINITION when and where the story takes place and why? It shows:
1. TIME the year, decade, or century in which the story's action occurs.
2. PLACE the location, both generally and specifically, of the events
occurring.
3. ATMOSPHERE the prevailing mood present in the story.
4. TIME SPAN actual length of time that passes during the action of the
story.
TYPE OF SETTING
BACKDROP SETTING
DEFINITION It is when the setting is unimportant for the story and the
story could take place in any setting.
INTEGRAL SETTING
DEFINITION It is when the action, character, or theme is influenced by
setting (time and place).
If you confine a character to a certain setting, character behave in this way
therefore controlling setting controls characters.
EXAMPLE
 E.g. in Anne Frank and Flowers in the Attic (inside the roof of a
building) help the characters find themselves and grow as individuals.
 E.g. story of Adwa war
SETTING AS SYMBOLISM
DEFINITION a symbol is a person, place, object, situation, or action which
operates on two levels of meaning, the literal and the figurative, or
suggestive Don’t pick a setting because it’s cool, trendy or writer thinks
someone else will like it; pick it because it means something to story.
SHOWED BY SETTING
 HOPE Forest, garden, natural beauty,
 GOODNESS sunlight and children
 PEACE
24
  EVIL Blackbird, Darkness and Black cat
 UNLIKE
 BAD FORTUNE
EXAMPLE
 E.g. Hannah as a kind and harmless woman who lives in the sunny
meadows
 E.g. children are playing in road show hop and peace
 E.g. When you would expect a witch to live in the deep dark
shadowy forest or swamp
 E.g. in Anne Frank and Flowers in the Attic (inside the roof of a
building) help the characters find themselves and grow as
individuals.
SETTING AS ANTAGONIST
DEFINITION Characters must resolve conflict created by the setting
EXAMPLE
 E.g. setting underground that produce nuclear pomp
 E.g. company that searching creating human
CARD
DEFINITION It is used when the writer needs to give a written cue text
printed on-screen either over black or superimposed over an image to the
audience in order to inform them of a specific location, time, date, or era of
the narrative. It is written in all CAPS followed by the colon and typed at the
same left margin as for character names. Underneath CARD, the location,
era, and date is written at character dialogue margins set off by quotes.
EXAMPLE
 E.g. we are first introduced to Daniel Plainview (Daniel Day-Lewis) on
a windy day in 1898.

25
 CHAPTER FIVE
CHARACTER
SCREENPLAY CHARACTERS
DEFINITION It is the physical, mental, emotional, and social
qualities to distinguish one entity (individual different in nature) from
another that the writer has created to act, to speak, and to represent the
significance of what is narrated.
NOTE Writer wants to transport our audience inside the screen so that
they feel like a part of the story, Characters are an extremely important
part of making that happen.
EXAMPLE
 E.g. people to people,
 E.g. Animals to animal,
 E.g. People to animal,
 E.g. spirits and other animated objects.
DIMENSION OF CHARACTER
DEFINITION it is refer how much audience (reader) know about
character from stranger to real person (as a family, best friend audience know
most)

EXAMPLE
 E.g. Character see first time when you buying thing in shop (shop
keeper), character you know in school for 3 year and character your
best friend since you are childhood.
LIST OF DIMENSION FOR CHARACTER
 ONE DIMENSIONAL CHARACTER
 TWO DIMENSIONAL CHARACTER
 THREE DIMENSIONAL CHARACTER
ELEMENT THAT ADD DIMENSION FOR CHARACTER
A character from the ground up and as real as any person, to do this three
aspects you need to know in depth:
1. THE PHYSICAL,
2. SOCIOLOGICAL
26
 3. AND PSYCHOLOGICAL.
PHYSICAL
DEFINITION It is how the character looks and what kind of condition
they’re in.
SOCIOLOGICAL
DEFINITION It is character general background and current
circumstances (how they live).
PSYCHOLOGICAL
DEFINITION It is character mental state (emotional) and their attitude to
life (how they behave).
THE FIRST DIMENSION
DEFENATION this is the exterior looks (physical) or strange (odd)
behavioral habit (personality) of your character, not sees the reason
behind this habit (not back ground), except other characters and audience
see and assigns meaning to personality on the exterior look, it may be the
real or it may be a mask, but without another dimension to go along with
audience will never know
EXAMPLE
 E.g. character in film who is a detective, and he married a woman a
housewife, we only know that she can cook a pot roast, She may be
described physically, but not know her past, her personality, and
emotion. And we’re not going to care what happens to her one way or
another.
 E.g. Jenny ties her hair drawn back and tied at the back of the head on
Monday through to Wednesday she likes to straighten her hair and
keep it down for Thursday through to Sunday. She prefers to wear
skirts to pants.
NOTE Think of this as the exterior landscape of your character, their
personality. What the world sees and assigns meaning to or not. It
may be the real, it may be a mask, but without another dimension to
go along with all those habit the reader will never
 E.g. We really don’t need to know what it was about the pizza delivery
guy’s childhood that made him take up food service as a career.
27
  E.g. local police in boundaries of a particular place who never smiles
and is always spilling coffee on his cheap shirt?
COSTUME
DEFINITION writer mention to specific articles of clothing worn by a
character in a screenplay only when it is important for the reader to know
However, if it is written in the script, it must be integral to the story.
EXAMPLES
 E.g. in the ADDAMS Family, each member of the family GOMEZ and
MORTICIA are unique in their own macabre (disturbing because
concerned with death) way. So unique that their individual costumes
define them. Gomez is sharp but gloomy (poorly light because of
depression) in his suit looking more like an undertaker (a person
whose business is preparing dead bodies making arrangements for
funerals.) than a father. MORTICIA’S long, black dress makes stress
sad the dead sexy. These specific details telegraph information about
the characters to the audience without any character having to say a
thing. The writer knows this and exploits this fact by describing specific
details about the characters’ costumes in the script for the audience’s
benefit.
 E.g. When Edward explain KARL (the Giant) in Big Fish, the writer
decides to articulate the physical condition of the Giant. Feral (animal in
a wild state, especially after having been domesticated), dirty and in rags (a
piece of old cloth); these details illustrate to the audience how the
Giant has been living up to this point, the payoff(final outcome.) being
when Karl undergoes a make-over (a complete transformation of a
person’s appearance) and is seen in a whole new light once his hair is
cut, beard shaved, and wearing a brand-new specially tailored (smart,
fitted, and well cut) suit. This difference helps the audience sympathize
with Karl, making him a victim of circumstance more than painting
him as a ‘bad person’ for his pervious misdeeds (an immoral or illegal
act.).
TWO DIMENSIONAL
DEFENATION two dimensional character is when audience know (writer
explain) about character physical and sociological, reason behind
characters actions, their general background, their personality of
28
characters (personality Regardless on the exterior) and general purpose in life. But
didn’t going into depth like the actual person (not know emotion)
EXAMPLE
 E.g. Person renting house for two lover (primary character) in low
price he told them that he was suffered when he was young by rent or
he know them
Audience know about personality he is helper
Reason behind his action may be he know them long time Or His
general back story suffering too
 E.g. Protagonist is go to priest to get help Priest general purpose in life
is serving god
 [Link] action move purpose is getting money his purpose in life
A CHARACTER’S GENERAL BACKSTORY
DEFENATION It is the historical context (Using a smokescreen, flash back, black and
white) to explain a character’s past life experience, prior events that led up
to the story, it add greater dramatic weight to a character’s dilemma. Where
we came from shapes us and mold us (not in mental deep emotion).
NOTE Before writers start screenplay, usually construct a few pages of
backstory for their characters, it may not need to provide all this
background to audience, but it’s good to know as the writer
EXAMPLE
 E.g. Place character comes from
 E.g. Characters childhood and adolescence
 E.g. Characters father and mother job
 E.g. Characters how many children
 E.g. it a loving family or an abusive, dysfunctional (unable to deal
adequately with normal social relations.) one
 E.g. Events shaped his personality and opportunities for progress
choices
 E.g. CAPTAIN QUINT’S back story, in one scene, the three
heroes(Quint, Chief Brody, and Matt Hooper), are in the boat fishing,
and they’re comparing old scars. QUINT has a tattoo that was removed,
and BRODY innocently asks him about it. In response, QUINT tells the
other characters a horrific story about many of his friends in Indian
29
 being eaten by sharks, and all of a sudden it’s easy to understand this
man and why he is the way he is.
 E.g. Ten years ago, Jenny was charged with several drug and alcohol
offences. Since seeking counseling, she’s been clean for nine years. She
doesn’t take painkillers unless she has a migraine. She plans how she
has her hair because she loves having hair. Her nails were brittle when
she used drugs, but she could hide them. However, she always felt
people would watch her when she wore hats indoors to hide her hair
loss (linked to her poor health and drug use). Perfect hair and clothes
means people respect her now.
LIST OF BACKSTORY
0 Birth 37 remarriage
1 Teeth 38 Extravagance
Indebtedness(owning money tankful
2 Walk 39 appreciation )
3 Talk 40 Raise
4 Read 41 Daughter
Perseverance (continue in a course of action in spite of
5 School 42 difficulty or with little or no indication of success.)
6 Toys 43 Vice-Presidency
7 Television 44 Disease in childhood
8 Games 45 New House
Senility(having the weaknesses or diseases of
9 Swim 46 old age, especially a loss of mental faculties)
10 Hobbies 47 Son
Country Cottage (small simple house, typically one in
the country.)
11 Books 48
12 Baseball 49 Over-Extensions
13 Football 50 Collapse
14 Friends 51 Separation
15 Girls 52 Psychoanalysis
16 Smoking 53 Reconciliation
17 Sex 54 Grandchild
18 College 55 Prosperity(success in finance)
19 Fraternizing (be on 56 Drinking
30
 friendly terms.)
20 Death 57 New House
21 Study 58 Private Schooling
Commencement(the
22 beginning of something) 59 Illness
Recuperation (recover from illness, Regain (something
23 Military 60 lost).)
24 Marriage 61 Leadership
25 Job 62 Senior Vice-Presidency
26 Daughter 63 Directorships
27 Promotion 64 Security
28 Son 65 Testimonial Dinner
29 Responsibility 66 Retirement
30 Exhaustion 67 Florida
31 New Job 68 Leisure
32 Failure 69 Un habit place
33 Unemployment 70 Television
34 Divorce 71 Reading
35 Weakness 72 Religion
36 Loneliness
0 Birth 39 Indebtedness
1 Teeth 40 Raise
2 Walk 41 Daughter
3 Talk 42 Perseverance
4 Read 43 Vice-Presidency
5 School 44 Speculations
6 Toys 45 New House
7 Television 46 Cadillac
8 Games 47 Son
9 Swim 48 Country Cottage
10 Hobbies 49 Over-Extensions
11 Books 50 Collapse
12 Baseball 51 Separation
13 Football 52 Psychoanalysis
14 Friends 53 Reconciliation
15 Girls 54 Grandchild
31
16 Smoking 55 Prosperity
17 Sex 56 Drinking
18 College 57 New House
Fraternizing (be on
19 friendly terms.) 58 Private Schooling
20 Copulation 59 Illness
21 Study 60 Recuperation
22 Commencement 61 Leadership
23 Military 62 Senior Vice-Presidency
24 Marriage 63 Directorships
25 Job 64 Security
26 Daughter 65 Testimonial Dinner
27 Promotion 66 Retirement
28 Son 67 Florida
29 Responsibility 68 Leisure
30 Exhaustion 69 Solitude
31 New Job 70 Television
32 Failure 71 Reading
33 Unemployment 72 Religion
34 Divorce 73 Weakness
35 Indolence 74 Senility
36 Loneliness 75 Bereavement
37 Remarriage 76 Measles
38 Extravagance 77 Death
QUESTIONS ABOUT THE CHARACTER’S BACK-STORY
1. How did they get from a single Point A (in the past) to Point B (now)?
2. What mistakes did they make along the way?
3. How has this impacted their relationships with other characters in the
Story – even if they are unseen (such a childhood relationship with one’s mother)?
4. How does the character feel about all of this?
5. How does this impact who and where they are now?

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THREE DIMENSIONAL

DIFINATION it is mental state (emotion) and their attitude to life it

give depth to character.
ELEMENT OF THREE DIMENSIONAL
Some emotion inside character are
1. PSYCHOLOGICAL
1.1. A CHARACTER (OR FATAL) FLAW
1.2. INNER CONFLICT
1.3. BEHAVIOR
1.4. WORLD VIEWS,
1.5. ARCHING BACKSTORY
1.6. UNRESOLVED ISSUE FROM THE PAST
1.7. FEARS
2. PHYSICAL
3. SOCIOLOGICAL
DEPTH MAKE LIKABLE CHARACTER
The reason you love that story has as much or more to do with the character
than the plot because audience identifies a character’s depth that creates
emotional connection, as result audience empathize (audience living through
the character) The goal is to make your audience feel something for your
character. The more they care about them, the more emotion they’ll invest
in your story.
LIST OF REACTION EMPATHIZE (audience living through the character)
If the audience isn’t emotionally invested in seeing the hero live, die, win or
lose
 Audience rooted, there’s an intrinsic need to see that overcome.
 Audience cried when characters tears in eyes.
 Audience chewed your nails.
 Audience loved.
 Audience felt loss
 And audience shared joy when your characters laugh.

33
A CHARACTER FLAW
DEFINITION It is the most effective way to add depth to your character.
Because the most powerful character flaws (dominant negative trait) tend to be
the ones that have hindered (አደናቀፈ አሰተጓጐለ) character their entire lives.

NOTE If a character flaw doesn’t feel right for that particular story to
inner conflict.
LIST OF A CHARACTER FLAW
 Selfishness,
 lack of trust,
 won’t stand up for themselves,
 Being irresponsible.
EXAMPLE
 E.g. tome has never believed in himself, but flaws can occasionally
be a more recent problem, typically the result of a recent a deeply
distressing experience, if a character was recently dumped by someone
they loved, maybe their flaw is that they don’t trust love anymore.
COMPLETED EXAMPLE TO CLARIFY
 E.g. JENNY’S partner JIM, says he wants out of their relationship
because he can’t handle her perfectionism. He doesn’t know her any
more. He has just left to go away while she thinks about her loyalty to
their relationship. Problem is, JENNY has a meeting with a client
(person using the services of a professional person or organization.) at
work who’s about to sign a multi-million dollar deal. She’s worked
hard; been professional, so she’s almost certain she has the “signature”
already. Even if the client signs the contract, she still has several weeks
of intense meetings and planning. By that time, she knows that JIM
will have left. In fact, she might have lost him already.
HERE’S THE MOMENT OF THREE-DIMENSION:
JENNY remove off her business shirt, skirt and her heels throws, she
wear her jeans and yesterday’s T-shirt she wore to bed it’s the closest
thing she can find. She ties her hair in a loose roll to give her neck some
air, let the breeze her burning skin. She finds some flip-flops (a light
34
 sandal shoe with a thong that passes between the big and second toes.) that
she hasn’t worn since the summer two years ago, puts them on. She
doesn’t have time to take anything with her. She races her car to the
airport before her partner’s plane takes off to leave the country.
What we see are her true motives. She didn’t have a strict routine to
please the world but it’s for Jim. She didn’t want him to feel ashamed
of her. But all of that has kicked back up in her face.
So at the end of the novel, Jenny decides to run after his plane because
Jim is whom she wants in her life, and screws everything else. She has
just realized (moment when the character arc is complete: she has
developed, overcoming the conflict) she was putting up an act to make
things overly perfect.
INNER CONFLICT
DEFINITION It is universal experience, we’re constantly dealing with our
own conscience, with what’s right and wrong, being pulled in opposite
directions. Therefore we relate and engage when we see a character going
through the same, to give a great inner conflict, you want to give your
character two opposing forces that are pulling at him.
Note If your character doesn’t seem like the kind of guy go with a vice.

DIFFERENT BETWEEN CHARACTER FLAW AND INNER

CONFLICT
DEFINITION The term Inner conflict is often mixed up with character
flaw because they both infer (deduce from evidence and reasoning rather than from explicit
statements.) struggle within our character mined. But inner conflict is less about
overcoming one’s big weakness and more about a battle being payment
inside the character mind.
EXAMPLE
 E.g. Luke Skywalker is being pulled by both good and evil in Return of
the Jedi.
 E.g. Taxi Driver is trying to decide between being good or bad.
BEHAVIOR
DEFINITION How they behave means their personality (thinking or a feeling
35
type)

Note To some degree genetic, people have an innate way of being, some
are depressed, and upbeat, optimistic, motivated, and others have to drag
themselves out of bed every morning. But in writing story it is choice and
backstory
THINKING TYPE
 How a character views life,
 What principles they hold to (if any)
 Their beliefs and points of view
FEELING TYPE
DEFINITION How they react to difficult situation they may find
themselves depth of character measured by behavior (the way in which a person
responds to a situation), it shows strong or many emotions

LIST OF FEELING TYPE

 what they like and dislike,
 hopes and dreams,
 Fears and traumas (emotional shock following a stressful event.),
 phobias,
 how they see themselves,
 how others see them,
WORLD VIEWS
DEFINITION Allow your character to feel like he or she has a greater
purpose in life (Give them a sense of grace, destiny, or belief). Most people search for
truth and purpose in their own lives, so it is important to give your character
a similar sensibility.
EXAMPLE
 E.g. the woman who has just been fired from her job could find new
employment in a field she’s never considered, and maybe this
opportunity is just what she’s needed. From there, you can decide
whether or not your character’s dreams or beliefs will benefit his or her
inner growth and development. (Main character may follow his or her
dreams of crime-fighting to take karate lessons and eventually become
36
 a ninja—hey, we did say “dreams”!)
LIST OF WORLDVIEW
POINT ONE - THE PERFECTIONIST
Worldview: Life is about correcting error and striving for improvement.
Unconscious Drive: Internalized Anger Resentment
Gift: Discernment
POINT TWO - THE HELPER
Worldview: (My) Love makes the world go round.
Unconscious Drive: Pride
Gift: Empathy
POINT THREE - THE PERFORMER
Worldview: Life is about presenting a successful image.
Unconscious Drive: Self-Deceit
Gift: Efficacy and Adaptability
POINT FOUR - THE ROMANTIC
Worldview: Something essential is missing from life. I'll be complete if I can
just find it. Unconscious Drive: Envy
Gift: Uniqueness and Emotional Intensity.
POINT FIVE - THE OBSERVER
Worldview: Knowledge will keep me safe.
Unconscious Drive: Avarice
Gift: Detachment
POINT SIX - THE LOYAL SKEPTIC
Worldview: The world is a dangerous place. Most people have hidden
agendas. Unconscious Drive: Fear/Doubt
Two flavors of six: Phobic and Counter-phobic Gift: Loyal commitment and
planning
POINT SEVEN - THE EPICURE
Worldview: Life is an adventure with limitless possibilities.
Unconscious Habit: Gluttony
Gift: Optimism

37
POINT EIGHT - THE BOSS
Worldview: Only the strong survive.
Unconscious Drive: Lust (Excess)
Gift: Strength
POINT NINE - THE MEDIATOR
Worldview: Life is about harmony - going with the flow.
Unconscious Drive: Sloth (Self-forgetting)
Gift: Acceptance

ARCHING BACK-STORY
DEFINITION It is oppositely reversed as arc curve the character behave
EXAMPLE
 E.g. Marlin went from “happy recently married person and expectant
father” to “overprotective dad” after his wife and most of their fertilized
eggs were killed.
UNRESOLVED ISSUE FROM THE PAST
DEFINITION The most specific/important piece of your character’s back-
story
EXAMPLE
 E.g. Marlin couldn’t save his wife and eggs; additionally, he couldn’t
stop his wife from sacrificing herself to save their kids.
His back-story + his unresolved issue + his fatal flaw = how he got here.
FEARS
DEFINITION Fears are weakest way to add depth to your character, this
doesn’t mean you don’t want characters that are afraid in your screenplays
but it’s a nice little addition to a character that already has depth because
Fear is a very powerful emotion
EXAMPLE
 E.g. His fear is snakes
 E.g. He’s afraid of water. Cool for later when he must go into the ocean
to kill the shark, but it doesn’t really add much depth to his character.
 E.g. His fear is heights. Sets up a little finale where he must climb up
38
 the building to get to Julia Roberts, but there’s never a moment in the
film where we feel the depth of Richard Gere being afraid of heights
STRONG DEPTH OF FEAR
DEFINITION The one exception is if the fear is integral to the
storyline it give strong depth and It’s okay to mix and match these
elements plenty of characters that are battling two or even three of
these things.
EXAMPLE
 E.g. if your character was raped, and now they’re afraid to leave the
house in fear of getting raped again, obviously the fear is adding depth
to your character.
 E.g. a character a flaw and a vice.
 E.g. a vice and an inner conflict.
PHYSICAL
DEFINITION The only important role of physical appearance when it
comes to creating a three-dimensional character is how it affects their
behavior
EXAMPLE
 E.g. Do they feel insecure about a big nose?
 E.g. Do they stand out in a crowd because of their height?
 E.g. Does their poor health stop them from doing activities?
 E.g. Do they dye their ginger hair out of shame?
SOCIOLOGICAL
DEFINITION How someone is brought up (growth up), where they come
from and what kind of a life they had (rich, poor, crime, privilege...) will all make a
difference to the kind of person they become.
Note Bear in mind that two people who grew up next door to each other
with very similar upbringings won’t be the same person, But the writer,
how strongly they believe in this particular cause and effect that will be
transmitted to the reader.
EXAMPLE
 E.g. Just because someone is brought up in financial hardship
doesn’t mean they will turn to a life of crime.
39
  E.g. Just because someone is abused as child won’t make them a
serial killer.
SHOWING CHARACTER PSYCHOLOGICAL
DEFINITION Is deduce from evidence and reasoning rather than from
explicit statements.
It define by
1. THEIR BEHAVIOR,
2. THEIR DECISIONS OR ACTION,
3. THOUGHTS
4. PHYSICAL APPEARANCE
5. VICES
6. THROUGH DIALOGUE WITH ANOTHER CHARACTER
7. USE A CHARACTER’S PHYSICAL APPEARANCE AS AN
EXPRESSION OF INNER FEELINGS
DECISIONS
DEFINITION It defined as moral substance or lack (it is not define by back story
or inner demons, but by decisions and behaviors). When things are at stake, at climax
because of that decision of character it add completely different dimension
for character
EXAMPLE
 E.g. You may have been angry enough to kill someone, or at least
punch someone’s lights out, at some point in your life, but you
didn’t Because of your character that decision defines you.
 E.g. A villain refuses to accept responsibility for, the associated costs
and violations of accepted social standards.
NOTE The Same back story, The same inner turmoil and agenda, The
same inciting series of events, same emotions different decision in
really that defines you,

THROUGH TALK
Character likes to wear big cloth and drink coffee and Sheraton in singles
bars. What's going on inside his head? Does he have an inner life? You, as
the author, need to express his thoughts, his way of looking at things, his
inner conflicts in two way
40
  DIALOGUE
 THOUGHTS
DIALOGUE
DEFINITION You can do this through dialogue with another
character,
THOUGHTS
DEFINITION Character has internal dialogue thinking through problems
and dilemmas is her internal voice the same as her external? If not, does this
create internal conflict for her?
In real life we don’t have the benefit of knowing someone’s innermost
thoughts, but film allows us to do just that, so use it to your advantage.
USE A CHARACTER’S PHYSICAL APPEARANCE AS AN
EXPRESSION OF INNER FEELINGS
DEFINITION Physical appearance expresses the inner feeling, and
sometimes hidden, emotions of characters.
EXAMPLE
 E.g. If main character is struggling with depression; he or she may be
showing signs of weight loss, disheveled hair, or fatigue.
 E.g. Maybe if intensely excited; express this by giving his or her
cheeks a rosy glow
Note Using physical characteristics to reflect inner emotions will allow
you to remind the reader of certain important aspects of a character’s
mental state in a more precise manner, so you don’t overuse internal
dialogue or omniscient narration.

VICES
DIFINATION A vice is the physical manifestation (symptom that clearly shows)
of an inner conflict. Any physical addiction your character can’t control.
Hidden, unsuspected danger, difficulty, physical destruction and collapse
Cause someone shock or grief (ሀዘን).
LIST OF VICES
It’s drugs, food, alcohol, sex and gambling

41
Note Vices are often used incorrectly in screenplays, as many beginning
writers believe that simply adding a drinking or drug addiction it is further
DIFFERENCE BETWEEN ONE AND TWO DIMENSIONAL
CHARACTERS
Both one and two dimensional characters play a supporting role to
different degrees.
One-dimensional characters become part of the story to create a life-like
setting. Think of them as story “extras,” walking a dog down the path as a
group of cyclists zip by, or standing at the jukebox flipping the pages of CD
covers while everyone waits for a song.
On the other hand, two-dimensional characters are integral to the plot’s
progression and usually interact with the protagonist. You can think of them
as “supporting” the main characters. It’s this additional interaction and
associated emotions that give these characters a little more dimension.
DIFFERENCE TWO BETWEEN AND THREE DIMENSIONAL
CHARACTERS
One and two dimensional characters can seem similar, as can two- and
three-dimensional characters. This is because some two-dimensional
characters have small roles in a story while other two-dimensional
characters are fully defined with larger roles that may make them seem as
big as your protagonist.
There is, however, one big difference: the protagonist is changing
throughout the story but Two-dimensional characters assist in that process
while not changing themselves.
TYPES OF FILM CHARACTERS
Every story needs a variety of characters to engage the audience to story.
These are the common types of characters
1. FLAT CHARACTERS
1.1. STATIC CHARACTERS
1.2. STEREOTYPE
2. ROUND CHARACTERS
2.1. DYNAMIC CHARACTERS
2.2. STATIC CHARACTERS
3. OTHER CHARACTER
3.1. ALLEGORICAL CHARACTERS
42
 3.2. ARCHETYPAL CHARACTERS
FLAT CHARACTERS
DEFINATION It is less well developed and has fewer or limited traits or
belongs to a group, class, or stereotype it has one or two traits.
It is either one dimension or two dimensions
It didn’t progress though out the course of story it is as staring film
EXAMPLE
 E.g. a 2 dimensional character is essentially a stereotype: a rude shop
assistant, a cheerful paperboy, the old lady next door who always has
the TV up too loud. They are defined by a single character trait -
rudeness, cheerfulness, deafness and we never get to know anything
more about them.
STEREOTYPED
DEFINITION Characters that are share the same traits (a typical member of a
group). These characters are known by what they do and how they act
therefore He does exactly what the audience expects him to do.
The author doesn’t need to tell us much about the character Therefore; they
take no notice of him: He disappears into the background not memorable.
EXAMPLE
 E.g. All cheerleaders smile
 E.g. all bullies are big people
 E.g. Imagine all of the rich people in your stories are shallow, greedy,
and uncaring. All of the wealthy women are tall and extravagantly
dressed, and they’ve all had plastic surgery
 E.g. car driver receive
ROUND CHARACTERS (THREE-DIMENSIONAL CHARACTERS)
DEFINITION It is three-dimensional characters they have good and bad
qualities, reader/listener/viewer gets to know well like feels as real person.
They have a variety of traits that make them believable it can change (grow) or
not.
DYNAMIC CHARACTER
DEFINITION A round character that changes inside as a result of what
happens to him is referred as a DYNAMIC character; a dynamic
43
character grows or progresses to a higher level
EXAMPLE
 E.g. Scrooge changes from a tight-fisted, greedy unhappy man to one
who was generous and loved life.
 E.g. Gru changes from a villain set on destroying the world to a loving
father.
STATIC CHARACTERS (STOCK CHARACTERS)
DIFNATION there are round or flat characters that do not change during
the story therefore Audience learns little about this character.
EXAMPLE
 E.g. Charlotte is the same wise and selfless character at the end of the
story as at the beginning. Folktales, fairytales, and other types use
static and flat characters whose actions are predictable, so the listener
or reader is free to concentrate on the action and theme as it moves
along toward an often times universal discovery.
ALLEGORICAL CHARACTERS
DEFINITION it allowing the audience to observe the characters who
symbolically represent something idea or specific person
CHARACTER SYMBOLIZES AN IDEA OR AN ABSTRACT NOTION
(concept or belief).

EXAMPLE
 E.g. Tome Redemption would symbolize the value of hope and
freedom as weapons against despair and imprisonment. Instances
where characters in a film symbolize real people
 E.g. Daniel represents capitalist business in the age of industry
CHARACTER SYMBOLIZES A SPECIFIC PERSON
DEFINITION Without being a completely recognizable copy of the model
focus on the feeling or mood of the character taking priority over
factual correctness because represent an idea is intangible thing
EXAMPLE
 E.g. Dictator of Tomas character who resembles the personae of Nazi
dictator Adolf Hitler
44
ARCHETYPAL CHARACTERS
DEFINITION Archetypal Characters, like some allegorical characters, are
characters made to embody a specific idea. However, unlike allegorical
characters who are meant to represent either abstract ideas or individual
people, archetypal characters tend to be symbolic of specific human
emotions, virtues, or flaws. This reduces the essence of the character to a
single common-denominator; a go-to human condition that sums the
character up in their entirety.
EXAMPLE
 E.g. There are as many example of archetypal characters as there are
labels people use to describe other people. On any given day you may
encounter a child, a rebel, a protector, a lover, a jester, or a martyr, to
name a few: single-word attributions that sum a person up simply and
concisely. As many different simple, one-word descriptions you can
come up with to describe a specific type of person, there is an equal
character
 E.g. Romeo and Juliet as Lovers in Romeo and Juliet or Kevin Costner
as a Protector in The Bodyguard
FUNCTION OF CHARACTERS
DEFINITION Film contains dozens, perhaps hundreds of characters,
although not all characters in a film are created equal (Characters is
creating at exactly the level of importance the story requires), Some are important to the story
and will demand a great deal of your time and attention, Others might
appear in just a single scene that not remember by name and also not stick
audience mind (not memorable).
LIST OF FUNCTION OF CHARACTERS
There are three main function of character
1. MAJOR CHARACTERS
1.1. PRIMARY CHARACTER
1.1.1. PROTAGONIST (LEAD CHARACTER) (CENTRAL CHARACTER) (MAIN
CHARACTER)
1.1.2. ANTAGONIST (SHADOW, VILLAIN, BAD GUY)
1.2. SECONDARY CHARACTER(SUPPORTING CHARACTERS)
1.2.1. SECONDARY OPPONENTS
1.2.2. FRIEND(S)( CHARACTER FOILS)
45
 1.2.3. ADVISOR OR MENTOR
1.2.4. TRAITOR
1.2.5. UNEXPECTED ALLY
1.2.6. FAMILY AND RELATIVE
2. MINOR CHARACTERS (INCIDENTAL CHARACTERS)
3. AND EXTRAS (WALK-ONS AND PLACEHOLDERS) (BACKGROUND)
MAJOR CHARACTERS
DEFINITION A feature length screenplay usually has between five and
seven core characters that interact with each other and no more. The
Majors are also known as Round Characters.
By giving a round character a complete life, you make them more of a
complete person
Note Each of your major characters should receive almost near as much
care and attention during the planning process as your protagonist.
PRIMARY
DIFNATION Main characters vital (absolutely necessary; essential.) to the story and
playing a major role in story development Since Primary characters appear
in a majority of scenes in a script and one of your goals is to create at
least some sort of emotional connection between them.
LIST OF PRIMARY CHARACTER
 PROTAGONIST (LEAD CHARACTER) (CENTRAL CHARACTER) (MAIN CHARACTER)
 ANTAGONIST (SHADOW, VILLAIN, BAD GUY)
PROTAGONIST (LEAD CHARACTER) (CENTRAL CHARACTER) (MAIN CHARACTER)
DIFNATION This is your leading man or woman, the person story is about
and who changes the most during the story, usually it most likeable
characters(if they are not foil to secondary character)
Note In terms of time spent on characterization, it is your protagonist
to whom you will want to devote the most time and effort.
NUMBER OF PROTAGONIST
It can be two or more protagonists, though it is generally better to stick
to one if you can, even if a film has several leading characters, all of them
of seemingly equal importance it is usually possible to single out one of
46
them as being at the film core.
ANTAGONIST (SHADOW, VILLAIN, BAD GUY, OPPONENT OR ENEMY)
DIFNATION it is a character (or characters) in direct (or acts as the hero’s adversary),
main opposition to the protagonist, the physical representation of the
hero’s dilemma. It’s always important to remember that in the antagonist’s
mind, he or she isn’t the antagonist of the film, but rather, they see
themselves as the protagonist, thus justifying the lengths he or she are
willing to go.
Note Antagonists are designed to be foils for their protagonist
counterparts being strong in areas where the hero is weak in order to
exploit the protagonist’s flaws which must be overcome before the hero
can achieve their resolution.
TYPE OF ANTAGONISTS
 EXTERNAL ANTAGONISTS
 INTERNAL ANTAGONIST
EXTERNAL ANTAGONISTS
DIFNATION The greatest obstacle of all is the antagonist, determined
to stop the protagonist from reaching his/her goals.
EXAMPLE
 E.g. A boss gets greedy.
 E.g. In love stories the main opponent is always the lover (though
there may be a secondary opponent).
 E.g. A wife is jealous.
 E.g. A best friend wants the same girl/guy.
 E.g. A doctor performs illegal operations.
 E.g. A terrorist plants a bomb.
 E.g. Wall Street financial advisor cheats 1000s out of their
investments.
 E.g. A soldier is shot by a member of his own platoon.
 E.g. A loved one is taken hostage
THE BEST RULE TO FOLLOW FOR ANTAGONIST
 SINGLE
DIFNATION Antagonist should be a single
47
  MORE POWERFUL
DIFNATION More powerful than your protagonist if you put the two of
them into a room together, the audience should have no doubt that the
antagonist would kick the protagonist ten times out of ten when
protagonist win get goal.
INTERNAL ANTAGONIST
DIFNATION Protagonist must have an internal flaw that makes his
external goal particularly difficult for him to achieve and Antagonist who
has intense possible version of that same flaw, who opposes to
overcome his internal flaw.
It nice and simple when that the same person, but it often two different
people
Note When your protagonist defeats that character, then the audience
will know that he has overcome his flaw and is well on his way to achieving
his external goal, if that how you would like your story to end.
EXAMPLE
 E.g. When MARK (husband) announces that he is going to leave
VANESSA, thus making it impossible for JUNO to achieve her goal of
finding a great couple to adopt her baby. This event, along with the
fight that JUNO has with BLEAKER (boyfriend), causes her crisis of
faith in humanity, so she has to consult with her father/internal
mentor in order to figure out how to proceed. Once Juno has rejected
Mark, thus removing him from the picture, she is able to figure out the
right way to proceed with her external
GENRE AND ANTAGONIST
DIFNATION There is different kind of antagonist regarding to genre of
film
LIST OF ANTAGONIST WITH GENRE
 INVESTIGATIVE STORIES
In investigative stories (whether they be detective stories, horror movies or science
documentaries) the main opponent is almost always the mystery and the
true opponent is only fully unmasked at the end of the story. And
minor opponents along the way, to keep the audience interested until
48
 the unmasking can take place.
 DISASTER MOVIES
In disaster movies, the main opposition comes from the disaster
itself, whether it is a volcano, a meteor (small body of matter from outer space that
becomes appears as a streak of light.), a tidal wave or an iceberg. Because these
disasters are forces of nature
 PERSONAL DRAMAS
In personal dramas, the main opponent is usually a member of the
family, a friend or business partner who lives in the same world as the
lead character, but has a different view of how life should be lived.
SECONDARY CHARACTERS (SUPPORTING CHARACTERS)
DEFINITION Recurring characters who necessary to the story but not of
central importance but more important than minor characters for story and
are developed more fully.
NOTE You need to write a character profile description on each of the
more important secondary characters.
REASON TO DEVELOPED FULLY SECONDARY CHARACTER
 They will receive a large amount of screen time.
 Who know the main character, react to him, and comment on his
behavior.
 They will possibly be the Viewpoint Character for large amount of the
story that is, they will have chapters of their own to be the narrator.
 They will most likely have their own subplot.
 Because these secondary’s know your primary characters well for much
of their lives, they can be artfully used in dialog to reveal aspects of
the main characters’ (In your Primary characters that their point of view alone could never
reveal)
 PERSONALITIES
 AND BACKGROUNDS
 WEAKNESSES
 AND STRENGTHS
DISTINGUISHING FEATURES SECONDARY CHARACTERS
DEFINITION Secondary characters need a few more distinguishing
features than incidental characters, Because Audience doesn’t want to spend
49
those hours with ordinary character (the ones they see every day at the park, at school, at the
mall).

Note Secondary characters Whatever traits your give them; they must
never be more attentions than your main character.

LIST OF SECONDARY CHARACTER FEATURE

 COMIC AND ECCENTRIC,
 SCATTERBRAINED OR OBSESSIVE

ECCENTRICITY
DEFINITION When thinking about your secondary characters, think
strange or odd behavioral habit, special, interesting people have fun but
eccentric behavior or anything needs to be meaningful within the
context of the story with it.
EXAGGERATION
DEFINITION round character have different trait simply take one
dominant trait and magnify it
OBSESSIVENESS
DEFINITION Preoccupy (dominate or engross the mind of (someone) to the exclusion of other
thoughts.) continually or to a troubling extent.

EXAMPLE
 E.g. A college professor I knew always started a lecture with his
eyeballs rolled up and only the whites of his eyes showing. Both these
quirks were recorded in my journal.
TYPE OF SECONDARY CHARACTER
 SECONDARY OPPONENTS
 FRIEND(S)
 ADVISOR OR MENTOR
 TRAITOR
 UNEXPECTED ALLY
 FAMILY AND RELATIVE
SECONDARY OPPONENTS
50
DEFINITION The opponent too has helpers but you should always be clear
who the main opponent is and make sure the final conflict is between the
main opponent and the lead character.
FRIEND(S)
DEFINITION The lead character will often have one or two key friends
in a movie but s/he will come into conflict with them too, just like in real life
CHARACTER FOILS
DEFINITION A supporting character, especially the main character’s
best friend, often provides some contrast to the main character
ELEMENT TO CONTRAST
PHYSICAL
 one character is light and one is dark,
 one chubby and one thin,
 One tall and one short.
OR PERSONALITIES
May be contrasted.
 If the main character is adventurous and outgoing, her best friend may
be a shy introvert.
 If the secondary character comes from an unstable family, the main
character’s family may be warm, relaxed, and loving
ADVISOR OR MENTOR
DEFINITION Movies often feature an advisor who is a special friend
who helps the lead character change, or become all they can be
TRAITOR
DEFINITION Often the lead character has a friend who betrays (aiding
enemy) them at a crucial point in the story

UNEXPECTED ALLY
DEFINITION Sometimes the lead character finds an unexpected ally
FAMILY AND RELATIVE
DEFINITION primary characters have known for much of their lives
LIST OF FAMILY AND RELATIVE
Secondary characters can be
51
  long-time friends,
 neighbors,
 associates,
 or family members
 characters parents,
 Siblings (each of two or more children or parson‘s childe having one or both parents in common; a
brother or sister.),
 main character’s Extended family,
 And main character’s possibly teacher.
MAJOR CHARACTER PLOT
DEFINITION The overall story will be "about" primary character, but the
subplots which weave on the main plot will be "about" one or other of
secondary character
MINOR CHARACTERS (INCIDENTAL CHARACTERS)
DEFINITION it is flat character with two dimensions who appear in one,
perhaps two scenes for a specific limited purpose, it is important(smallest roles)
for story go to forward. Although the story could still be told without
them, it would just be harder because it exists primarily for the purpose of
making the story more interesting and relatable and a world without people
seems flat and hollow.
Note Minors are flat characters, and there is therefore no need to spend
much time fleshing them out on paper before you begin to write.
CHARACTERISTIC OF MINOR CHARACTERS
It is exact opposite of major characters
 They will receive very little screen time, one or two scene.
 They are unlikely to be used as a viewpoint character.
 They won't have their own subplots (at least not a subplot of any great length or
significance).
 Their appearances in the film will be brief and not often occurring
although that doesn't mean that they can't shine vividly (producing powerful
feelings or strong, clear images in the mind) whenever they are in the spotlight (direct
attention to).

EXAMPLE

52
  E.g. Neighbors she shout and disturb hero every night
 E.g. cop he arrest hero because he park car wrong position
LIST OF MINOR CHARACTER
There is some minor character they are talk and act as minor live with our
memorized them
 Bodyguard #1,
 Fat Man,
 Crazed Onlooker
 Acquaintances,
 Classmates,
 Waitresses,
 Clerks
 a taxi driver,
 a hotel desk clerk,
 a bellman,
 horn-honkers in a traffic jam,
 a suspicious neighbor,
 A uniformed police officer.
EXTRAS (WALK-ONS) (PLACEHOLDERS) (BACKGROUND)
DEFINITION Main characters are surrounded by many people (hundreds, even
thousands, of extra characters for the crowd scenes) in film who are unimportant in the
story. They aren't really characters at all they’re movable a person’s
social environment for realism setting but you don’t want them to distract
the audience’s attention therefore They are stereotype and one dimension
audience not remember them also they do not need name.
Note If stereotype character unique, this will make him attract the
reader’s attention. He will no longer simply disappear he isn’t a walk-on
anymore. He has stepped forward out of the milieu and joined the story
then become minor character.
TYPE OF EXTRA
 WALK-ONS
 AND PLACEHOLDERS
 BACKGROUND
53
 WALK-ONS
EXAMPLE
 E.g. waiter came, clean table give, pile and go
 E.g. hotel desk Clark give key
 AND PLACEHOLDERS
EXAMPLE
 E.g. during character eats in a restaurant
 [Link] transport people
 E.g. walks down the street
 BACKGROUND
EXAMPLE
 E.g. a young girl clutching a doll,
 E.g. A fat man reading a newspaper, and so on.
 E.g. Main character accidentally gave the taxi driver a $20 bill for a
$5 ride and then was too shy to ask for change.
 E.g. Pete checked at the desk for his messages. There weren’t any, but
the Bellman did have a package for him.
 E.g. People started honking their horns before main character even
knew there was a traffic jam.
 E.g. Apparently some suspicious neighbor had called the cops. The
uniform police who arrested him wasn’t interested in main character
explanations, and found himself at headquarters.
MAKING FLAT CHARACTERS MEMORABLE
DEFINITION Flat characters (MINOR CHARACTERS AND EXTRAS) lot of them will
be setting and not memorable. Though occasionally, it is a good idea to take
or two one of your minor characters and really make them vivid (producing
powerful feelings or strong, clear images in the mind).

Note Do everything you can to make her vivid, even comic but don't turn
her into a round character.
REASONING MAKING MEMORABLE
Making memorable required because
 It adds to story because miner character still, his individuality will set a
mood, add humor
54
  Make the milieu (a person’s social environment) more interesting or complete.
ELEMENT TO MAKE CHARACTERS MEMORABLE
The way to make such characters instantly memorable without leading the
audience to expect them to do more is to make them
 ECCENTRIC,
 EXAGGERATED
 OBSESSIVE
 COMIC RELIEF
 IMPORTANT TO THE STORY
ECCENTRICITY
DEFINITION strange or odd behavioral habit, special, interesting people
have fun
EXAMPLE
 E.g. NOT REMEMBER In movie Beverly Hills Cop There was
hundreds of placeholders in that film.
 Thugs who shot at cops,
 Cops who got shot at,
 People milling around in the hotel lobby,
 People at the hotel desk
They all acted exactly as you would expect them to act. They vanished.
Unless you personally knew an actor who played one of the walk-ons,
you don’t remember any of them.
BUT MEMORABLE Remembered Bronson Pinchot Not by name,
of course, He was the desk attendant in the art gallery. You know the
one with the effeminate manner and the weird foreign accent. He had
absolutely nothing to do with the story so why do you remember him?
But the effeminacy and the accent were combined and so the audience
remembered him, though, is that the accent was an eccentric one,
completely unexpected, speech of an Israeli he once knew; the accent
was so rare that almost no one in the audience recognized it He was
not just a foreigner; he was a strange and effeminate foreigner.
EXAGGERATION
DEFINITION if flat characters are defined by a single character trait
55
simply take that trait and magnify it
EXAMPLE
 E.g. don't just make the shop assistant rude to the customers, make
her spectacularly rude...
If a customer doesn't wipe their feet, she has a go at them for traipsing
mud through her shop.
If they don't have the right change, she sighs and curses under her
breath as she rakes through the till.
Anytime a customer wants help, it is always too much trouble.
Oh, and to really make sure that the reader won't forget her; she always
dresses totally in black and wears an oversized crucifix. Another way
takes a normal human trait and makes it just a little or sometimes a lot
more extreme
 E.g. a pudgy-faced character that looks like the soul of innocence and
believability. His innocent look is an exaggeration
OBSESSIVENESS
DEFINITION Preoccupy (dominate or engross the mind of (someone) to the exclusion of other
thoughts.) continually or to a troubling extent.

EXAMPLE FORM FILM

Nora’s paid $20 for a $5 ride; the stereotypical reaction “Hey, thanks, lady”
is so ordinary we can omit it entirely.
BUT CABDRIVER IS OBSESSIVE
CABDRIVER
What is it, you trying to
impress me?

Trying to show me you’re big

time?

Well, don’t suck ego out of

me, lady!

I only take what I earn!

Nora had no time for this. She hurried away from the car. To her surprise,
he jumped out and followed her, shouting at her with as much outrage as
she’d expect if she hadn’t paid him at all.
CABDRIVER
“You can’t do this to me in
56
 America!”

(He shouted)
“I’m a Protestant. You never
heard of the Protestant work
ethic?”

Finally she stopped. He caught up with her, still scolding.

CABDRIVER
“You can’t do your rich-lady
act with me, you hear me?”

NORA
“Shut up,”

“Give me back the twenty.”

He did, and she gave him a five.

NORA
There, Satisfied?

His mouth hung open; he looked at the five in utter disbelief.

CABDRIVER
What is this?

No tip?

COMIC RELIEF
DEFINITION If you saw character being obsessive in scene in a movie
audience remember him well enough. Not important in the plot. If he
showed up again it would be for more comic relief
EXAMPLE
 E.g. For instance, when the story is all but over and Nora is coming
home with Pete for a well-earned rest, it could be funny if they get in a
cab and it turns out to be the same driver.
IMPORTANT TO THE STORY
If this were the first scene in the story, at the beginning of the story, all the
characters are equal we don’t know any of them at all. So if in fact you
wanted to tell the story of how Nora got involved with this obsessive
compulsive cabdriver or how the cabdriver managed to get Nora’s attention
so he could start dating her it would be a pretty good beginning because
Background characters, moving up through the minor characters, to the
major characters, and finally to two or three main characters or a single
57
protagonist the people or person the story is mostly about
Note If the cabdriver is supposed to be minor, you could not begin the
story with this scene. If these were we would naturally expect that the story
was going to be about Nora and the cabby, starting with the least-
important
If extra (background) character violating stereotype and become unique
(individuality), that uniqueness attracting attention therefore it
momentarily involved (no continuing role in the story) in the action isn’t part of
the background anymore, but then disappear the audiences not care much
about it.
CHARACTER RELATIONSHIPS
DEFINITION it refers interpersonal connections between two
characters having a shared history with one another, resulting in the
cultivation of a personal relationship either productive or destructive to
their lives, depending on the character’s psychology.
NOTE Character relationships are essential to demonstrating
individual characters to the audience because unique, behaviour based on
other individuals around.
EXAMPLE
 E.g. THE LEGENDARY ANNOUNCER FOR THE HUNGER GAMES

 CATO
58
 The boy tribute from District 2 who wants to kill KATNISS on his own,
in his own way, KATNISS believes that, all along, the Hunger Games
have been about her facing the very violent and very aggressive Cato.
 CLOVE
The girl tribute from District 2 who is good at throwing knives and who
nearly kills KATNISS at the feast.
 GLIMMER
The stunningly beautiful girl tribute from District 1 who has the bow and
arrows before KATNISS takes them from her dead body.
 FOXFACE
The nickname that KATNISS gives to the redheaded girl tribute from
District 5, she is sly and knows how to steal supplies from the Careers'
camp without setting off booby traps. KATNISS doesn't trust her enough
to ally with her.
 ROOBA
The butcher from District 12 who helps KATNISS gets the goat she
wants for Prim.
ELEMENT OF INTERESTING CHARACTERS
 BELIEVABLE,
 UNIQUE,
 CHARACTERS THAT SURPRISE,
 CONSISTENT,

CHARACTERS THAT SURPRISE

DEFINITION It is intelligent use of unconventional or unusual personality
on unexpected character
Don’t limit characters to a certain set of behaviors so that shy character is
ALWAYS shy, or outspoken character is ALWAYS loud. Instead, be open to
unexpected character traits.
EXAMPLE
 E.g. Maybe your straitlaced (having or showing very strict moral attitudes)
protagonist dances on tables when he has a few drinks. Or perhaps
your bossy heroine gets tongue-tied around her mother.

59
RELATABLE
DEFINITION It refer how relatable is character that characterized
EXAMPLE
 E.g. While James Bond is fun to watch on screen, most of us aren’t
trained special agent-assassins so it’s a little hard to relate to him on a
personal level.
CONSISTENCY
DEFINITION Writer have developed a character in a certain way (physical
personality, motivations) therefore audience are expecting that way character to
behave in accordance with his or her personality and motivations as writer
have defined them Consistently throughout the story to everything from
small things, such as a character’s hair color, to big things like the
character’s manner of speaking and important choices.
EXAMPLE
 E.g. If a character has brown hair in sense 1, she’d better not have red
hair in sense 5.
 E.g. If a character speaks like a high elf one minute and uses street
slang the next, that’s going to take the reader right out of the story.
 E.g. Or if a character slaughters (killing of a large number of people in a
cruel or violent way.) a bunch of kindergartners (a nursery school.) and
then goes on about the evils of child abuse, that’s also inconsistent.
DULL CHARACTERS
Some characters are supposed to be dull in that case, if it has role in the
story,
 usually foils for more interesting characters or events
 Or option is to make a dull character come alive by adding some unique
traits.
EMPATHIZE
DEFINITION Understand and share the feelings of another
ELEMENT OF MAKE EMPATHIZE
 ANIMAL
 DEFENSELESS

60
  MISFORTUNE
 VULNERABILIT (exposed to being attacked or harmed, either physically or emotionally.)
 SMART
 EVIL ALL TIME
 COURAGE
 FLAWED,

ANIMAL
DEFINITION Anyone who likes any good animal such as dogs, horses,
kittens, small birds, etc. is probably also good. Anyone who doesn't like Bad
animals like grown cats, snakes, insects, etc. Is probably bad. Therefore the
hero must at some point (figuratively) pat a dog, and the villain should (figuratively)
kick a dog.
Note You may not literally have a dog in your screenplay but there are a
lot of other ways to show that the hero is an admirable person despite his
faults, and that the villain is despicable despite his charm and intelligence.
EXAMPLE
 E.g. Most people like dogs, and consider them to be "good" animals
DEFENSELESS
DEFINITION Heroes are courteous, protective and kind to women,
especially mothers, they care for children, nice old people and anyone who is
defenseless with.
MISFORTUNE
DEFINITION They suffer misfortune they don't deserve accepted without
complaining.
EXAMPLE
 E.g. They have a handicap so they have to work harder than everyone
else.
 E.g. Clues indicate the hero suffered great misfortune in his/her youth.
 E.g. Death of a loved one
VULNERABILIT (exposed to being attacked or harmed, either physically or emotionally.)
DEFINITION They are captured and beaten, or at least threatened, by the
61
villain or the hero has to survive against overwhelming and unfair odds.
They generally exhibit innate goodness despite what they have suffered.
SMART
DEFINITION An audience favorite is to have heroes and villains that are
confident rogues, charmers or tricksters, Characters that have a
clever way with words are always fun, Audiences like heroes that are the
most glorious and amazing of their kind that has ever lived.
EXAMPLE
 E.g. Classic examples are Robin Hood, Zorro and James Bond. They
are not super heroes with super powers. They are mortal people, but
very clever, tricky and charming mortals.
EVIL ALL TIME
DEFINITION Audiences like villains that are the most dastardly, evil and
corrupt of all time.
COURAGE
But mostly, courage
CHARACTER FLAW
DEFINITION it is a limitation, imperfection, problem, phobia and
deficiency present in a character, Flaws can add depth and humanity to
the characters in a narrative and to make characters realistic no one perfect.
TYPE OF CHARACTER FLAW
In general, flaws can be categorized as three
 MINOR,
 MAJOR,
 TRAGIC
A MINOR CHARACTER FLAW
DEFINITION A minor character flaw is an imperfection (minor weakness or
eccentricity or personality defect) which serves to distinguish the character in the
mind of the audience making them memorable and individual, but
otherwise does not affect the story in any way but which affects the
character's motives and social interactions and little else.

62
NOTE Protagonists and other major characters may (and usually do) have
multiple minor flaws
EXAMPLE
 E.g. this could include a noticeable scar, a thick accent or a habit such
as cracking their knuckles.
CHARACTER DEFECT
DEFINITION Everyone has some personality trait that irritates his friends
or family.
EXAMPLE
 E.g. too self-centered
 E.g. Too competitive
 E.g. Too lazy
 E.g. Too compliant
 E.g. Too demanding of others
MAJOR FLAW
DEFINITION A major character flaw is a much more noticeable and
important hindrance which actually impairs the individual, whether
physically, mentally or morally.
Unlike minor flaws, major flaws are almost invariably important to either
the characters, or the story's development.
EXAMPLE
 E.g. the sheriff with a gambling addiction,
 E.g. the action hero who is afraid of heights,
 E.g. lead in a romantic comedy who must overcome his insecurity
regarding male pattern baldness
CHARACTER FLAW FOR VILLAINS AND FOR HEROES
For villains
their major flaw is usually the cause of their eventual downfall.
For heroes
their major flaw usually must be overcome (either temporarily or permanently) at some
point in the story, often at the climax, by their own determination or skill.

63
GOOD CHARACTER FLAW
DEFINITION Sometimes major flaws are not actually negative they are
good character flaw to turn a positive trait into a character flaw, it
change in the way that it might harm the character and how it could hurt
other people or restrict the character in some way.
NOTE This kind of writing will immediately make your story more
interesting.
EXAMPLE
 E.g. too much generosity,
 E.g. having too much love for one's family, devout religious beliefs
 E.g. or a rigid code of honor
 E.g. Or the love of freedom at any cost.
 E.g. type of flaw could include blindness, amnesia or greed

CHARACTER WEAKNESS
DEFINITION Emotional storytelling is all about the NEED of the
character. The need describes how the character is broken at the beginning
of the story. The need to change forms the basis of the character arc. The
need comes from a main character flaw, or a weakness.
It is the protagonist's usually unconscious journey to address this problem
that forms the spine of the story
TYPE OF WEAKNESS
There are two kinds of weakness
 PSYCHOLOGICAL WEAKNESS
 A MORAL WEAKNESS
A PSYCHOLOGICAL WEAKNESS
DEFINITION This is a character trait within the hero which is destroying
his life. Think of pride, lacking in courage, cause (something unpleasant or
painful) to be suffered by someone else, and distrust.
A MORAL WEAKNESS
DEFINITION This is a character flaw that harms the main character and
also other people. So when designing a flaw for your hero, ask yourself,
"How is this harming other people?" and "How is the hero living at the
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expense of others?"
A weakness is not a disease, like alcoholism or drug addiction. It is a choice.
Being an alcoholic might be the result of a weakness. Be careful in defining
your hero's flaw. Is the weakness you have in mind a symptom or the true
cause?
TRAGIC FLAW (FATAL FLAW)
DEFINITION exceptional character, the flow causes their own downfall
and, often, their eventual death, or at the very least, a lack of achieving the
goal.
EXAMPLE
 E.g. hamlet
FALL
DEFINITION This fall usually occurs at the beginning of a story; with the
story itself concentrates on the consequences or attempted redemption of
the fall.
EXAMPLE
 E.g. join downfall is directly linked to arrogance:
 E.g. Hamlet is indecisive and self-doubting, which thwarts him in
avenging his father's murders.
 E.g. Frankenstein suffers from excessive curiosity, leading to the
creation of the monster that destroys his life:
 E.g. Paranoid suffers from extreme depression, as well as extreme
boredom due to his huge yet mostly inactive mind.
LIST OF CHARACTER FLAW
 abusive parents: habitually violent and cruel to their own children,
often because that's how they themselves were raised.
 afraid of blood: extreme fear of blood.
 afraid of doctors: extreme fear of doctors.
 afraid of needles: extreme fear of hypodermic needles, receiving an
injection, etc.
 aggressive categorize: judges people too quickly and/or according to
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 criteria which have no bearing on their personal character, such as
gender, ethnic background, or hairstyle.
 the alcoholic: drinks way too much and may not be aware that s/he is
behaving like an addict.
 allergic to routine: gets bored easily, needs to be entertained at all
times.
 all men are perverts: thinks primarily with his sexual organs.
 all women are lustful: she'll do anything for sex and damn the
consequences.
 ambiguous disorder: behaves with near-complete disregard for the
social norm.
 anything that moves: unrestrained in sexual behavior.
 apologizes a lot: apologizes all the time, even when not at fault.
 attack! attack! attack!: incapable of realizing when a fight is
unwinnable.
 attention deficit... ooh, shiny!: has no attention span and is easily
distracted.
 attention whore: craves attention to an excessive degree.
 ax-crazy: psychologically unstable and presents a clear danger to
others.
 bad boss: treats employees extremely badly.
 bad liar: unable to lie in a convincing way and comes up with really
silly lies that fool no one.
 because I’m good at it: does job because he or she can do it well,
regardless of whether the job is ethical.
 believing their own lies: self-deluded and blind to the way things really
are.
 berserk button: this character will get extremely angry at one particular
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 provocation.
 the berserker: throws themselves into battle with complete disregard
for danger or consequences.
 big eater: habitual excess in eating, a.k.a. gluttony.
 blind obedience: blindly follows those in authority without regard to
the authority's fallibility or morality.
 blood knight: loves to fight and by extension, hurt others.
 blood lust: is gratified by the sight of someone else bleeding.
 boomerang bigot: hates members of a group, even though s/he's a
member of the group.
 the bore: an incredibly dull person who's almost impossible to get rid
of or get away from.
 bratty half-pint: a youngster who's bratty and self-important.
 bratty teenage daughter: a whiny self-involved adolescent girl.
 bridezilla: wedding planning brings out the worst in a bride-to-be.
 brilliant, but lazy: has talent, but no drive to apply himself/herself.
 brutal honesty: will tell you the truth even if it hurts your feelings.
 bystander syndrome: thinks that any given crisis isn't important and
doesn't require their help because they're not personally involved and
have no desire to get involved.
 cannot convey sarcasm: doesn't understand how to properly use
sarcasm.
 cannot keep a secret: will reveal to others what you tell him/her in
confidence.
 cannot spit it out: unable to voice his or her true feelings.
 cannot talk to women: is there a woman present? this person is now a
gibbering wreck.
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 cannot tell a lie: is completely truthful at all times, even when it would
be better not to be.
 can't hold his liquor: is intoxicated very easily.
 can't take criticism: can't stand being criticized for his wrongs.
 captain obvious: tends to point out the obvious.
 child hater: possesses an inexplicable hatred for all children.
 chronic backstabbing disorder: constantly betrays others.
 chronic hero syndrome: wants to save everyone and right every wrong,
even when it's not the wisest course.
 claustrophobia: extreme fear of small enclosed spaces.
 clingy jealous girl: very possessive of her significant other.
 the cobbler's children have no shoes: a professional in a certain field
can help everyone — except those s/he loves most.
 combat sadomasochist: loves to feel pain and inflict it, too.
 commitment issues: doesn't wanna to settle down in a relationship.
 competition freak: treats every contest as serious business.
 complexity addiction: never uses a simple plan when a
multidimensional one will do.
 compressed abstinence: making an effort to reduce the use of some
indulgence without quitting it entirely.
 compressed vice: a flaw developed by a character out of nowhere for
the sake of an Aesop.
 condescending compassion: feels sorry for someone who's not
themselves and looks down on them with mercy.
 conditioned to accept horror: desensitized to the horrific or traumatic
things in his/her everyday life.
 conspiracy theorist: sees ancient conspiracies behind everything.
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 control freak: obsessed with doing everything by the book, as a way to
exercise control over themselves and others.
 cordon beluga chef: has good cooking skills, but often creates recipes
that sound and/or taste disgusting.
 the corrupter: enjoys bringing out the worst in everyone around them.
 the corruptible: prone to being corrupted easily.
 crazy cat lady: possessing an extreme need to collect animals.
 crazy jealous guy: lets jealousy poison relationships.
 crime magnet: unusually attractive to wrongdoers.
 cultural posturing: my culture is better than yours!
 culture justifies anything: uses their culture to justify their own vicious
deeds.
 cute and psycho: hides a scheming and unstable demeanor that can
resurface at any time.
 the cynic: believes that people are exclusively motivated by self-
interest.
 dander: shyness, sometimes to a fault.
 deadpan snarkier: prone to sarcastic and snide remarks.
 deaf composer: inability to enjoy their own creation.
 delinquent: school kid who breaks rules to the extreme.
 desperately craves affection: excessive desire to be loved.
 desperately looking for a purpose in life: still doesn't know what to do
with his/her life.
 determinate: excessive persistence in a course of action, even when it
would be better to give up.
 did I just say that out loud?: prone to be thinking out loud even though
it's something they don't want others to hear.
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 dirty coward: shameless, selfish, and all too willing to put others in
danger to save their own skin.
 disability as an excuse for jerkassery: uses their disability as an excuse
to be ajerkass.
 dismotivation: wants to keep things as they are and actively avoids
doing anything that might change their life for the better.
 the ditherer: can't make decisions or make up his or her mind.
 the ditz: is an idiot.
 does not know his own strength: has trouble gauging just how much of
his or her considerable strength to apply to a specific task.
 does not know how to say thanks: doesn't know how to express
gratitude.
 does not like spam: possesses an immense dislike for a particular food.
 does not like men: dislikes men as a whole.
 dogged nice guy: doesn't know when to take a hint that their love
interest is not interested.
 domestic abuser: inclined to abuse their partners either mentally,
sexually, verbally, physically, or emotionally.
 don't look at me!: extreme dislike of being looked at.
 don't you dare pity me!: too proud to appreciate sympathy and/or help.
 drama queen: responds to situations in a melodramatic way.
 dreadful musician: displays little talent for music, often to comical
extremes.
 drowning my sorrows: deals with sorrow by getting drunk.
 drunk with power: when given power, they abuse their underlings.
 dumbass teenage son: a teenage boy who's a dumbass.
 the eyesore: perpetually depressed; perpetually depressing.
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 embodiment of vice: exemplifies a certain moral deficiency to such an
extent as to become a symbol of it.
 emotionally tongue tied: has trouble uttering specific words or phrases,
like "i love you" or "I’m sorry."
 entitled bastard: treats people like crap, but still expects them to serve
their interests.
 entitled to have you: believes that he or she is entitled to the affections
of their love interest simply for being part of a certain group, doing or
not doing something, or simply for existing.
 enraged by idiocy: can't cope with idiots.
 etiquette nazi: obsessed with enforcing manners on everyone.
 extreme doormat: unmotivated and has no drive, but freely bends to
the will of others.
 extreme Omni sexual: they'll have sex with anything and everything.
 fair weather friend: has a tendency to flake out when their "friends"
need help.
 fatal flaw: a flaw which the character wrestles with on a consistent
basis.
 fearless fool: not scared of anything, even if it's dangerous.
 fear of thunder: inordinate fear of thunderstorms.
 felony misdemeanor: their reaction to a minor offense is ridiculously
excessive.
 the finicky one: an incredibly nitpicky and uptight character.
 flaw exploitation: exploiting someone's flaws for profit.
 forgetful jones: incredibly forgetful.
 forgets to eat: notorious for ignoring their body's need for nutrition and
has to be reminded to eat.

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 fragile flower: a character who's overly sensitive.
 the fundamentalist: their beliefs are right and anyone who doesn't
believe as they do is stupid, crazy, evil or all three.
 the gambling addict: likes gambling, to the extent where it starts to
cause problems.
 general failure: an incompetent leader.
 glory hound: desire for glory at any cost.
 glory seeker: driven by the need for glory.
 glurge addict: extreme love for sickeningly sweet things.
 god is flawed: not even supreme beings are perfect.
 graceful in their element: nimble in their field, awkward outside it.
 the grinch: hates christmas.
 grumpy bear: has a grim and gritty point of view even though they live
in a rose-colored world.
 guilt complex: blames themselves for everything.
 guilty pleasure: ashamed of what brings them pleasure because they
think it's of low-quality.
 hair-trigger temper: this character will get extremely angry for many
particular provocations — or has never learned how to control his/her
temper.
 hates baths: exactly what it says on the tin.
 hates being alone: possess an extensive fear of being left alone.
 hates being touched: dislikes physical contact.
 hates everyone equally: hates everyone.
 hates small talk: dislikes making small talk with others.
 heavy sleeper: almost impossible to wake up.
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 he-man woman hater: dislikes women as a whole.
 heroic comedic sociopath: loves to fight evil because it enables them to
disperse pain.
 heroic self-deprecation: no matter how amazing his/her
accomlishments are, the hero thinks s/he is useless.
 high hopes, zero talent: they have the ambition, but not the skill.
 hikikomori: locks themselves away from the outside world like a
recluse.
 his own worst enemy: self-sabotages his own doings.
 hormone-addled teenager: over-sexualized behavior of adolescents.
 horrible judge of character: trusts people who really shouldn't be
trusted.
 honor before reason: does what they feel is right, even if it's foolish.
 humans are bastards: humanity is prone to acts of cruelty.
 humans are flawed: no one's perfect.
 humans are the real monsters: humans are among the most cruel of all
sapient species.
 hypocrite: claims a belief even though they don't live up to it.
 in love with love: in love with the idea of being in a romantic
relationship, which often leads to looking for love in all the wrong
places.
 i'm a man, i can't help it: uses his biological urges as an excuse for his
behavior.
 implausible deniability: denies something even in front of
unquestionable evidence.
 in harm's way: thinks life is boring unless they put themselves in
danger.

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 inadequate inheritor: when the character is unfit to fulfill heritage
expectations.
 ineffectual loner: a loner whose capacity is reduced to the point of not
being able to fulfill their goal because of their solitary nature.
 inferiority superiority complex: uses arrogance to mask low self-
esteem.
 informed flaw: flaws not really shown or followed up on.
 innocent bigot: unknowingly offensive to strangers.
 innocently insensitive: unknowingly offensive.
 insufferable genius: arrogant about their own impressive skills.
 internalized categorism: possesses a nondestructive trait that causes
self-hatred, which makes it destructive.
 irrational hatred: hates someone for irrational reasons.
 i work alone: inclined to do things by themselves and is dismissive of
others' assistance.
 jabba table manners: has no table manners.
 kids are cruel: child prone to acts of cruelty.
 the kidnapper: someone who means to display benevolence by
kidnapping those they intend to be nice to.
 the klutz: excessive clumsiness.
 lethal klutz: dangerously excessive clumsiness.
 knight templar: vicious, but convinced of their own righteousness.
 know-nothing know-it-all: acts like a genius, but is anything but.
 laborious laziness: working only to be lazy.
 lack of empathy: doesn't have the ability to understand and share the
feelings of others.

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 lazy bum: profound laziness.
 leeroy jenkins: rushes into dangerous situations without thinking,
often getting themselves or others hurt or worse.
 lethal chef: has poor cooking skills, often to comical extremes.
 literal-minded: doesn't understand figurative language.
 the load: contributes nothing to a group except weighing it down.
 loony fan: follows someone everywhere out of obsessive admiration,
either causing trouble or just creeping them out.
 love hungry: tries to force others to like or love them, not
understanding that it doesn't work that way.
 love martyr: willingly endures misery and abuse for love.
 loving a shadow: in love with the ideal of a person, rather than loving
someone for who they actually are.
 lust: driven by one's sex drives.
 madonna–whore complex: thinks all women are either promiscuous,
immoral seductresses or sweet, naive ingenues. also, that smart,
capable, good women who enjoy sex don't exist.
 maternally challenged: not very good with kids.
 man child: an adult who possesses a very childlike or childish
demeanor.
 manipulative bastard: not above using and toying with others to get
what he/she wants.
 married to the job: is so devoted to their career that it seriously affects
their ability to hold any kind of relationship outside of it.
 martyr without a cause: will insist on making a heroic sacrifice even if
it's unnecessary.
 miles gloriosus: makes themselves out to be the ultimate badass, but
proves to be a coward when faced with a real fight.
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 the millstone: the cause of most, if not all, of a group's failures.
 minor flaw, major breakup: inability to accept partner's minor flaws.
 misanthrope supreme: a human character who hates the human race.
 misplaced sorrow: prone to miss another character for shallow, selfish
reasons, such as money.
 mood-swinger: has unstable emotions and acts unpredictably.
 motor mouth: speaks constantly or so quickly that it's hard to make out
individual words.
 mouthy kid: overly talkative, insolent, and loud child.
 muse abuse: exploits their real life and the people around them for the
sake of their art, with harmful results.
 my beloved smother: thinks that she's being a good mom, but is
actually holding her children back as people.
 naive animal lover: wants to help animals, not realizing how dangerous
some of them are.
 narcissist: extreme love and admiration for oneself.
 neat freak: obsessed with cleanliness.
 nervous wreck: panics over the slightest thing.
 never my fault: blames others for their own mistakes or misdeeds.
 nobody calls me chicken: can't turn down a challenge .
 no object permanence: inability to recognize that an object continues to
exist even when you can't see, hear, or touch it.
 no sense of humor: doesn't get jokes.
 no sense of direction: gets lost easily.
 no sense of personal space: gets way too close for comfort around
others.

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 no social skills: ignorant of and confused by social customs.
 nostalgia filter: believes that things of the past are better than things of
the modern equivalents.
 no sympathy: doesn't feel pity or sorrow for others' misfortune.
 not a game: doesn't take serious matters seriously.
 not a morning person: is unusually cranky and snippy when just woken
up.
 obliviously evil: can't comprehend that they're doing anything wrong.
 oblivious to his own description: unable to recognize a perfect
definition of themselves.
 oblivious to love: inability to notice any romantic intentions.
 obsessed with food: they pay more attention to food than anything else.
 old windbag: known for being an insufferable bore.
 only in it for the money: doesn't care about anything except getting
paid.
 open mouth, insert foot: prone to vocal stupidity or self-incrimination.
 opinion flipflop: always agreeing with a flipflopper instead of thinking
for themselves.
 opinion myopia: doesn't seem too keen on other peoples' opinions and
shoves their own on others' throats.
 overprotective dad: tendency to protect one's child excessively,
especially in the romantic department.
 paper tiger: looks and acts threatening and tough, but is anything but.
 paralyzing fear of sexuality: desires romance and/or sex, but is too
afraid of sexuality.
 the paranoiac: pathological cynicism and mistrust of people and
situations.
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 passive-aggressive kombat: uses passive-aggressive tactics to get what
he/she wants
 paste eater: eats things that are not intended to be food, often
poisoning themselves in the process.
 the perfectionist: has to be perfect at what they do or at everything they
do.
 picky eater: distaste of a certain type of food.
 the pig pen: someone whose hygiene is lacking.
 poisonous friend: loyal but hazardous companion that secretly commit
nasty deeds for their friend that said friend wouldn't approve of.
 post-stress overeating: excess in eating as a coping mechanism.
 the prankster: very fond of playing pranks on others.
 pride: excessive self-regard, to the point that it negatively affects a
character's judgement.
 the primadonna: see "entitled bastard".
 principles zealot: blindly clings to principles and refuses to see the big
picture.
 psychological projection: sees their own flaws in other people, often
while denying those flaws in themselves.
 psychopathic manchild: a lunatic with all the strength/intellect of an
adult and the innocence of a child.
 pushover parents: parents who are too submissive to their children and
refuse to discipline them.
 the quiet one: a person who isn't very talkative.
 rebellious spirit: possesses a immense desire to resist authority,
control, or convention.
 the resenter: feels bitterness or indignation for a person.

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 revenge before reason: putting revenge over sensible actions.
 rich bitch: rich, snobby and haughty.
 rich in dollars, poor in sense: has little understanding of things that
people without money take for granted.
 ridiculous procrastinator: puts something off until the last minute.
 rightly self-righteous: virtuous and morally upright, but is
condescending and arrogant about it.
 royal brat: arrogance, power, pettiness, and a huge sense of
entitlement.
 sacrificed basic skill for awesome training: grown up without learning a
very basic skill.
 sadist: a character who enjoys the pain and suffering of other
characters.
 sarcasm-blind: doesn't understand sarcasm.
 schemer: constantly uses zany schemes to get what they want.
 schedule fanatic: has to do everything according to precise schedule,
every day of their lives.
 the scrooge: values his wealth more than anything else, and will
minimize spending it, even if this hurts others.
 selective obliviousness: refuses to comprehend a particular fact.
 serial romeo: keeps insisting their newest love interest is their one true
love, completely forgetting about previous love interests who rejected
them.
 serial spouse: just can't keep a marriage together
 serious business: treats an activity as though it had much more
importance than most people would give it.
 seriously scruffy: can't strike a balance between work and looking after
themselves.
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 sex is evil and i am horny: believes that sex is evil, but can't escape their
own sexuality.
 shrinking violet: painfully shy.
 sir swears-a-lot: seriously foulmouthed.
 skilled, but naïve: lacks the experience needed to accomplish their goal.
 skewed priorities: their order of things by importance defies sensibility.
 the slacker: just plain lazy.
 slave to pr: obsessed with upholding one's reputation, no matter what.
 sleepyhead: chronically drowsy.
 slimeball: unsophisticated, manipulative and selfish.
 small name, big ego: thinks they're all that when they aren't.
 smug super: knows they're powerful and has the ego to show.
 smitten teenage girl: gets crushes with serious intensity.
 social climber: tries to better themselves in the eyes of society, often at
the expense of others.
 the social darwinist: enforces "survival of the fittest" with an iron fist.
 socially-awkward hero: is more afraid of social situations than of actual
dangers to life and limb.
 the sociopath: completely self-centered and manipulative with no sense
of right or wrong.
 sore loser: can't take a loss, even if it was fair and square.
 sour outside, sad inside: forces people away with their abrasive attitude
while really feeling depressed because they can't get close to anybody.
 sour prudes: tries too hard to make themselves look good at the
expense of others, claiming superiority on the ground that they doesn't
have as much sex as others do, doesn't dress as scandalously as they do,
or something like that.
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 spoiled brat: arrogant, selfish and disrespectful kid who demands to be
given everything.
 stalker with a crush: expresses their love for someone by stalking them.
 stopped caring: believes nothing really matters and only does what has
to be done.
 straw nihilist: considers life and existence to be meaningless, and uses
this as a justification for evil acts.
 stupid good: a character who's too nice for his own good.
 sugar and ice personality: acts aloof and apathetic despite really being
sweet and kind.
 super gullible: believes anything you tell them.
 super ocd: obsessed with order, symmetry and following certain
patterns of behavior.
 taking advantage of generosity: demanding more of others who're
being generous.
 tall poppy syndrome: holds contempt (or worse) for peers who are
affluent, ambitious, talented or who otherwise stand out.
 taxidermy is creepy
 the tease: prone to tempt someone sexually with no intention of
satisfying the desire aroused.
 teens are monsters: teenagers who act very cruel towards others.
 too clever by half: is incredibly smart, irritatingly aware of it, and
driven to go beyond themselves, which often leads to spectacular
failures.
 too hungry to be polite: the character has atrocious table manners
because they're too hungry or don't know any better.
 toxic friend influence: gets friends into serious trouble or takes leave of
their common sense when around a particular friend.
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 trash of the titans: extremely messy.
 trash talk: prone to uttering insults intended to demoralize or
intimidate someone.
 trauma button: prone to breaking down when exposed to certain
stimuli.
 tsundere: can't express their feelings properly.
 the unapologetic: a character who doesn't apologize for their misdeeds.
 the unfettered: will do anything to win.
 unfit for greatness: wants to do good, but lacks the willpower, insight,
and virtue to direct the power they've been given.
 ungrateful bastard: doesn't show appropriate gratitude.
 unstoppable rage: making them angry is suicidal.
 wangst: a character who laments on the relatively minor things.
 wardrobe flaw of characterization: tries to dress well, but can't quite
pull it off.
 wants a prize for basic decency: demands praise for behaving in a
situation like a decent human, disregarding that basic humanity is
expected of others by default, rather than something above-and-
beyond to be rewarded for.
 smug super: knows they're powerful and has the ego to show.
 smitten teenage girl: gets crushes with serious intensity.
 social climber: tries to better themselves in the eyes of society, often at
the expense of others.
 the social darwinist: enforces "survival of the fittest" with an iron fist.
 socially-awkward hero: is more afraid of social situations than of actual
dangers to life and limb.
 the sociopath: completely self-centered and manipulative with no sense
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 of right or wrong.
 sore loser: can't take a loss, even if it was fair and square.
 sour outside, sad inside: forces people away with their abrasive attitude
while really feeling depressed because they can't get close to anybody.
 sour prudes: tries too hard to make themselves look good at the
expense of others, claiming superiority on the ground that they doesn't
have as much sex as others do, doesn't dress as scandalously as they do,
or something like that.
 spoiled brat: arrogant, selfish and disrespectful kid who demands to be
given everything.
 stalker with a crush: expresses their love for someone by stalking them.
 stopped caring: believes nothing really matters and only does what has
to be done.
 straw nihilist: considers life and existence to be meaningless, and uses
this as a justification for evil acts.
 stupid good: a character who's too nice for his own good.
 sugar and ice personality: acts aloof and apathetic despite really being
sweet and kind.
 super gullible: believes anything you tell them.
 super ocd: obsessed with order, symmetry and following certain
patterns of behavior.
 taking advantage of generosity: demanding more of others who're
being generous.
 tall poppy syndrome: holds contempt (or worse) for peers who are
affluent, ambitious, talented or who otherwise stand out.
 taxidermy is creepy
 the tease: prone to tempt someone sexually with no intention of
satisfying the desire aroused.
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 teens are monsters: teenagers who act very cruel towards others.
 too clever by half: is incredibly smart, irritatingly aware of it, and
driven to go beyond themselves, which often leads to spectacular
failures.
 too hungry to be polite: the character has atrocious table manners
because they're too hungry or don't know any better.
 toxic friend influence: gets friends into serious trouble or takes leave of
their common sense when around a particular friend.
 trash of the titans: extremely messy.
 trash talk: prone to uttering insults intended to demoralize or
intimidate someone.
 trauma button: prone to breaking down when exposed to certain
stimuli.
 tsundere: can't express their feelings properly.
 the unapologetic: a character who doesn't apologize for their misdeeds.
 the unfettered: will do anything to win.
 unfit for greatness: wants to do good, but lacks the willpower, insight,
and virtue to direct the power they've been given.
 ungrateful bastard: doesn't show appropriate gratitude.
 unstoppable rage: making them angry is suicidal.
 wangst: a character who laments on the relatively minor things.
 wardrobe flaw of characterization: tries to dress well, but can't quite
pull it off.
 wants a prize for basic decency: demands praise for behaving in a
situation like a decent human, disregarding that basic humanity is
expected of others by default, rather than something above-and-
beyond to be rewarded for.
 weak-willed: easy to convince.
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  weasel co-worker: doesn't do his job and palms off the blame on others.
 weight woe: obsessed with dieting.
 "well done, dad" guy: where a role model is obsessed with the approval
of a disciple.
 "well done, son!" guy: obsessed with getting approval from a role
model you can never please.
 well-intentioned extremist: someone who uses good ends to justify evil
means.
 what you are in the dark: fails to live up to their principles when no one
is watching.
 why did it have to be snakes?: crippling and extreme or irrational fear
of or aversion to something, not necessarily snakes.
 why we can't have nice things: can't help but to destroy the greater
things in their life.
 wide-eyed idealist: has a naive, rose-colored outlook in a world that's
anything but.
 wild card: unreliable, untrustworthy and traitorous.
 workaholic: compulsively works hard and long hours.
 would hurt a child: no qualms about using violence against children.
 yandere: can't handle being in love without acting extremely obsessive
or possessive of the one they are in love with to the point of hurting
others.
PUTTING THE FLAW TO WORK
Before you can write the flaw, you need to get specific about how it
manifests. Otherwise it’s all too easy to end up with a character that doesn’t
act according to their flaw. Or the flaw overwhelms the personality.
LET YOUR CHARACTER MAKE MISTAKES
Just have him make a different mistake each time, The fallout should be a
natural result of the actions, even if the character and reader didn’t see it
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coming. It’s probably going to be the repeated repercussions that cause the
character to finally change his ways, if you go that route.
INNER CONFLICT
Another way to show the flaw is through the character’s inner conflict
over it. Maybe they want to change. Maybe they don’t, but they hate the
consequences.
CHARACTER’S VOICE
You should also show it through the character’s voice. It helps if you think of
it as an attitude. It doesn’t need to be constant, but it needs to crop up every
once in a while.
NARRATION
“Character flaws in first person POV can be a real challenge. Most people
don’t see their own flaws – don’t acknowledge their own mistakes. The flaws
have to be communicated using the unreliable narrator who thinks that
what s/he’s doing is correct and logical but which inevitably results in
unexpected circumstances
DRAMATIC QUESTION
DEFINITION It could be argued that the dramatic question is only
superficially about the plot. In reality it’s asking will the flowed character
grow and develop enough in order to solve her challenges.
CHARACTER ARC (transformation) (inner journey) (personal growth)
DEFINITION As opposed to the plotline of a story (external plot action and reaction
external motivation), it is a description of what happens to the inside of a
character over the course of the story.
TYPE OF CHARACTER ARCS
Three Basic Character Arcs Although the variations of character arcs are as
endless as the vagaries of human nature, we can narrow character arcs down
to three basic types, with a few primary variations upon each
1. CHARACTER GROW
1.1. DYNAMIC CHARACTER
1.2. THE CHANGE ARC
2. STAICK CHARACTER
3. THE NEGATIVE ARC
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CHARACTER GROW
DEFINITION In order to story develop (become larger or more advanced), without
a doubt Main Characters must need to grow (progress), when an act (plot)
progresses from one area of exploration to the next, the Main Character
needs to progress as well.
NOTE The bigger the change, the more impact the story will have, as long
as you keep it believable.
DYNAMIC CHARACTER
DEFINITION When the Main Character reaches the crisis point or climax
of a story they are faced with a very important question: are they on the
right path or the wrong path? Some stories are about characters who realize
they have been doing things wrong the whole time. These characters change
and adopt a new way of seeing the world (changing without forced)
THE CHANGE ARC
The protagonist will start out with varying levels of personal not fulfill and
denying. Over the course of the story, he will be forced to challenge his
beliefs about himself and the world, until finally ends, his arc having
changed in a positive way.
Note Change isn’t easy for any of us. It’s part of the human condition to
want to stay the same.
STEP OF GROWTH
This growth is a gradual evolution (not from zero to hero), Character arcs: three-
step process:
1. The protagonist starts one way.
2. The protagonist learns some lessons throughout the story.
3. The protagonist ends in a (probably) better place.
EXAMPLE
 E.g. incompetence to competence,
 E.g. from fear to courage,
 E.g. from powerlessness to power,
 E.g. From callousness to empathy.
 E.g. She begins the story as a flighty young girl, and ends as a strong
and determined woman.
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THE FLAT ARC
DEFINITION Many popular stories feature characters they’re already
heroes and don’t require any noticeable personal growth to gain the inner
strength to defeat the external antagonists (no change over the course of the story, making
their arcs static or “flat.”).
Sometimes these characters are the catalysts for change in the story world
around them, so that we find more prominent growth arcs in the minor
characters.
EXAMPLE
 E.g. You can have stories in which there’s no character arc - the James
Bond series and the Indiana Jones series spring to mind - but they are
more one-dimensional, and require lots of bang and special effects to
keep our interest.
STAICK CHARACTER (SOME NOT CHANGE)
DEFINITION Not all growth is transformative (change) because not all
growth requires a different mindset.
Note This is no less meaningful than the kind of growth where someone
changes who they are or how they see the world In both cases, this
realization that they arrive is results of their growth.
EXAMPLE
 E.g. stories are about characters who realize that the way they have
been doing things is in fact the right way to approach their problems.
These characters remain as it is; therefore a person can grow by
maintaining their position, shoring up their resolve against
whatever is thrown at them.
THE NEGATIVE ARC
DEFINITION it offer, arguably, more variations that either of the other
arcs. However, at their most basic level, the Negative Arc is just a Change
Arc flipped (turn over or cause to turn over) on its head. Instead of a character
grows out of his faults into a better person, the Negative Arc presents a
character ends up in a worse state than that in which he began the story.
THE STRUCTURE OF CHARACTER ARCS
The plot is all about the character’s inner journey
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He realizes the reason he’s not getting what he wants in the plot is because
either
 He wants the wrong thing or
 His moral methods for achieving what he wants are all wrong.
ENDING THE CHARACTER ARC
This is the trickiest part, and the source of the biggest challenges and
revelations.
There are two aspects to the end of a character arc
 the climax and
 The rest of the dénouement.
THE CLIMAX
At the climax of the story, we have to do more than just defeat the external
plot forces. We either have to show
 that the character has learned his/her lesson and can use it to defeat the
bad guy
 Force the character to make the BIG choice to change, to take a leap of
faith into the U-turn, post-arc state.
THE REST OF THE DÉNOUEMENT
After the climax, it‘s still important to show the results of the characters
final choice, to confirm that change is real and permanent, not just an act of
momentary convenience to beat the bad guy at a critical moment.
Audience will believe in the internal change only if they see it manifested on
the external level.
EXAMPLE
 E.g. So we need some last little event that affirms the choice he made
to become part of this family Maybe the last sight we have of him is
surrounded by the kids as they work together move his hut across the
stream into the family compound– and Julie helping to set the hut on a
new foundation.
NOTE Character arcs are challenging, and sometimes we have chance to
leave them. But if we have done well, they make our fiction fulfilling to our
characters and our Audience.

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CHARACTER DESCRIPTION
DEFINITION it is the writer description to any given character that
introduction to audiences. The writer does this by blending general
observations about of the character, while also illustrating key details that
give insight into the character’s psychology; all before the character begins
their first line of dialogue
ELEMENT OF CHARACTER DESCRIPTION
The character description in a feature screenplay is usually composed of
 NAME,
 PHYSICAL,
 SOCIAL AND PSYCHOLOGICAL
PHYSICAL
DEFINITION How character
LIST OF PHYSICAL
Any distinguishing features and manner of dress...
appearance voice, nationality,
height, race, speech,
age, weight, Health,
sex, hair and eye color,
SOCIOLOGICAL
DEFINITION how they live

LIST OF SOCIOLOGICAL
what their family is geographical origin, social contacts,
like,
who they hang out family background, religion,
with,
what time and place education, morality,
they are living in,
What has happened to occupation, sports,
them so far in life?
includes marital status, interests politics,

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PSYCHOLOGICAL
DEFINITION how they behave means their personality (thinking or a feeling type)
LIST OF PSYCHOLOGICAL
their IQ, how they see their beliefs and points
themselves, of view
what they like and how others see them, Sexual preference,
dislike,
phobias,

CHARACTER DESCRIPTION TEMPLATE

The character description in a feature screenplay is usually composed of
NAME, AGE, PHYSICAL, NATIONALITY, SOCIAL, PSYCHOLOGICAL
Plus any defining physical character traits, including props, for actors
business
SCREENPLAY CHARACTER DESCRIPTIONS FROM FILM

TITANIC BY JAMES CAMERON

JACK DAWSON and FABRIZIO DE ROSSI, both about 20, exchange a glance as the
other two players argue in Swedish. JACK is American, a lanky drifter with
his hair a little long for the standards of the times. He is also
unshaven, and his clothes are rumpled from sleeping in them. He is an
artist, and has adopted the bohemian style of art scene in Paris. He is
also very self-possessed and sure-footed for 20, having lived on his own
since 15.
The Renault stops and the LIVERIED DRIVER scurries to open the door for a
YOUNG WOMAN dressed in a stunning white and purple outfit, with an
enormous feathered hat. She is 17 years old and beautiful, regal of
bearing, with piercing eyes. It is the girl in the drawing. ROSE. She
looks up at the ship, taking it in with cool appraise

LOUISE is a waitress in a coffee shop. She is in her early-thirties, but

too old to be doing this. She is very pretty and meticulously groomed,
even at the end of her shift.

DETECTIVE ROGER MURTAUGH, seated in the bathtub. He groans, throws a towel

over himself, and mutters in mock indignation. Roger is tough: An old-
fashioned fighter wears his past like a scar. Piercing eyes; cynical.

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He is surrounded by his family; wife and three children, names and ages as
follows: TRISH: Roughly thirty-eight. She used to be a stunner. NICK: Ten
years old. Precocious.

CARRIE Age seven. Eyes like saucers. Adorable.

MY BRILLIANT CAREER
Beyond the open door and windows, SYBYLLA, a skinny girl of sixteen-
seventeen years old, with a vital if not pretty face, paces backwards and
forwards, holding a stub of pencil and an old exercise book, deep in
concentration, oblivious to her surroundings.

WITNESS
RACHEL LAPP. A young woman of perhaps twenty-seven. Her face is pale and
drawn. In happier circumstances, although there haven’t been too many of
late in Rachel’s life, we would see a robust, sensual woman of full
figure, spirit and intelligence.

JOHN BOOK comes striding though the others. He is about 40, with a rangy,
athletic body.

TAXI DRIVER
TRAVIS BICKLE, age 26, lean, hard, the consummate loner.

TITANIC
JACK is American, a lanky drifter with his hair a little long for the
standards of the times. He is also unshaven, and his clothes are rumpled
from sleeping in them. He is an artist, and has adopted the bohemian style
of art scene in Paris. He is also very self-possessed and sure-footed for
20, having lived on his own since 15.

The Renault stops and the LIVERIED DRIVER scurries to open the door for a
YOUNG WOMAN dressed in a stunning white and purple outfit, with an
enormous feathered hat. She is 17 years old and beautiful, regal of
bearing, with piercing eyes. It is the girl in the drawing. ROSE. She
looks up at the ship, taking it in with cool appraisal.

THELMA & LOUISE

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LOUISE is a waitress in a coffee shop. She is in her early-thirties, but
too old to be doing this. She is very pretty and meticulously groomed,
even at the end of her shift.

LETHAL WEAPON
DETECTIVE ROGER MURTAUGH, seated in the bathtub. He groans, throws a towel
over himself, and mutters in mock indignation. Roger is tough: An old-
fashioned fighter, wears his past like a scar. Piercing eyes; cynical. He
is surrounded by his family; wife and three children, names and ages as
follows: TRISH: Roughly thirty-eight. She used to be a stunner. NICK: Ten
years old. Precocious. CARRIE: Age seven. Eyes like saucers. Adorable.
RIANNE: Heartbreaker stuff, Seventeen. Takes your breath away folks.

THE SIXTH SENSE

MALCOLM CROWE sits on the floor at the coffee table, his vest and tie on
the sofa behind him. A jacket and an overcoat lay on a briefcase next to
him. Malcolm is in his thirties with thick, wavy hair and striking,
intelligent eyes that squint from years of intense study. His charming,
easy-going smile spreads across his face.

SPIDER-MAN
We see PETER PARKER, a pleasant faced senior who's among the top in his
class. Sincere and serious, he has yet to develop a way with women.

SPIDER-MAN
PETER PARKER, a 17 year old boy. High school must not be any fun for Peter; he’s
one hundred per cent nerd: skinny, zitty, glasses.

A girl stands in the entrance to the alleyway. MARY-JANE WATSON, seventeen,

painfully sexy already, with a knowledge and sadness that are way beyond her year

DALE SCHRADER, late 20’s, closes to being beautiful, brunette, American. Has an
Oxford PhD in Psychobiology (animal behavior). We’re looking at a warm, kind,
loving woman, of earthy spirit and great intelligence. She fidgets with a hyena
tooth that hangs on her gold necklace.

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Beyond the open door and windows, SYBYLLA, a skinny girl of sixteen-
seventeen years old, with a vital if not pretty face, paces backwards and
forwards, holding a stub of pencil and an old exercise book, deep in
concentration, oblivious to her surroundings.

RACHEL LAPP A young woman of perhaps twenty seven her face is pale and
drawn. In happier circumstances, although there hasn’t been too many of
late in Rachel’s life, we would see a robust, sensual woman of full
figure, spirit and intelligence

He is about 40, with a rangy, athletic body.

TRAVIS BICKLE, age 26, lean, hard, the consummate loner.

CHARACTERIZATION
DEFINITION it is the writer’s work to describe the superficial (not have depth)
details about a character to help inform the audience about who the
character is. Typically, the characterization is the first-layer observations
EXAMPLES
 E.g. FIRST SIGHT
One of the first things we notice about BARRY in PUNCH-DRUNK
LOVE is his beautiful, royal-blue suit, further accentuated (make more
noticeable or prominent) by his bright crimson (a rich deep red color)
tie. It’s characterization to the point of nearly becoming caricature (an
exaggerated for comic).
A GENERAL OPINION
We then come to a general opinion about who BARRY is; professional,
but also that he’s trying really hard to be professional.
SOMETHING ABOUT THE SUIT
Something about the suit is strange odd; be it the shade or how it
seems to fit like a cardboard box over BARRY’S rigid posture, the suit is
an immediate tip of the hat to the audience, letting them know that
Barry. His suit is simply too noticeable to allow it(There’s no way he
can blend in comfortably, no way he can just fade unnoticed into the
94
 background where his seven sisters won’t call out and belittle his
insecurities.), for the audience’s benefit.
SO WE IMAGINE
so we can keep our eyes on him as he wanders (walk or move in a
leisurely, move slowly away from a fixed point or place.) through
bright-white grocery (items of food sold in shop or supermarket.), store
on his search for pudding (cooked sweet dish served after the main
course of a meal.), or even when he’s fighting against a soap dispenser
alone in a restaurant’s restroom. He won’t escape our scrutinizing
(examine or inspect closely and thoroughly.) attention to his
awkwardness (hard to do or deal with.), at least not until he can
overcome it.
 E.g. when JACK trades therapy group nights with MARLA. The first
time we see TYLER is when we first see “JACK” himself, with a gun in
his mouth; though find that we aren’t prepared for it. One of the big
surprises is when we TYLER DURDEN is “Jack’s” own split
personality; and to look at “Jack” at the beginning of the film, we
immediately understand Tyler’s function for him as soon as we’re
introduced to Tyler on the airplane. Where “JACK” is materialistic,
Tyler is free. The time that we spend with “Jack” at the beginning of the
film makes us understand who and what Tyler represents when we first
see him: trouble even if we don’t fully understand why we know it yet.
It’s the writer telegraphing Tyler’s (and “Jack’s”) characterization to us,
without calling special attention to it whatsoever.
CHARACTER NOTES
DEFINITION It is 1-3 pages for each major character outline the different
characters, and their Back stories
EXAMPLE
MAJOR CHARACTERS
NOAH CALHOUN
The narrator of the book and the main character, Noah is a good and kind
man who fell in love with Allie fourteen years before the novel opens. He has
never forgotten her and is overwhelmed with how much he still loves her
when she returns to tell him she is engaged.
ALLISON NELSON
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A young woman who comes from a privileged family, she spends a
wonderful summer with Noah when they are young, but is forced to leave
when her parents disapprove. She meets Lon and becomes engaged to him,
but something in her makes her return to Noah to be sure she is not making
a mistake.
LON HAMILTON
He is Allie’s fiancé, who fights for her in the end, but is too late. He has
allowed his career to disrupt any hope he may have had to win her for
himself.
MINOR CHARACTERS
MORRIS GOLDMAN
A Jewish man who hires Noah for eight years in his scrap yard and leaves
him part of his assets as an inheritance, which then allows Noah to restore
his house.
GUS
He is the black man who lives down the road from the house Noah has
restored. He becomes Noah’s only family until Allie returns.
ANNE NELSON
She is Allie’s mother and had so disapproved of her being with Noah that
she had never delivered his letters to her daughter. She comes to warn them
that Lon is on his way to confront them both, and she finally gives Allie the
letters. When she leaves, she whispers to Allie that she should follow her
heart
CHARACTERS DEVELOPMENT
DEFINITION It is process of creating character (physical, social and
physiological), through gradually step like painting a picture, stroke by stroke,
until the whole, complex individual finally comes into view believable
characters. Therefore it requires hours of research, careful consideration
and attention to detail before the character is believable.
The audience how much need to know (how fully the character is developed) depend on
how much important to the story
NOTE In real life we don’t notice (attention; observation.) everything at once
when we meet a new person first time therefore When you first introduce
them, you should include a few details, but the rest of their personalities,
motivations, and back stories should be revealed gradually through their
actions
1
FIRST SIGHT
First when you meet someone for the first time, you see person’s
physical appearance at surface level not remember very much about
them except
 character had dark hair
 character wasn’t very tall
 Is the character well dressed?
 Does he bite his nails?
 Does she have acne scars,
 heavy makeup,
 a professional manicure,
 Any nervous mannerisms?
 Does the character make eye contact?
ELEMENT DEVELOPED CHARACTERS
Creation of the written character; including (but not limited to) investigation into
through
 APPEARANCE
 SPEECH (What he says) (What others say about him)
 OTHER CHARACTER'S COMMENTS
 AUTHOR'S COMMENTS
 ACTIONS (What he does) (What happen to him)
 RELATIONSHIPS
 WHAT SITUATION IN HE
 A CHARACTER’S BACK STORY,
 INTIMATE UNDERSTANDING OF A CHARACTER’S PERSONALITY
ACTIONS
EXAMPLE
 E.g. in Charlottes' Web, Templeton, creeps up cautiously to the
goslings, keeping close to the wall. Later he grins when Wilbur falls
trying to spin a web. At the fair he bites Wilbur's tail as hard as he
possibly can. His actions portray him as sneaky, ill-tempered, and
pleased at others' discomfort.
SPEECH
DEFINITION Much of our personality comes through our speech, so think
2
about the way your character is going to talk.
COMMUNICATION STYLE
DEFINITION Her style of communication should be distinctive and
unique. The way character talk it sticks in the reader's mind
EXAMPLE
 E.g. Fast, slow, gentle
 E.g. a way of glancing in the mirror admiringly at his own image,
 E.g. a way of rubbing her hands together
CAT PHRASE
DEFINITION Character favor certain words or phrases that make her
distinct and interesting
VOICE
DEFINITION Sound of character voice
EXAMPLE
 E.g. In Charlottes' Web, Templeton after Wilbur asks him to play,
frolic or have fun. Replies, "...I never do those things if I can avoid
them... I prefer to spend my time eating, gnawing, spying, and hiding...
I am a glutton not a merry-maker. Right now I am on my way to your
trough to eat your breakfast, since you haven't got sense enough to eat
it yourself"
APPEARANCE
EXAMPLE
 E.g. in CHARLOTTES' WEB, Templeton after his night at the fair
returns swollen to double his usual size. He agrees to fetch the egg sac
so that he may eat first every day and grow fatter and bigger than any
other known rat.
OTHER CHARACTER'S COMMENTS
DEFINITION Other characters' comments help form judgment of the
characters by supporting other characters' actions speech, appearance, and
author's comments.
AUTHOR'S COMMENTS
DEFINITION The wording the author uses in the narrative adds to
3
characterization.
EXAMPLE
 E.g. In Charlottes' Web, White describes Templeton ...had no morals,
no conscience, no scruples, no consideration, no decency, no milk of
rodent kindness, no compunction, no higher feeling, no friendliness,
no anything. He would kill a gosling if he could get away with it. These
statements certainly develop character.
NOTE When you are creating characters, you should know all about them,
even if you don’t actually express every detail in the story.
 What does your character like to eat for breakfast?
 What is his favorite color?
 Who are his best friend, and his worst enemy?
RELATIONSHIPS
DEFINITION Friends, family… character have and how does character
relate to them
EXAMPLE
 E.g. very social or reclusive (a person who avoids others and lives a
solitary life), or somewhere in between
CHARACTER CORE
DEFINITION it is the character’s unavoidable nature (Where the character
attitude (behavior) that the character has a choice in); something that refers to what the
character is more than who the character is. Establishing the character’s
core helps define the character in concrete terms for the audience.
EXAMPLE
 E.g. Ed Wood was an enthusiastic (a person who is full of intense
enjoyment, interest, or approve) filmmaker, even if he wasn’t a very
good one. However, no amount of enthusiasm would ever help Ed to
overcome his own limitations as a film director or screenwriter. Each
and every film Ed makes confounds (prove wrong) not only the
audience’s expectations, but also the expectations of Edward’s own cast
and crew. Yet, the opposite could be said of Edward as well: that no
amount of critical or commercial evidence stacked against Edward
could ever convince him to be anything other than a film, his
4
 enthusiasm. Inherently, Ed Wood was passionate about making movies
so much so that it becomes his core, something unshakeable and
unavoidable.
 E.g. CHIGURH is the sociopathic (person with a personality disorder),
single-minded, cold-blooded murderer who dominates the suspense in
No Country for Old Men film. At no point in the film is CHIGURH not
involve in the search, the preparation, or execution of murder.
Seemingly no amount of unwilling or debate will change CHIGURH’S
mind once he’s decided on a target; or rather, if the flip of a coin should
chance to come up tails if his victim calls ‘heads’. This is CHIGURH’S
core; an unapologetic, methodical killer. No amount of reasoning can
understand it, even if it takes less than half a minute with the character
to realize its complete truth.
FROM CHARACTER TO PLOT
DEFINITION Screenwriting main thing you need to know about your
character is what they want. But equally important is the question of what
they are going to have to do (plot) to get what they want.
Note if writer make character’s want specific(specific goal) it is easy to get
what they are going to have to do(plot)
EXAMPLE
 E.g. in The Lord of the Rings, Frodo wants to destroy the ring, but
Gandalf tells him the only place it can be destroyed is in Mount Doom.
So what does he have to do? He has to travel to the other side of
Middle Earth and drop it in the volcano. This is his quest (or
challenge) (all film about journey to word middle earth)(specific goal)
 E.g. a Secret Service agent redeems (thing that saves someone from
error or evil) himself for failing to protect JFK in the past by saving the
life of the president in the present.
THE SAME CHARACTER WANT AND PLOT
DEFINITION Sometimes what a character wants and what they have to do
to get it may appear to be the same. But even in these types of movie there is
a very important difference between characters want and he have to
overcoming the character flow
EXAMPLE
5
  E.g. in a sports movie where a character wants to be world champion
no new quest.
 E.g. tom decides he wants to go to dancing lessons, this is what he
wants. But what is he going to have to do to get it? He must overcome
his shyness and his fear about what other people think in order to
succeed.
COSTUME
DEFINITION writer mention to specific articles of clothing worn by a
character in a screenplay only when it is important for the reader to know
However, if it is written in the script, it must be integral to the story.
EXAMPLES
 E.g. in the ADDAMS Family, each member of the family GOMEZ and
MORTICIA are unique in their own macabre (disturbing because concerned with death)
way. So unique that their individual costumes define them. Gomez is
sharp but gloomy (poorly light because of depression) in his suit looking more like
an undertaker (a person whose business is preparing dead bodies making arrangements for
funerals.) than a father. MORTICIA’S long, black dress makes stress sad the
dead sexy. These specific details telegraph information about the
characters to the audience without any character having to say a thing.
The writer knows this and exploits this fact by describing specific details
about the characters’ costumes in the script for the audience’s benefit.
 E.g. When Edward explain KARL (the Giant) in Big Fish, the writer
decides to articulate the physical condition of the Giant. Feral (animal in a wild
state, especially after having been domesticated), dirty and in rags (a piece of old cloth); these
details illustrate to the audience how the Giant has been living up to this
point, the payoff(final outcome.) being when Karl undergoes a make-over (a
complete transformation of a person’s appearance) and is seen in a whole new light once
his hair is cut, beard shaved, and wearing a brand-new specially tailored
(smart, fitted, and well cut) suit. This difference helps the audience sympathize
with Karl, making him a victim of circumstance more than painting him
as a ‘bad person’ for his pervious misdeeds (an immoral or illegal act.).
CONTEXT
DEFINITION it refers to the surrounding world of the story and how it
influences the characters actions and choices. If the character is realistic
and believable, they will behave differently in varying situations (on what),
6
locations (where), and people
THERE DIMENSIONAL CHARACTER PROFILE WORKSHEETS
What is your main character’s name? Nickname? How does it reflect/play
against their character?
__________________________________________________
Reasoning behind the name/nickname:
_______________________________________
Note down, in one or a few words, anything striking about the character,
things that differentiate or separates them from other characters in the film
(what makes them an INTERESTING CHARACTER?)
PHYSICAL (e.g. has a limp (walk with difficulty because of an injured leg), chain-smoker, tattoos, skinny,
bodybuilder, and hunchback (a person with such a deformity.))

SOCIOLOGICAL (e.g. working class, a Mensa (a person of integrity and honor.) member, or is
homeless, etc.).

PSYCHOLOGICAL (e.g. genius(exceptional intellectual or creative power or other natural ability),

autistic (mental condition characterized by great difficulty in communicating with others and in using language
and abstract concepts), schizophrenic (a long-term mental disorder a breakdown in the relation was raised by
apes, incredibly bent sense of humor, claustrophobic (extreme or irrational fear of confined places.), etc.)

DIALOG CATCHPHRASE

PHYSIOLOGICAL
1. NATIONALITY/RACE/ETHNICITY
2. SPEECH: MANNERISMS:
3. HEALTH:
4. ADDICTIONS:
5. HANDICAPS
6. SCARS:
7. HEIGHT:
8. WEIGHT:
9. AGE:
7
 10. MANNER OF DRESS:

SOCIOLOGICAL
1. MARITAL STATUS: GEOGRAPHICAL ORIGIN:
2. FAMILY BACKGROUND.
3. EDUCATION:
4. ECONOMIC BACKGROUND AND STATUS.
5. OCCUPATION:

6. PROFESSIONAL ASSOCIATIONS:
7. PAST OCCUPATIONS:
8. INTERESTS.
9. SOCIAL CONTACTS:
10. LIGHT FLEXIBLE.
11. CAR.
12. SPORTS/HOBBIES.
PSYCHOLOGICAL
1. SPECIAL GIFTS/TALENTS
2. RELIGION
3. MORALITY
4. PHOBIA/FEARS
5. SECRET
6. FANTASY LIFE
7. PROBLEMS
8
 8. VALUES
9. ANTISOCIAL BEHAVIOUR
10. LIKES OR DISLIKES
11. PARADOXES (a person that combines contradictory qualities.)
12. OTHER NOTES OF INTEREST

CHARACTER INTERVIEW
1. CHARACTER NAME

2. Describe yourself, in 25 words or less

3. Who are the most important (or prominent) people in your life and how do
they see you and how do they treat you

4. What single incident(s) in your childhood has most affected you

positively and how about negatively

5. How do you feel about/relate to your parents

6. Thoughts on religion? Is there a God? Are you religious?

7. State your 'Philosophy of Life', or the "code' you live by, if any

8. How would you spend a million dollars if you get today?

9. Describe your favorites hobby/s

10. Describe what you hate the most what’s your attitude towards sex are
you abstinent/healthy/promiscuous etc.

11. What do you fear the most?

12. What do you love the most, in Life?

9
13. How do other people react to you on meeting you?

14. List your proudest achievement in Life. And Why?

15. What are you most ashamed of, and have never told?

16. Describe your favorites fantasy(faculty or activity of imagining improbable or impossible

thing)

17. Describe what you try hardest to avoid

18. Who has had the greatest influence on you? (E.g. real person/ parent/ teacher/
fictional character/novelist, entrepreneur, singer/pop star/actor/artist, etc.)

19. What are your chief taboos? (Things you never do, for moral reasons)

20. What kind of person would you ultimately like to be remembered?

21. What's your attitude towards:

22. Money?

23. Drugs?

24. Politics?

25. The Government?

26. Dogs, and cats?

27. Reincarnation? (the rebirth of a soul in a new body) Ghosts? UFO's? Aliens?
Anything paranormal (of events or phenomena supposedly beyond the scope of normal scientific
understanding.)

28. Euthanasia?( the painless killing of a patient suffering from an incurable disease or in an
irreversible coma)

29. Abortion?

30. Computers & technology (including the WWW)?

10
 31. Anything else you feel strongly about/want to bring up here?

32. How do you foresee your future?

33. Are you popular? Are you self- centered?

34. What is your favorite movie/s and why? (minimum of 1, maximum of 3 please)

35. Your favorites songs, and albums, performers and why? (Max of 3)

36. Your favorites book and why? (Max of 3)

37. What's your job/occupation and how do you feel about it? And how
and why did you get into it? Plan to stay in it? Ideally, what's the
future hold career wise?

38. Who is your perfect love/romance partner/s? And why?

39. Describe in about 25 words, your best friend, (e.g. what do they do for a living,
hobbies, talents) what kind of person are they, and why do you like them?

[Link]'s your own best talent, do you think?

41. And what do others around you see as your "best point'? Do you
agree?

42. And finally what do you think Humanity's Purpose on Earth is (Personal
view of The Meaning of Life)

43. Last question. While you've got the microphone, is there anything else
you want to say, off the top of your head

ACTION STEPS
Take these steps with every story you write:
1. GIVE YOU HERO A MAIN CHARACTER FLAW Demonstrate it
through the CHARACTER'S ACTIONS.
11
2. MULTIPLE FLAWS
Give your hero more than one weakness.
4. MORAL WEAKNESS
Give your hero a moral weakness and show how others are harmed by it.
5. FLAWED OPPONENTS
Give your opponents weaknesses too.
6. REVELATIONS
During the story, gradually reveal the character flaws more and more
through the actions of the hero.
6. EXPOSE THE WEAKNESS
At the end of the story, the main character flaw should be fully exposed to
the hero.
7. MORAL CHOICE
Find a way to create some kind of moral choice related to the character's
flaw.
8. CHARACTER CHANGE
Demonstrate how the character has changed at the end.
CHARACTER ARC TEMPLES
When writing character arc, it’s good to start with a flawed character,
which gets the character into the situation which forms the story conflict,
and then has to grow beyond that flaw to solve the problem.
EXAMPLE
 E.g. If a work contains a character arc, a character who begins as one
sort of person; things happen to and around him or her, gradually
moving him or her in an "arc" that is complete when the story is over.
THE LINK BETWEEN PLOT AND CHARACTER ARE
The Major Plot Points all revolve around the character’s actions and
reactions, The three acts of the [story] correspond to the three stages of the
hero’s outer motivation. Each change in the hero’s motivation signals the
arrival of the next act.
The character drives the plot, and the plot molds the character’s arc.
They cannot work independently Remove either one from the equation risk
creating a story.
People hate change. We may sit around and wish our lives were different,
but we usually find ourselves wishing we could just hang out here in our safe
and familiar haunts. Characters are no different. They resist change just as
12
staunchly as any of us—which is a good thing. Out of resistance comes
conflict; out of conflict comes plot. This is just the first of many ways in
which plot and character arcs are inextricable from one another.
THE LINK BETWEEN CHARACTER ARCS AND THEME
The Link between Character Arcs and Theme But it gets better! Not only
does character arc directly influence story structure, it is also a direct
influence on theme. In some respects, we might even go so far as to say that
CHARACTER ARC=THEME.
ANTHROPOMORPHISM
DEFINITION it is ascribing human characteristics to non-human things,
such as animals, objects, god or gods, etc. Anthropomorphic characters still
adhere to character, arcs, attitudes and cores, and may or may not include
allegory.
EXAMPLE
 E.g. Lion King
 E.g. Death itself is often anthropomorphized in film to give it human
qualities, enabling human characters to interact with death
 E.g. Toy Story

13
 CHAPTER SIX
TONE AND MOOD IN FILM
TONE
DEFINITION Tone is the writer’s (speaker’s) point of view or attitude (about
emotion) toward his/her subject. It is essentially flavor, how it makes feel and
how it achieves that effect on audience.
If story is the backbone of your script, then, tone is the heartbeat. It informs
the world you’ve created the characters, the dialogue and ultimately, the way
in which you tell your story, everything about the telling is guided by tone.
LIST ATTITUDES (about emotion)
Some possible attitudes are pessimism, optimism, earnestness,
seriousness, bitterness, humorous, And joyful.
All of tone in a story include just about any adjective you can imagine
about emotion that humans can feel your actual scriptwriting should
reflect the genre.
COMMON EXAMPLES OF TONE
When we tell stories from everyday life to others, we always do so with some
sort of attitude toward the story.
Tone in writing is not really any different than the tone of your voice. You
know that sometimes it is not “what” you say, but “how” you say it because it
tells to audience the writer feels about his or her subject
EXAMPLE
 E.g. if someone had gotten flowers from a suitor (man who pursues a
relationship with a woman with a view to marriage) and was retelling
this to a friend, that person would tell very different stories depending
on his or her feelings toward the suitor.
If he/she were interested in the suitor, the story would be told with
excitement and optimism.
If he/she were not interested, the story would be told with eye rolls and
perhaps irritation or embarrassment. Consider these opposite tones
when dealing with the same type of situation
 E.g. So in the case of a good old fashioned romantic writing aim for
lyrical, attractive, engaging, and happy and dare
 E.g. the tone of a novel could be suspenseful, because the author holds
back certain information to create this feeling
 E.g. Dad was so sure a posse of federal investigators was on our trail
14
 that he smoked his unfiltered cigarettes from the wrong end. That way,
he explained, he burned up the brand name, and if the people who
were tracking us looked in his ashtray, they’d find unidentifiable butts
instead of Pall Malls that could be traced to him.
The narrator here, it is safe to say, is not admiring the cunning of her
father; the tone suggests she is old enough to worry about the folly of
her parents.
MOOD
DEFINITION While “tone” is the writer’s attitude, “mood” is The climate
of feeling the audience gets from the writing in the choice of setting,
objects, details, images, and words all contribute towards creating a
specific mood.
EXAMPLE
 E.g. An author creating at the death of a character (plot set tone) the
mood could be depressed or sad
 E.g. An author may create a mood of mystery around a
character or setting but may treat that character or setting in an
ironic, serious, or humorous tone
POSITION OF TOWN AND MOOD
Tone often describes the writing overall, but the mood of a piece of writing
can change throughout it a readers mood often goes hand in hand with a
characters, if the character-reader relationship is strong enough
EXAMPLE
 E.g. at the death of a character the mood could be depressed or sad,
but at the discovery of a long lost friend, the mood could be upbeat and
joyful.
USE OF TONE
Tone helps to establish the mood, and mood is what makes us engage in the
text or song or movie or TV show
CREATEING TONE AND MOOD IN WRITING
While tone is often created using plot devices, mood comes more from
word choice and sentence structure. Mood can be created in
descriptions of the surroundings, feelings of the characters and actions that
take place.
15
EXAMPLE
 E.g. Choosing appropriate words for different events will create the
mood that is right for a particular scene.
THE DIFFERENCE BETWEEN TONE, MOOD, ATMOSPHERE &
VOICE
Whether writer are writing story or are analyzing one defining tone, mood,
atmosphere & voice and recognizing the differences between them is
important.
The differences are difficult to describe but their use can make a real
difference in how a reader reacts to a story, so writer are well exploring.
DIFFERENCE BETWEEN TONE AND MOOD
Tone and mood are very often confused I think the word “mood” captures
the essence of tone quite well. A mood is a great thing on the page, because
if you set your tone adequately, I’ll feel it as I read.
TONE
DEFINITION While definition of tone is the attitude the author has
toward the work
MOOD
DEFINITION Consists of the feelings the work produces in an audience or
reader. Authors use tone as well as setting, theme, and voice to produce a
certain mood. In cinema directors can add the use of music, editing, and
images to help create mood.
EXAMPLE
 E.g. horror movies almost always include suspenseful and anxiety-
producing music. If, instead, bright jazz music were playing while a
character is in danger, the audience would not feel the mood of
suspense.
ATMOSPHERE
DEFINITION it is debatable. Some say that it is the overall feeling created
from the tone and mood, but others argue that it is the emotions and feeling
created from the character. I prefer the character definition as how a
character’s is feeling will reflect on the reader, making it important
for the writer to think about.

16
CREATING ATMOSPHERE DURING WRITING
Atmosphere is about understanding character feelings and getting in their
head.
It is often most effective for 1st person and 3rd person limited POVs, but as
long as your reader can have a relationship with the characters, and feel
their pain and joy, then atmosphere can be created. For the most part,
atmosphere is about choosing the correct emotions that go with a
certain character and the situation they are in. It is be best to
concentrate on one characters feelings per scene, rather than trying to cover
everyone, because otherwise the atmosphere becomes diluted and is harder
to relate to.
VOICE
DEFINITION it is the unique style of the author which conveys the
author’s views and personality within the writing (it cannot be pinpointed to a particular
part of a story).
When a writer has a strong voice, those familiar with their work will be able
to pick one of their books without looking at the cover, and recognize their
writing.
writer may have written many books, all with different styles, moods and
tones, but the way they combines them is distinctive, even if one book is
written in first person, and another in third.
CREATING VOICE IN WRITING
Voice tends to emerge naturally in writing, they more you write, the
closer you will come to discovering it.
A lot of it comes down to word choice and sentence structure. Shorter
words and sentences create a more abrupt (sudden and unexpected.)Voice, and
when combined with particular moods and tones, it becomes quite
distinctive.
Note If writer try to be funnier but voice isn’t naturally humorous, forcing
it into writing won’t work. Although once writer begin to discover aspects
of its voice however, it is easier to manipulate them, and use them to
advantage.
ELEMENTS CONTRIBUTE TO A FILM’S TONE
Tone is everything that imparts mood in your reader. It's the lens through
which you see your characters and your world
17
There is number of way to convey tone
 CAMERAWORK,
 LIGHTING,
 EDITING,
 THE PERFORMANCES,
 THE MUSIC,
 THE COLOR SCHEME, and so on
 THE WRITING,
LIGHTING TO CREATE TONE
Tone would be the way you light your subject by a photographer
 For dramatic shadows, lit from the side.
 For a scary effect, from above.
 For romance, lit with candles.
COLOR
What is the predominant color in your series? Consider the moods are you
aiming for.
 Happy usually means bright colors,
 mysterious means dark or dull colors,
 Realistic means somewhere in between
EXAMPLE
 E.g. PRODUCTION DESIGNERS put significant thought into the color
palettes of their films. Are they steely grey like “Collateral”, black and
murky like “Paranormal Activity”, Bright primary colors like “The Back
Up Plan”?
MUSIC TO CREATE TONE
Tone is often conveyed with music.
EXAMPLE
 E.g. think of the ominous score accompanying the girl swimming in
shark-infested waters in Jaws While watching the beginning of Frank,
you see the protagonist going through his daily life which is ordinary
and repetitive. But with the music playing, it makes you feel optimistic
you understand that something is going to happen to change the
protagonist forever without even a hint of it.
18
CAMERAWORK TO CREATE TONE
Ultimately, tone is captured in performance, and in direction, but the
screenplay lays the foundations for the tone to be found by the director,
actors, and the style
The power of tone to affect how an audience engages is probably best
EXAMPLE
 E.g. Where the audience feels the powerlessness of the central
characters owing to the use of POV shots and expressionist emotional
camerawork, and in ZINKY BOYS Go Underground, where the neutral
tone of the narrator allows the audience to engage with a vicious and
threatening world.
EXAMPLE
 E.g. Consider the shots and pacing molding your tone. Are there hand-
hand, rapidly edited shots of “The Hurt Locker”, Or the not willing to
leave, distance shots of “The Last Song”.
CREATEING TONE IN WRITING
DEFINITION Everything writer put in the page of script contributes to
tone (used to set the mood), from action description to dialogue, and even slug
lines.
kind of tone writer choice depending on the genre, plot in specific genre
often more than the actual word choice that creates this tone, as the plot
generally builds up to a climax also mood builds till reversal mood came
EXAMPLE
 E.g. Hero decide to go to city to be rich at plot point one it create
suspense
 E.g. If it’s a mystery film, then the tone should be suspenseful,
 E.g. if it’s a romance novel then it’s likely that you’ll want a certain
amount of sexual tension.
 E.g. tension is created by uncertainty the ensuring the audience does
not know what will happen next just as the central character is
uncertain and the audience's fear of uncertainty. This sense of
uncertainty is a reflection of the dramatic tone at the core of these
films. This is because the dramatic tone is based upon characters
having mixed outcomes in their actions: either they solve a problem
only to be faced immediately by another or, if they win something, it's
19
 at a loss.
ELEMENTS OF SCRIPT, THAT NEED ADDING TONE DURING
WRITING
Writer must use words to convey emotions and feelings in slag line,
action description, character descriptions, phantasmal and
Dialogue
ACTION DESCRIPTION FOR TONE
DEFINITION The biggest tool for a film writer is to accomplish a large
part of tone through prose (ordinary written or spoken language, without metrical structure.) in
the action description.
You can setup tone with a light comic voice or a dark serious one.
DIALOGUES FOR TONE
DEFINITION Tone can be influenced by choice of dialogue what’s
unique about how your characters talk and how does that contribute to tone
ELEMENT THAT ADD TONE IN SCRIPT ELEMENT DURING
WRITING
Tone is expressed in dialog action description slag line by writing such as
1. FIGURATIVE LANGUAGE.
1.1. SIMILE
1.2. METAPHOR
1.3. PERSONIFICATION
1.4. PUN
1.5. ALLUSION
1.6. SYMBOLISM
1.7. IMAGERY
1.8. HYPERBOLE
1.9. UNDERSTATEMENT
2. DICTION, DENOTATIVE & CONNOTATIVE MEANING
3. ASIDES.
4. THE WAY YOUR CHARACTERS INTERACT WITH ONE ANOTHER
5. EXPRESS THEMSELVES
6. HOW YOUR SETTINGS ARE DESCRIBED.
7. THE VISUALS YOU USE.
8. IMAGERY,
9. SYNTAX,
20
10. DETAILS,
11. YOUR POINT OF VIEW,
12. CONFLICT,
13. SURPRISE
FIGURATIVE LANGUAGE
DEFINITION a tool that writer uses to help a reader visualize what is
happening during writing
EXAMPLE
 E.g. A hippo sandwich is easy to make. All you do is simply take one
slice of bread, one slice of cake, some mayonnaise, one onion ring, one
hippopotamus, one piece of string, a dash of pepper--That ought to do
it. And now come the problem... Biting into it!
TYPES OF FIGURATIVE LANGUAGE
1. SIMILE
2. METAPHOR
3. PERSONIFICATION
4. PUN
5. ALLUSION
6. SYMBOLISM
7. IMAGERY
8. HYPERBOLE
9. UNDERSTATEMENT
SIMILE & METAPHOR
A SIMILE
DEFINITION it is a comparison of two unlike things using the words like
or as
EXAMPLE
 E.g. She is like snake
 E.g. The dewdrops twinkle like diamonds as the sun rose.
A METAPHOR
DEFINITION is a direct comparison without the use of like or as of two
seemingly unlike things
EXAMPLE
21
  E.g. The dewdrops, exquisite diamonds, sparkle on the leaf.
 E.g. Bob is a snake in the grass.

PERSONIFICATION & PUN

PERSONIFICATION
DEFINITION A figure of speech in which the characteristics of humans are
assigned to in animate things or animals.
PUN
DEFINITION The usually humorous use of a word in such a way as to
suggest two or more of its meanings or the meaning of another word similar
in sound it is a play on words.

ALLUSION
DEFINITION A reference in a literary work to a person, place, or thing in
history or in another work of literature. Allusions are often indirect and can
be brief references to well-known characters or events. The humor is found
from understanding the creator’s references to music typical of heroes and
villains.
SYMBOLISM & IMAGERY
SYMBOLISM:
22
DEFINITION the use of recurrent symbols or images in a work to create
an added level of meaning

IMAGERY
DEFINITION words used to create mental sensory impressions (sights,
sounds, textures, smells, and tastes). It creates setting, establishes mood, or
describes characters in terms of our senses, the use of language to evoke a
sensory impression or vivid (producing powerful feelings or strong, clear images in the mind)
picture in the reader’s mind, what you show us, how you show it to us, and
how you might juxtapose (place close together.) this imagery with other imagery.
EXAMPLE
 E.g. In the world there is nothing more submissive and weak than
water. Yet for attacking that which is hard and strong, nothing can
surpass it
 E.g. In opens war film we see two young boys playing in a field and
dreaming of being pilots. We later cut to them as adults, pushing the
limits of what a plane can do. It's a romantic, idyllic introduction to
war.
 E.g. Use the imagery to show us your character’s mood: A sad
character will notice rotting houses and untended yards; a contented
one will see picturesque shacks and gardens in a profuse state of
nature.
 E.g. In the world there is nothing more submissive and weak than
water. Yet for attacking that which is hard and strong, nothing can
surpass it.
HYPERBOLE & UNDERSTATEMENT
HYPERBOLE
DEFINITION Exaggeration for humor or emphasis

23
EXAMPLE
 E.g. I’m so hungry I could eat a horse!
 E.g. TONE IN TRAVEL travelling through Amazon writing surprised
and amused by the satellite dishes towering over the small huts,
dubbed them “the flowers of the Amazon, Song “The Air That I
Breathe hear the whole planet breathing while you’re here, it’s the lung
of the world
UNDERSTATEMENT
DEFINITION Downplaying the severity or extremity of a situation

EXAMPLE
 E.g. It's just a flesh wound
 E.g. It is just larva
 E.g. It is just homeless it is ok at list no ruin
DICTION
DEFINITION writer choice of words
It denotation, connotation, repetition, specificity or abstraction, register
length and sound quality
EXAMPLE
 E.g. If we were to read a description of a first date that included words
and phrases like “dreaded” and “my buddies forced me to go on the
24
 date”, we could assume that the individual didn’t really enjoy the date.

DENOTATION
DEFINITION It is the literal meaning of a word; there are no emotions,
values or images associated with denotative meanings
EXAMPLE
 E.g. snake: any of numerous scaly, legless, sometimes venomous
reptiles having a long, tapering, cylindrical body
 E.g. Denotative meaning is A red octagon
CONNOTATION
DEFINITION Involves emotions, values, or images associated with a word.
The intensity of emotions or the power of the values and images associated
with a word varies.
EXAMPLE
 E.g. Snake: Something evil or untrustworthy. Perhaps an omen of bad
 E.g. Connotative meaning: A sign that indicates potential danger
ahead.
FORMAL DICTION
DEFINITION Consists of a dignified, impersonal, and elevated use of
language; it follows the rules of syntax exactly and is often characterized by
complex words and lofty tone.
EXAMPLE
 E.g. superb, excellent, wonderful, exceptional
INFORMAL DICTION
DEFINITION Represents the plain language of everyday use (slang), and
often includes
 idiomatic expressions,
 slang,
 contractions,
 And many simple, common words.
EXAMPLE
 E.g. sweet, tight, sick, cool, hot
25
DICTION IMPACTS YOUR INTENTION
The meek shall inherit my wrath. Versus I’m about to beat you down little
man.
•One is clearly more intimidating, or evil sounding, than the other.
•Depending on the message you want to convey, you should consider
whether formal or informal diction will fit best.
SLANG
DEFINITION Words that are not a part of standard vocabulary or
language and are used informally are called slang. These words are mostly
used in speech rather than in writing.
Slang can be divided into three different types
 country slang,
 urban slang,
 And common slang.
SLANG EXAMPLE WITH DESCRIPTION
 E.g. They all sat wondering how they were going to attack the enemy
with the water balloon. One of the little boys finally suggested, “I can
run up on him from behind that tree, jump right on him and Bob’s your
uncle, mission achieved.”
 The slang term used in this sentence is “Bob’s your uncle”, which
means “there you have it”. This phrase is mostly used by British
citizens.
 E.g. “Last night was flop. I was supposed to go to a party with my
friends, but they flopped on me. They are all such floppers.”
 Here the slang term being used is “flop” which means a planned event
does not happen. A flopper is someone who cancels the plan at the last
minute.
 E.g. “I’m so upset about my birthday party pictures. My brother is
making faces behind me in every picture, what a photo bomb!”
 In the sentence above, “photo bomb” is the slang term. This is when
a person or an object is accidentally or intentionally in a photo and as a
result, ruins it.
 E.g. “I got a job promotion even though I don’t go to work half the
time. I’m so sick.”
 Here the slang term used is “sick”, which literally means ill. However,
in slang it refers to something being awesome or cool. This type of
26
 slang terminology is mostly used by teenagers.
SYNTAX
DEFINITION it is a set of rules in a language the arrangement of the
words the structure of the sentence to convey a complete thought.
To Understanding syntax generally means having knowledge of Grammar
sentence length, punctuation, and sentence pattern.
SYNTAX IN POETRY
DEFINITION The general word order of an English sentence is
Subject+Verb+Object
In poetry, however, the word order may be shifted to achieve certain artistic
effects such as producing rhythm or melody in the lines, achieving
emphasis, and heightening connection between two words
EXAMPLE
 E.g. in casual conversations, we can simply say, “i cannot go out” to
convey our inability to go out. Writer rather, he shifts the syntax and
says “go out I cannot”, which lays a much stronger emphasis on the
inability to go out conveyed by the word “cannot”.
SYNTAX IN PROSE
DEFINITION Syntax affects the nature of a prose text as well. It enhances
its meanings and contributes toward its tone.
Quickness, decisiveness and speed Are added to a text by using short phrase,
clauses and sentences whereas, in a text where the subject matter is serious
that requires contemplation, long, convoluted sentence are used to slow
down the pace of a prose text.
SYNTAX AND DICTION
DEFINITION Syntax and diction are closely related. Diction refers to the
choice of words in a particular situation while syntax determines how the
chosen words are used to form a sentence. Most often than not, adopting a
complex diction means a complex syntactic structure of sentences and vice
versa. In combination, syntax and diction help writers develop tone, mood
and atmosphere in a text along with evoking interest of the readers.
CHARACTER SING SONG IN SCRIPT
DEFINITION Sings song by character create some feeling

27
EXAMPLE
INT. BUS - MOMENTS LATER

Jon sits on the top deck, looking out. He spots some DRUNK TRAMPS being
ignored by passing BUSINESSMEN. Jon starts singing a new song to himself.
He pulls out his NOTEPAD and scribbles down some lyrics as he composes.

JON (V.O.)
(Singing)
Drunken tramps

Ignored by businessmen

They walk right by you

Don’t even notice you

But you’re the special ones.

He stops singing.

DETAILS
DEFINITION Facts which are included or omitted specific information in
action description, When adding details to improve the quality (value of)
writers writing, tone comes from being as specific as possible.
EXAMPLE
 E.g. Change “My husband committed suicide” to “My husband gassed
himself in our Passat in the Austrian Alps.”
GENRE AND TONE
Tone relates to genre and sub-genres often (but not always), Genre is a brand, a
type of story such as comedy, drama, romance, action, thriller, etc. You
should always define the genre first, BEFORE writing the script, because
genre is a major factor in the approach (the POV/attitude) you bring to the
dialogue and action.
Both tone and genre are communicated through emphasis and carefully
selected action, Whatever the genre, the choice of events, style of
humor (if any) and overall emphasis must all support the brand and
tone you've chosen.
EXAMPLE
 E.g. a dark comedy is a comedy (genre) with a perversely humorous,
often fatalistic (the belief that all events are predetermined and therefore
28
 inevitable) POV (tone).
 E.g. A drama (genre) brings weight and gravity to a subject (tone).
TONAL CONSISTENCY
DEFINITION Tone is also generally thought of as describing the work as a
whole, rather than a particular section.
It is Evoke (bring or recall) the right emotions with most scene, But it does not
mean avoiding light moments in serious films and serious scenes in
comedies indeed, these mood variations are necessary
Note Controlling tone is one of the most advanced skills a filmmaker can
master.
EXAMPLE
 E.g. Comedies tend to have a serious scene near the end of the
second act they are serious, but they are tonally consistent with the rest
of the film
TYPE OF TONAL UN CONSISTENCY
If the opening SCENE suggests one genre or tone, but the script delivers
another, and/or half the scenes in the script fall into one category, and half
fall into the other, or the story wavers back and forth, then the script has an
IDENTITY CRISIS because The genre and/or the writer's point of view
are unclear For instance, most genres contain some humor. However, the
type of humor must be consistent with the overall tone.
1. CHANGE TONE
2. MIXING TONES
CHANGE TONE
The biggest mistake one can make is suddenly changing the tone of the film
after it has been established.
It simply doesn’t work, leaving the audience confused and dissatisfied.
EXAMPLE
 E.g. You wouldn't, for instance, put the "cowboys eating beans and
farting" scene from Blazing Saddles into Brokeback Mountain. That
type of humor is inappropriate because it pulls the tone too far off the
dramatic spine.
MIXING TONES
29
DEFINITION The typical mistake writer can make with tone is to do
something in film that does not fit with the overall tone because mixing
tone in a film is like putting ice cream on meat, for better or for worse, most
people do not appreciate this combination.
NOTE Comedies need serious moments, and tragedies need the
occasional comic relief. Writer can (and indeed must) insert the occasional
mood relief, but without compromising.
EXAMPLE
 E.g. inserting a joke that is somehow tonally inappropriate, or a very
serious and sentimental scene in a film that so far did not take that
approach to the story
EXAMPLE
 E.g. IN TITANIC writer tested the film with sample audiences before
releasing it at scene Love and joy chases Jack and Rose with a gun
while the ship is sinking, In the First Class dining room, and Seawater
swirls around them.
A gun chase on the Titanic It was tonally incongruous (not in keeping
with the surroundings or other elements), and the test audiences made
it abundantly clear. Writer cut the whole scene because in love scene
there is mixing of suspense and action
ESTABLISHING TONE
Two tools very useful to establishing tone
1. The very first pages are key to setting up the tone for character
world, and a reader (and later an audience) will use this introduction to
inform how the remains of the script should be interpreted.
2. What you show us, how you show it to us, and how you might
juxtapose (place close together.) This imagery with other imagery.
EXAMPLE
 E.g. It's a romantic, idyllic introduction to war.
In opens war film we see two young boys playing in a field and
dreaming of being pilots. (Imagery)
We later cut to them as adults, pushing the limits of what a plane can
do. Flying over American heartland, we see the earth through the
30
 pilot's perspective as sky and ground swap positions, the plane
swooping down and storming over the ground. THE PLANE It releases
a trail of crop spray, and climbs again…Up into a crystalline blue sky
where sunshine pours like honey over family farms stretching to the
horizon. Maybe it's not heaven, maybe it's just Tennessee. But as long
as there's been an America, men have fought and died for this place --
as volunteers. (Imagery)
Again, this description suggests a film of beauty, grace and an idealized
look at what's to come.
EXAMPLE
 E.g. In opens war film a very harsh introduction to a bomb disposal
unit in Iraq It's a slow buildup, opting for tension instead of kinetic
action. The first scene is patient and methodical. This isn't an idealized
look at war. This is subjective look at the experience on the ground, and
the lives these soldiers lead facing a very real and faceless killer.
EXAMPLE
TONE CHILDREN OF MEN is set in near-future where the human race
has been sterile and no new children have been born anywhere on the planet
for almost two decades.
It’s a story about a society in its decline of what happens to a civilization
and the rule of law when everyone knows that the end is near almost and
this is how it begins
Black fide in on news report TV voice….the world was standing today by the death
of Richard the youngest person on the planed….

INT café day

Men and women standing looking up sad and hopeless their middle aged faced bathed
in the pale light of the television they are silently watching
TV VOICE
Baby Richard was killed in a
bar fight in ponies Aires
after refusing to sign an
autograph

Notice how the combination of the dialogue from the television, and the
description of the crowd set an immediate tone The faces watching the
television are sad, hopeless, and middle-aged, and the mention of
Diego being killed after refusing to sign an autograph gives the
audience its first hint at the reality of this new world.
31
In a society where the youngest person alive on the planet would become an
instant celebrity.
The scene moves on as Theo watches the news report with no emotion. He’s
completely detached; as broken as the world around him. As the story
begins, Theo is a living embodiment of the script’s tone.
This opening scene then concludes on the second page with the following
A billboard showing a stern (serious or strict, especially in the exercise
of discipline) soldiers and policemen keeping

Theo takes out a flask from his pocket unscrews the top about to pour it
in to his mouth when boomed explodes inside the café blowing out the
windows rocking the ground behind him

Theo off balance by knocked …

Smoke out through the shattered window of the café people out from café
covered and holding their wounds, bleeding, woman missing an arm

Theo regains his balance holding his ears fade to black

Opening scene of the script of Children of Men it’s bleak, and violent
therefore it tell about its tone is heartbreaking and hopeless it’s all of
these things from the very first page.

Note Imagine if the scene you just read were followed up by a scene of
slapstick humor, Even if the scene was funny it would break the story
EXAMPLE
 E.g. our first scene is of Andy playing with his toys. We immediately
get a sense of the tone and genre we’re in for. This scene also manages
to introduce the supporting cast and clues us in to the fact that Woody
will be our main character. Around the four minute mark, there’s a
brilliant switch of perspective. The camera switches to Woody’s
perspective; seeing everything through his eyes and Andy takes him
back upstairs and lays him on his bed. This is the audience’s first clue
that the toys are alive, moments before Andy leaves and the toys all
spring to life.
LIST OF ATTITUDES (TONE)

32
POSITIVE TONE NEUTRAL NEGATIVE TONE WORDS
WORDS (+, –, or
neutral)

admiring hilarious commandin abhorring hostile

adoring hopeful g acerbic impatient
affectionate humorous direct ambiguous incredulous
appreciative interested impartial ambivalent indifferent
approving introspective indirect angry indignant
bemused jovial meditative annoyed inflammatory
benevolent joyful objective antagonistic insecure
blithe laudatory questioning anxious insolent
calm light speculative apathetic irreverent
casual lively unambiguo apprehensive lethargic
celebratory mirthful us belligerent melancholy
cheerful modest unconcerne bewildered mischievous
comforting nostalgic d biting miserable
comic optimistic understated bitter mocking
compassion passionate solemn, blunt mournful
ate placid distant, bossy nervous
compliment playful intimate, cold ominous
ary poignant ironic, conceited outraged
conciliatory proud arrogant, condescendi paranoid
confident reassuring condescend ng pathetic
contented reflective ing, confused patronizing
delightful relaxed Sentimental contemptuou pedantic
earnest respectful , and so on. s pensive
ebullient reverent Scared curt pessimistic
ecstatic romantic Anxious cynical pretentious
effusive sanguine Excited demanding psychotic
elated scholarly Worried depressed resigned
empathetic self-assured Foolish derisive reticent
encouraging sentimental Smart derogatory sarcastic
euphoric serene Depressing desolate sardonic
excited silly grave, despairing scornful
exhilarated sprightly amused, desperate self-deprecating
33
expectant straightforwa scientific, detached selfish
facetious rd intimate, diabolic serious
fervent sympathetic aggrieved, disappointed severe
flippant tender authoritativ disliking sinister
forthright tranquil e disrespectful skeptical
friendly whimsical cheek, doubtful sly
funny wistful serious, embarrassed solemn
gleeful worshipful earnest, enraged somber
gushy zealous worthy, evasive stern
happy Afraid menacing, fatalistic stolid
pessimism, Allusive explosive, fearful stressful
optimism, Angry quirky, forceful strident
earnestness, Apologetic Light or foreboding suspicious
seriousness, Audacious playful frantfrighten tense
bitterness, Benevolent Detached ed threatening
humorous, Bitter Didactic frustrated tragic
Joyful. Boring Dramatic furious uncertain
satirical, Candid Dreamy gloomy uneasy
passionate, Childish Fanciful grave unfriendly
sensitive, Cold Frivolous greedy unsympathetic
zealous, Compliment Giddy grim upset
indifferent, ary Happy harsh violent
caring, Condescendi Hollow haughty wry
Caustic ng Horrific holier-than- Sharp
Objective Confused Humorous thou Shocking
Peaceful Contemptuo Irrelevant hopeless Silly
Pitiful us Joking Somber
Poignant Joyful Sweet
Proud Lugubrious Sympathetic
Provocative Mocking Tired
Restrained Nostalgic Upset
Sad Urgent
Sarcastic Vexed
Seductive Vibrant
Sentimental

34
LIST OF MOOD
Some common mood descriptors are:
POSITIVE MOOD NEGATIVE MOOD WORDS
WORDS
amused jubilant aggravated irate
awed liberating apathetic irritated
cheerful light-hearted apprehensive jealous
chipper loving barren lethargic
confident optimistic brooding lonely
contemplativ passionate cold melancholic
e peaceful confining merciless
content playful confused moody
determined pleased cranky morose
dignified refreshed crushed nauseated
dreamy rejuvenated cynical nervous
ecstatic relaxed depressed nightmarish
empowered relieved desolate numb
energetic satiated disappointed overwhelmed
enlightened satisfied discontented painful
enthralled sentimental distressed pensive
excited silly drained pessimistic
exhilarated surprised dreary predatory
flirty sympathetic embarrassed rejected
giddy thankful enraged restless
grateful thoughtful envious scared
harmonious touched exhausted serious
hopeful trustful fatalistic sick
hyper vivacious foreboding somber
idyllic warm frustrated stressed
joyous welcoming futile suspenseful
gloomy tense
grumpy terrifying
haunting threatening
heartbroken uncomfortable
hopeless vengeful
hostile violent
indifferent worried
infuriated
35
 CHAPTER SEVEN
GENRES
GENRES(ዘውግ)
DEFINITION it is type of film that created specific expectation in audience’s
mind, by considering its main features, known as genre conventions.
NOTE The golden rule of genre in feature films Deliver the genre at least
once every reel (i.e. approx. every ten minutes.)
GENRE CONVENTIONS
DEFINITION When the same main features of the film acceptable by
audience, then it repeated again and again are called genre conventions
MAIN FEATURE OF GENRES(ELEMENT)
Even before audience start to watch a film they are aware of its genre from
the publicity, read or simply described by a friend. The genre of a film leads
us to have to certain expectations of what we will see. Each set genres element
description are as following.
1. ICONOGRAPHY (RECURRING ICONS)
DEFINITION Genre films can be identified by key iconic images
(when you see you say directly this is this genre film)

EXAMPLE
 E.g. six-guns and ten-gallon hats in westerns,
 E.g. when you see axe, person pitting and far close house you say
this is horror move
[Link] (መቸት)
DEFINITION Some genres have a distinct location or time period
associated with them, typical historical setting, period and technology
(props objects or equipment)

EXAMPLE
 E.g. western can’t be in Addis present time theme is about hero how
to get land
 E.g. gangster film garage in town
3. NARRATIVE (CONCEPT, STORY ABOUT)
DEFINITION Genre films employ specific story structures and
narrative devices.
36
 EXAMPLE
 E.g. on detective concept is hunting hiding crime
[Link] (DRESS, DIALOGUE TYPICAL BODY LANGUAGE)
DEFINITION Some characters are associated with particular genres
And can attain the status of generic types
EXAMPLE
 E.g. pig eye glace he act funnily in street it is comedy
5. LOCK AND STYLE (LIGHTING AND CAMERA, AUDIO)
DEFINITION Genre films can be identified by specific visual and
audio techniques
EXAMPLE
 E.g. horror low light look, POV camera, roaring sound and sudden
music
[Link]
DEFINITION Writers choose their genre to help convey their themes
TYPE OF GENRE
DEFINITION A combination of any or all convention creates a formula
called type genre or which results in an identifiable genre
EXAMPLE
 E.g. Genre convention of western genre
SETTING the Wild West of the American frontier, dust land,
CHARACTER cowboy’s sheriffs (law enforcer), horses,
PLOTS often revolve around personal freedom, integrity, gun fights
and maintenance of law and order
 E.g. Horror,
 E.g. Romance,
 E.g. Action
SUB GENRE
DEFINITION it is when larger main genre categories classify more
specific categories regarding to their own distinctive subject matter,
Style, Formulas, Iconography Character Plot

37
EXAMPLE
 E.g. larger genre categories of horror film sub-genre wolf regarding to
character
LIST OF MAIN TYPES OF GENRE AND SUBGENRE
Main Film Genres Film Sub-Genres Other Major Film
Categories

Biographical Films
Action Films Animated Films
(Biopic)

Adventure Films 'Chick' Flicks British (UK Films)

Children - Kids -
Comedy Films Mystery Films
Family-Oriented Films

Crime & Gangster Films Disaster Film Classic Films

Drama Films Fantasy Films Cult Films

Epics/Historical Films Film Noir Documentary Films

Horror Films Guy Films Serial Films

Melodramas,
Musicals (Dance) Films Women's or "Weeper" Sexual - Erotic Films
Films

Science Fiction Films Road Films Silent Films

38
 War (Anti-War) Films Romance Film

Westerns Sports Films

Supernatural Films

Thriller-Suspense
Films

HYBRID GENRE
DEFINITION That is any film which combines the elements and
conventions of more than one genre, genres and subgenres can and should
be combined to create new, hybrid genres
TRANSCENDING THE GENRE
DEFINITION This means that you take a familiar set of genre expectations
and you spin the tale a slightly different way, without confusing the
audience too much
EXAMPLE
 E.g. PSYCHO which started as a crime thriller and then turned into a
psychological horror movie
A SALEABLE GENRE
DEFINITION You can study what genres are selling by looking at film box
office sites, including the Internet Movie Database (IMDB).
NOTE The popularity of genres changes from year to year, even month to
month
REASON AUDIENCE WATCH MOVE
There is similarity between among same genre and also different genre
therefore way audience want to see move?
SAME GENRE FILM CONVENTIONS
Each genre has its own conventions, the conventions of same genres are
39
well known because the ideas, Themes, Plot, Setting and,
characters… are repeated therefore it is possible to predict exactly what
will happen at the end of film.
EXAMPLE
 E.g. In a romance, either the couple will live happily ever after or else
the story will end tragically
 E.g. Westerns: The gunslinger (baddy) to take over the town. The
sheriff (goody), to defeat the gunslinger and his crow, whilst fighting
the bad guys the Sheriff must choose between two women (the ‘homely’
girl and the fallen woman the homely girl is chosen). There is a fight
(Good defeats evil.)
DIFFERENT GENRES CONVENTIONS
But also similarities between in different genres because nature of
storytelling, that all stories follow the same pattern
EXAMPLE
 E.g. we meet the hero / heroine and their world. The normality of their
world is disrupted or changed in some way and the hero / heroine has
to restore normality
EMOTION
So why do we want to see the film? The answer has something to do with
emotions. One that makes us Laughs, Excite, Cry, and Feel scared etc.
EXAMPLE
 E.g. If they are going to see a romantic comedy then the movie better
be funny and romantic.
 E.g. A horror film expecting bloody and scary: A horror film If it is
about love or philosophical than scary isn't going to satisfy its audience
ACTION/ADVENTURE
DEFINITION Action and adventure are so intertwined that they are
often treated as one, In action and adventure movies, however, physical,
small weapon, do and exciting are the primary narrative focus

40
ACTION

DEFINITION this genre is an exaggerated version of present day reality in

which the hero or heroes must face true Physical danger.
It involve high energy, big-budget, physical stunts and physical action to
generate suspense and excitement with danger
Non-stop motion and adventurous, often two-dimensional good-guy heroes
or recently, heroines battling bad guys
ADVENTURE FILMS

DEFINITION Usually revolve around some kind of quest (search for

something), it is exciting stories, with new experiences or almost always
utilize exotic locations and settings while playing on historical myths,
similar to the epics film genre searches or expeditions (journey undertaken by a
group of people with a particular purpose), They often suspenseful obstacles that
the on protagonist in order to achieve his or her goal.
LIST OF QUEST (search for something)
 lost continents,
 jungle and desert epics,
 treasure hunts,
 disaster films,
 Or searches for the unknown.
SUB GENRES OF ACTION ADVENTURE
Some sub-genres are
 disaster/survival films,
 treasure hunts,
 And spy films.
FILM SUBGENRE ADVENTURE
41
SWASHBUCKLER
DEFINITION Films characterized by lavish sets and costumes... They
often include pirates and their ships, castles (a large building, typically of the
medieval period), period weapons, and dramatic battles. These films usually
center on a handsome, charming protagonist and a damsel (a young
unmarried woman.) in distress (extreme suffering, the state of a ship or aircraft when
in danger or difficulty.).

HYPERID OF ACTION
In modern cinema, the genre has many forms and is often crossed with
other genres to produce
 SCI S FI/ACTION
 HORROR-ACTION
 ACTION-COMEDIES
 ACTION-WAR FILM
ICONOGRAPHY
Iconography common to the genre
 EXCITING CHASES
It often involving high-speed vehicles fast cars (mile-a-minute rides) and
exotic vehicles, such as helicopters possibly with rescues, battles, fights,
escapes
 PHYSICAL COMBAT
It ranging from fisticuffs (box) to complex arts fighting styles
 LONE VIC MULTIPLE
It usually lone heroes facing down multiple enemies possibly with
rescues, battles, fights, escape
 VILLAINS WITH HENCHMEN
It is villains (person guilt of crime) and their henchmen (a faithful follower
or political supporter, especially one prepared to engage in crime or dishonest
practices.)
 DESTRUCTIVE CRISES
Like floods, explosions, natural disasters, fires possibly with rescues,
battles, fights, escapes
 WEAPONRY
It heavy emphasis on firearms (pistol portable gun) shoot-outs or scenes of
combat possibly with rescues, battles, fights, escapes

42
NARRATIVE (STORY IS ABOUT)
A number of narrative concepts and tropes recur throughout the genre:
 TOUGH COP IGNORE THE RULES
Tough cop heroes who must bend or ignore the rules in order to stop
some dangerous criminal threat
 QUESTS FOR OBJECTS
With both protagonist and antagonists locked in competition
 ORDINARY PEOPLE BE HERO
Ordinary people forced to assume the heroism by dangerous new
circumstances
 ESPIONAGE OR CONSPIRACY
The story espionage (the practice of spying) themed or conspiracy (a
secret plan by a group to do something unlawful or harmful) driven narratives,
where the main character is follow in order to attack or catch by
governmental agencies
 CIRCUMSTANCES
Forcing a reluctant warrior or group of warriors to protect a threatened
community
STYLE
Because they aim to generate suspense and excitement, action films
often use extremely expressionistic film language techniques.
Sound effects will be exaggerated.
 MUSIC
May be ANTHEMIC, with readily recognizable motifs (single or
recurring distinctive or dominant) being used for both heroic characters
and their enemies
 CAMERA TECHNIQUES
Certain camera techniques are particularly dominant in this genre.
 WIDE ASPECT RATIOS
Might be used to capture as much action in frame as possible
 FAST MOVING CAMERAS
May track alongside the action to increase the sense of excitement
and speed, Handheld camera work may be used to give action scenes
a sense of immediacy (occurs once).
 SLOW-MOTION AND SPEED RAMPING TECHNIQUES
Slow-motion and speed ramping techniques might also be used
43
 extend or interfere with the flow of narrative time.
 EDITING
It is often extremely fast paced (single step taken when walking or running),
quick cuts being used to generate a mounting sense of excitement.
 PROPS
Props will also be used with a view to generating maximum excitement
and effect. Weapons and vehicles will be impressive and possibly
outlandish (unfamiliar).
 COSTUMES
Costumes will also be used to reinforce meaning. Heroes may not
literally wear white hats but costumes will reinforce their status as
heroic figures
EXAMPLE
 E.g. James Bond’s penchant for sharp suits or Indiana Jones’
battered leather jacket and hat look.
SETTING
Locations will be used to generate excitement. Car chases, Fight sequences
Action/Adventure films can unfold in any number of settings, but the
following are the most common:
 MODERN IN STYLE OR DESIGN CITIES
EXAMPLE
 E.g. Los Angeles, Addis Ababa
 EXOTIC FOREIGN LOCALES
EXAMPLE
 E.g. WONJI
 E.g. RAS DASHEN Mountain
 E.g. the various foreign cities and nations
 SELF-CONTAINED WORLDS
EXAMPLE
 E.g. such as the skyscraper in which Die Hard or the besieged police
station
 WORLDS IN POOR QUALITY NEED OF HEROISM
44
 EXAMPLE
 E.g. feudal Japan
THEMES
The following thematic questions recur throughout the genre.
 Can one man or woman working alone defeat the force of evil?
 What is the nature of heroism?
 Can violence only be repelled with more violence?
 How far should one go to survive?
CHARACTER TYPES
May include:
 Tough cops;
 Scheming(a systematic plan, ordered system, a secret or arrangement for
attaining some particular object or putting a particular idea into effect.) criminal
masterminds;
 Fearsome(frightening, especially in appearance.) henchmen(faithful follower or
political supporter, especially one prepared to engage in crime or dishonest
practices);
 interfering bureaucrats(government officer) who block the hero’s progress;
 heroic adventurers;
 reluctant(un willing) warriors;
 Sympathetic (loving) outlaws.
DISASTER FILMS

DEFINITION it is a sub-genre of action films based around plots that

include seemingly unavoidable disasters that can either be natural or man-
made and usually it has a special effects, suspenseful action in locales such
as a ship, train, or other vehicle… or Put into danger on Airliners, Towering
burning skyscrapers (very tall building), crowded stadiums, Earthquake
zones...
Note Often noted for their visual and special effects, but not their
acting performances

45
THE WESTERN

DEFINITION: it focus conflicts between European settlers and the original

Native American inhabitants of the continent (colonial nature of America’s
expansion westward (American States West of the Mississippi)) in the
United States in the mid to late 19th Century.
Settlers and their elected lawmen trying to protect their new territory from
outlaws
ICONOGRAPHY
The following elements of iconography figure prominently within this genre:
• vehicles, such as covered wagons and steam locomotives;
• horses and horse-riding;
• Native American tribes, usually represented as noble warriors;
• vast expansive desert locations, usually visually stunning;
• flora found in the American South West such as cacti and tumbleweeds;
• small towns of quickly assembled wooden buildings;
• characters invariably wearing wide-brimmed Stetson style hats, side-
holsters, cowboy
 boots and spurs;
• cattle and wild buffalo;
• 19th Century technology, such as telegraph machines and telegraph
posts, cannons and Gatling guns.
SETTING
This genre is defined by its setting, usually emerged in the American West
in the decades immediately after the America Civil War cowboys,
sheriffs, horses, and gun fights. There is some freedom to amount of
movement however in terms of location and time setting.
EXAMPLE
 E.g. Cavalry Westerns, such as Fort Apache (1948), may focus on a
military base in the West rather than a small town.
 E.g. Journey or quest-oriented Westerns such as Stagecoach (1939),
The Searchers (1955) or The Lone Ranger (2013), might take place
46
 across a wider expanse.
NARRATIVE
A number of narrative concepts and tropes (figurative expression of word) recur
throughout the genre:
 In Westerns focused on lawmen, a heroic sheriff (having
administrative and judicial functions.) or similar will help rid a small
town or community of lawlessness.
 In Outlaw Westerns, the narrative may follow a character who acts in
opposition to law and order.
 In cavalry or military themed Westerns, the narrative explores the
conflict between Native Americans and later settlers.
 Some narratives focus on the act of settling the West itself and may
follow settlers as they journey from the Eastern United states to the
West.
 In quest-based Westerns, such as The Searchers (1955), the narrative
may focus on a wider journey or quest.
 In Ranch Westerns such as The Big Country (1958), the action may
revolve around a single rancher or farmer and their efforts to maintain
their land and livelihood.
 Plots often revolve around personal freedom, integrity, and the
maintenance of law and order
STYLE
Because they usually explore life or death conflicts against an expansive
backdrop, Westerns have always used film language to emphasize both
setting and theme.
WIDE SHOT
Film-makers used advent widescreen film formats, these wider frame sizes
to convey more of the West’s spectacular landscapes
EXAMPLE
 E.g. advent widescreen(Vista-Vision and Cinemascope) to show places
of vast scenic beauty such as Monument Valley is used to convey the
majesty and vastness of the West
CLOSE-UPS
In order to emphasize tension, directors of Westerns often convey
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showdowns by using close-ups of the actors, with a chilling final image, a
close-up of an outlaw firing his gun directly at the audience
EDITING
it editing tempos which take us from hero to villain and back again at
increasing speed, until guns are finally drawn, This particular technique was
taken to extremes approach are now common.
And also it use of cross-cutting
MUSIC
 Music also plays an especially important role in the genre.
 Rousing score generates a sense of mythic exaggeration and excitement.
 ENNIO MORRICIONE’S music generates a sense of operatic extremes.
Indeed sometimes it proves so crucial to the action in films that
elements of the music itself are given a diegetic source within the story
EXAMPLE
 E.g. the mysterious harmonica-playing gunslinger in once upon a
Time In The west
CHARACTER TYPES
In this genre may include:
• outlaws and gunslingers;
• sheriffs and lawmen bound by duty and personal codes of honor;
• saloon girls;
• newspaper men, eager to mythologies or condemn our heroes;
• bankers, railroad owners or other captains of industry;
• Native American warriors;
• cavalry soldiers;
• settlers from the East;
• Farmers and ranchers.
• Characters (six-guns, horses, dusty towns and trails, cowboys, Indians,
etc.)
THEMES
General theme is usually one of civilization versus lawlessness at of
settling
The following thematic questions recur throughout the genre:
• Is violence and loss of human life an acceptable price to pay for law and
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 order?
• Can men of violence ever hope to be part of wider civilization?
• Should the land be protected from exploitation?
• Can settlers ever hope to build a civilization which functions better than
the one they’ve left behind?
• What is the price of progress?
• Is it right for displaced and threatened people to use violence to protect
themselves?
DRAMA

DEFINITION it is serious plot-driven presentations of stories about real

people (characters), at real settings, confronting real familiar life
problems (realistic life situations) because aims is to tell honest story of
human struggles (not focused on special-effects, comedy, or action
exaggerating)and stories involving intense character development and
interaction.
In emotional charge dramas make us reflect, worry, and cry
EXAMPLE
 E.g. A former banker convicted of murdering his wife develops a
lifelong friendship with a fellow prisoner, and ultimately tries to defy
the odds by keeping hope alive inside prison walls.
 E.g. nightclub owner must choose whether or not to help his ex-lover
and her husband flee Nazi-occupied Morocco.
DRAMA SUB-GENRES
Dramatic films probably have the largest film sub-genre there are five
major sub-genres
 melodramas,
 Epics (historical dramas),
 Romantic genres,
 Dramatic biographical films (or biopic)
MELODRAMAS ("WEEPIEST" OR "WOMAN'S FILMS")

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DEFINITION It is a sub-type of drama films, characterized by a plot to
appeal to the higher emotions of the audience therefore directly appeal to
feminine audiences.
The plot and characters often are more unrealistic than those found in
the traditional drama film.
See the post-modern version of the "woman's film" - gal films or 'chick'
flicks.
WOMAN'S FILM SUBGENRE
Focuses on the dilemmas of the modern woman, like career versus
motherhood, lover versus children
PERIOD PIECE
DEFINITION It is a sub-genre of Drama film that focuses on a specific
time era. The era in which the film is set adds not only to the plot, but to
the characters and costumes as well.
A Period Piece films are often based on a novel. These films tend to have a
longer run time than traditional Dramas.
EXAMPLE
 E.g. Romeo and Juliet
BIOGRAPHY DRAMA
DEFINITION where the characters is a group of people or person
that partially known and the audience wants to find out about their
secrets, here the filmmakers need to bend the normal rules of drama to
accommodate more of the facts.
These films differ from Historical and based in truth. Biography films
attempt to show a comprehensive and accurate picture of the specific
subject, thus they tend to be serious and intense.
COURTROOM DRAMA FILM

DEFINITION It uses the justice system as a main component of the

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plot. The story usually inside a courtroom with the lawyer, judge, jury, and
the defense,
Pit lawyers against each other, and set up a tense one-on-one conflict
between a prosecutor and a defendant. Sometimes, the protagonists are a
"little" guy (an individual) against a "big" guy (or corporation), or the more
abstract "good" vs. "evil," or they often involve wider issues, such as race,
sex, capital punishment (life and death), and morality.
They often feature unexpected twists and surprise testimony, unusual
motives, moral dilemmas, crusading lawyers and wrongly-accused victims.
Tension plays a large part in courtroom dramas as the verdict can often
mean life or death.
Thematic elements in film murder, betrayal, deception, perjury and sex.
HISTORICAL
DEFINITION It is a sub-genre of Drama film that examines a specific time
in history or group of people.
Many Historical films aim to portray true events and people. However, most
Historical films are only loosely based on these events and people. These
films tend to focus on the more glorified societies and people in history
Such as the Romans, specific Kings and Queens or important political
figures
EXAMPLE
 E.g. 300, Hotel Rwanda
POLITICAL DRAMA FILM
DEFINITION it contains themes, characters, and a plot specifically
about politics and the political scene.
The main protagonist is often at odds with the harsh reality of
corruption in politics.
Many Political Dramas are based in fact but focus on exploring conspiracy
theories.
Political Drama film subgenre: Focuses on political corruption.
ROMANTIC DRAMA
DEFINITION this genre that explores the complex side of love, the
plot usually centers on an obstacle that is preventing love between two
people.
The obstacles in film can range from a family's disapproval, to
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forbidden love and to one's own psychological restraints.
Many film in this genre end with the lovers separating because of the
enormity of the obstacle, the realization of incompatibility, or simply...
fate.
EXAMPLE
 E.g. Titanic
Some examples of these seemingly insurmountable obstacles include...
 Family disapproval
 Forbidden love
 Psychological barriers of one or both of the protagonists
 Bad timing Romantic dramas often end with the two protagonists in
love separating because they simply cannot overcome the obstacle,
realizing they are incompatible, or simply as the result of fate.
TRAGEDY DRAMA
DEFINITION It is a genre wherein the downfall of the character is caused
by a flaw to ultimately result in death or other form of degradation within
the character.
While sometime put the character in extraordinary circumstances, this
genre is really about the self-destructive behavior of the character.
GENERALLY tragedy the tragic character fails in spite of his best efforts.
Tragedy drama the enjoyment derives from fearing for a likeable
character and wondering what will happen, in a comedy it comes from
enjoying the character’s mistakes and discomfort, and the funny situations
their behavior gets them into.
PRISON DRAMA FILM SUBGENRE
Told from an inmate's point of view
SOCIAL-DRAMA FILM GENRE
Identifies society's problems... Problems like poverty, the disadvantaged,
educational system, communicable diseases, and antisocial rebellion, once
identified, their storylines push toward demonstration of a cure.
DOMESTIC DRAMA FILM SUBGENRE
Problems that stem from within the family
ECO-DRAMA FILM SUBGENRE
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Focuses on saving the environment
MEDICAL DRAMA FILM SUBGENRE
Focuses on physical illness
PSYCHO-DRAMA FILM SUBGENRE
Focuses on mental illness
DRAMATIC THEMES
Dramatic themes are taken from intense, real life issues, whether heroes or
heroines are facing a conflict from the outside or a conflict within
themselves, dramatic themes play a large role in the plot as well
WAR AND ANTI-WAR FILM
WAR FILM

DEFINITION The plot of a war film revolves around actual combat

(fighting against nations or humankind on land, sea, or in the air, especially
between armed forces)
They may include stories of military operations, training
And PRO-WAR FILM Might focus on its gallantry (courageous behavior,
especially in battle)
ANTI-WAR FILM
DEFIN ITION it might emphasize the no result of war
HYPERD
War films are often paired with other genres, such as
 Action, primary plot or background for the action of the film.
 Adventure,
 Drama,
 Romance,
 Comedy (Black),
 Suspense,
 And Even Epics And Westerns.
STYLE
Includes POW (sound of explosion),

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THEME
Themes as heroism, and loyalty
EPICS/HISTORICAL

DEFINITION Epic film is a genre that takes historical or imagined

events and people, mythic (traditional story), legendary, or heroic figure and
interprets them in a larger scale (add an extravagant setting and lavish
costumes, accompanied by grandeur and spectacle, dramatic scope, high production
values, and a sweeping musical score) Because historical accuracy is not the
main focus in Epics, but rather the telling of a grandiose story.
Note Epics are often a more spectacular, lavish version of a biopic film.
EXAMPLE
 E.G. gladiator - betrayed by a corrupt prince, a former roman general
trains as a gladiator and goes to rome to avenge the death of his wife
and son.
EPIC FILM SUB-GENRES
MODERN EPIC FILM GENRE
DEFINITION Where the protagonist is pit against the state or institution.
BIOPICS

DEFINITION It is a sub-genre of the larger drama and epic film genres,

it dramatizes the life of a significant person (or group) from the past or
present era where the character of the person is partially known and the
audience wants to find out about their secrets. Biopic often span over
various genres because they focus on all different types of people through all
different times in history (musical composer, a war-time hero, an artist, a
politician or President…). Center around major events in the subject's life.
These events often include war, battles, or events of political or social
importance.
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HISTORICAL EPICS
DEFINITION Historical Epics tell a story about a particular time in
history. This sub-genre examines the time period’s influential people,
cultural customs, and political or social issues. Historical Epics tend to be
some of the most extravagant films with large casts and lavish, period
costumes.
EXAMPLE
 E.g. Brave heart
WAR EPICS
DEFINITION War Epics are a sub-genre that looks at the reality of war on
a grand scale. These epics often focus on landmark battles as well as political
issues within war.
This sub-genre usually focuses on a main character and his teams of
support, giving the audience an inside look into the gritty reality of war.
RELIGIOUS EPICS
DEFINITION Religious Epics focus on important religious leaders as well
as stories of religious significance.
THE BIOGRAPHY” FILM GENRE
DEFINITION This genre places its focus on a person but shouldn't simply
chronicle a person's life. The screenwriter of the “Biography” film must
approach the person's historical facts from a perspective of telling a story.
Once a story is mapped out, this person would now be the protagonist of his
or her life.
Some examples of the “Biography” film genre include...
 THE WOLF OF WALL STREET
 12 YEARS A SLAVE
 BUTCH CASSIDY AND THE SUNDANCE KID
THE “DOCUDRAMA” FILM GENRE
DEFINITION This genre of film revolves more around a protagonist's
recent events instead of past. The “Docudrama” attempts to adhere to
known historical facts, yet allowing degrees of artistic and dramatic license
when it comes to smaller details especially when there is missing
information in the actual historical record. Dialogue may and should include
words and speech as documented in historical facts about the person's life.
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Having said that, a good “Docudrama” should never abuse its artistic and
dramatic license.
THE HISTORICAL DRAMA FILM GENRE
DEFINITION This genre covers just about any kind of story there is. The
“Historical Drama” film examines true events during a specific time in
history or group of people. Having said that, most Historical Dramas are
only loosely based on these two elements and tend to focus more on the
glorified societies and people in whatever period the story is about.
EXAMPLE
 E.g. 300
CRIME

DEFINITION this sub genres the main storyline revolves around a crime
committed it utilize varied points of view, regarding the crime contain
within them. The Crime film can contain a bit of mystery stemming either
from plot, character, or both.
SUB-GENRES
Subgenres of the “Crime” film genre include...
 murder mystery,
 detective story,
 gangster film,
 film noir,
 courtroom drama, and the thriller
Note Criminal films are often categorized as film noir or detective-
mystery films -because of underlying similarities between these cinematic
forms. This category includes a description of various 'serial killer' films
GANGSTER FILMS
DEFINITION This subgenre revolves around organized crime or the mafia.
These kinds of films often attempt to explore
• Either the destructive world of organized crime or the humanity of a
specific character who lives in that world,
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 • Some films in this genre revolve around the criminal's victim,
• While other films focus on a protagonist that pursues the criminal.
But Many times, films like these, centers itself around the rise and fall of an
organized crime leader (criminal mastermind).
It is developed around the evil actions of criminals or gangster, particularly
bank robbers, underworld (world of criminals or of organized crime)
figures, or ruthless hoodlums who operate outside the law,
stealing and murdering their way through life.
FILM-NOIR FILM SUBGENRE
Known not only as a subgenre of the Crime genre but also known as specific
type of stylistic crime drama, made popular throughout the 1940s and
1950s.
Mainly characterized by an acute black and white visual style with
harsh, grim, and desolate lighting.
Protagonists of this subgenre are often misanthropic. These films usually
rely on a narrative voice with flashbacks that explain its plot.
NEO-NOIR FILM SUBGENRE
Refers to modern films containing characteristics of the “Film-Noir” genre
film. These films contain modern elements and tend to mirror current
society.
NOTE Criminal films are often categorized as film noir or detective-
mystery films -because of underlying similarities between these cinematic
forms. This category includes a description of various 'serial killer' films
EXAMPLE
 E.g. SIN CITY
ICONOGRAPHY
The following elements of iconography figure prominently within this genre:
• DANGEROUS CITIES
The crime film is usually set in an urban environment and cities can
almost function as characters within these films;
• TOUGH PRIVATE DETECTIVES OR COPS
The latter is usually clad in a trench coats and fedora;
• SHARP SUITED GANGSTERS
• WEAPONS
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 Such as snub-nosed revolvers and Thompson sub-machine guns.
SETTING
Crime dramas usually unfold in dark urban environments
• LARGE CITIES
figure prominently in the genre So major international cities, such as
London, New York, Paris and Hong Kong, have all figured prominently
in the genre lese Small towns or less urbanized environments might also
feature,
• PRISONS
Can also serve as a major location in crime dramas.
• In films focusing on LAW ENFORCEMENT, A POLICE STATION
OR PRECINCT (church, school with boundary) house might serve as
the central location.
NARRATIVE
A number of narrative concepts and tropes recur throughout the genre:
 IN DETECTIVE FILMS
A lone investigator, usually with his own code of personal honor, works
to unravel a difficult case, usually encountering danger and exposing
dangerous secrets along the way.
 IN HEIST MOVIES(ROBBERY MOVIES)
The narrative generally follows a gang of career criminals attempting to
pull off a major score. The tone can be light and broadly comedic
 IN POLICE PROCEDURALS
A police detective and/or police department must work to solve a
difficult high profile case
 IN GANGSTER FILMS
We follow the rise and, usually, the inevitable fall of a gangster.
 IN PRISON DRAMAS
The focus might be either on a criminal surviving life behind bars or
attempting to escape.
 IN FUGITIVE THEMED CRIME NARRATIVES
The main character or characters might be being pursued by the
authorities for their crimes.
EXAMPLES
 E.g. framed man escapes from prison to try and prove his
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 innocence.
 IN HETMAN FILMS
The main antagonist or central protagonist might be a professional
assassin.
STYLE
Because they often explore life or death conflicts, crime films often use stark
and dramatic film language techniques.
VISUAL
Crime films which fall under the Film Noir bracket, make creative use of
low key lighting, black & white cinematography and bleak urban
locations to create a sense of confinement and moral decay.
MUSIC
Musical scores are generally dark and underscore the dangerousness of
these worlds.
EXAMPLES
 E.g. in movie Raffia uses stark black & white cinematography and a
minimalist approach to sound design (it’s most famous and thrilling scene
plays out in near silence).

COMEDIC CRIME
Lighter more comedic crime movies make their differences clear by rejecting
such techniques.
EXAMPLES
 E.g. The Italian Job uses high-key lighting, full color cinematography
and a jaunty sixties pop soundtrack.
MORE RECENT NEO-NOIR CRIME FILMS
Draw upon the expressionistic lighting techniques of film noir but apply
them to modern settings.
EXAMPLES
 E.g. film which uses pin sharp digital cinematography and glowing
street lights to give us an eerie vision of Los Angeles at night
 E.g. The Driver which borrows lighting techniques and mise-en-scene
concepts from classic film noir detective films but uses them to depict a
dangerous city of the future.
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CHARACTERS
Character types in this genre may include:
• career criminals with their own code of honor;
• detectives and lawmen bound by duty and a sense of justice;
• crime reporters;
• gangsters;
• master thieves;
• convicts;
• hetman;
• prison guards;
• Crime bosses.
THEMES
The following thematic questions recur throughout the genre.
• Is violence and loss of human life an acceptable price to pay for law and
order?
• Can men of violence ever really be a part of wider civilization?
• How far should law enforcement go to protect the innocent?
• What happens to people when circumstances force them into criminal
acts?
• Can any criminal ever hope to beat the system?
• Can justice ever truly be served?
• Are our penal and police institutions humane and/or fit for purpose?
DETECTIVE-MYSTERY FILMS

DEFINITION it is usually considered a sub-genre of

 Crime/gangster films
 (Or film noir),
 Or suspense
 or thriller films
that focus on the unsolved crime (usually the murder or
disappearance of one or more of the characters, or a theft), and on the
central character the hard-boiled detective-hero, as he/she meets various
adventures and challenges in the cold and methodical pursuit of the
criminal or the solution to the crime
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MURDER MYSTERY FILM SUBGENRE
Usually told in the point of view of the master detective.
DETECTIVE FILM SUBGENRE
Told in the point of view of the detective or cop.

FILM-NOIR (የመካካድ)

DEFINITION film noir (meaning black film) it is not simply a sub-genre, but
rather a term the mood, style (It is characterized by a black-and-white style with
stark lighting effects) or tone of films for a distinct, stylistic type of
crime/gangster film or thriller that was popular throughout the 1940s and
1950s. That describes a genre of film which typically features dark,
brooding characters, corruption, detectives, primary moods of
melancholy (a deep and long-lasting sadness.), alienation (feel isolated), moral
corruption, evil, guilt, they often and the seedy side of the big city
MAIN CHARACTER
The main character is usually a cynical hero, loner hero (anti-hero) and it
relies on a narrative voice and various flashbacks to explain the intricate
plot.
COMEDIES

DEFINITION there is diversity of comic forms therefore a single

definition of comedy is insufficient, the term comic means the ability to
cause laughter; even a real event can be comic, therefore laughter
isn’t enough to define a film as a comedy because comedy is widely used in
other genres for short period effects.
COMEDY IS WITH TWO DISTINCT MEANINGS:
ONE: Where films have only brief funny moments in representation of
everyday life with the constant generation of laughter through
entertaining stories
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  Funny lines,
 The situation,
 the language,
 action,
 relationships
 And characters,
 With Light-hearted plots consistently and deliberately designed to
provoke laughter (amusing (make happy)) the audience by exaggerating
or humor
TWO: coexistent with Character succeed in spite of his best efforts by a
happy end
Note Since it's hard to laugh at someone who is in danger, one of the most
important rules of comedy is that no one gets hurt reaction is always
funnier than the injury is painful. The only exception is black comedy
where laughs of discomfort therefore it is ‘amusing’ (make happy)
In general amusing thing that in everyday life with happy ending
EXAMPLE
 E.g. Groundhog Day - A grumpy weatherman finds himself living the
same day over and over again.
 E.g. The Princess Bride - A farm boy must save Princess Buttercup
from a forced marriage to the nasty Prince Humperdinck.
 E.g. Happy Gilmore - A reject hockey player takes up golf in order to
save his grandmother’s house.
TYPES OF COMEDIES
Comedies usually come in two general formats:
1. NON-NARRATIVE FORMS
 STAND-UP
 WELL-TIMED GAGS
 SLAPSTICK
 SKETCHES
2. NARRATIVE
 SITUATIONAL FORMS
NON-NARRATIVE FORMS
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DEFINITION it is Types of comedy not narrate, or not relate an event,
whether real or imaginary sequential or cause-and-effect relations just aim
to create laughter for a continuous stream of with well-timed gags and
slapstick or sketches
STAND-UP
DEFINITION A form of comedy delivery in which a comic entertains an
audience with jokes and humorous stories.
NARRATIVE FORMS
DEFINITION Have a clear beginning, middle and end revolving
around a definite plot of comedy must have a happy ending and can have
laughter.
SITUATIONAL
DEFINITION Humor arising (told) though narrative it employ elements of
farce, screwball, slapstick, and other types of humor.
Note Both comedy elements may appear together and/or overlap.
MODE (WAY OF DOING COMEDY)
DEFINITION Mode has own techniques and methods, but not
particular form (structure) they are non-narrative but you can insert in
narrative form
Here are names and descriptions of the varieties mode of comedy
 A VISUAL GAG (SIGHT)
 PARODY/SPOOF
 SATIRE (ምፀት)
 SLAPSTICK COMEDY (ሰድብ ግርግር ሚበዛበት)
 WIT
A VISUAL GAG OR SIGHT
DEFINITION In comedy, a visual gag or sight gag is anything which
conveys its humor visually, often without words being used at all.
SIX DIFFERENT TYPES OF SIGHT GAGS
1. MUTUAL INTERFERENCE
DEFINITION The audience is fully aware of the on-screen situation or
event, but a character comically misunderstands

63
EXAMPLE
 E.g. Chapin film, The Immigrant scene, character is seen Chaplin
taking money from a woman's pocket and is accused (charge with
crime.) of being a pickpocket. The accuser, however, had not seen that
Chaplin had put the money in her pocket in the first place. This
misunderstanding makes the scene funny when the man tells the
woman to check her pockets and she is overjoyed to find money.
The humor is caused by alternative interpretations of the goings-on.
 E.g. Lead actor Robert was kidnapping actress Madeleine and they
were handcuffed. When they checked into a room, the room keeper
assumed that they were passionate lovers because of the handcuffs
2. MIMED METAPHOR
DEFINITION An object equipment may use in two way to create laugh
 1-a different object
EXAMPLE
 E.g. using like toilet in other people barrel
 2-object be used in an unconventional way
EXAMPLE
 E.g. acting like a doughnut (a ring-shaped object) is a barbell
 E.g. Using a tuba as an umbrella holder
3. SWITCH IMAGE.
DEFINITION In the beginning, the audience is led to believe one thing,
but with new details we soon realize that our perception of the situation was
wrong, and generally our perception changes to something quite
unexpected.
EXAMPLE
 E.g. Two boys at the beach; one is buried in the sand and the other is
bending forward while holding the other's head. At first glance, it looks
like there is only one boy who is holding his own head. This image
conveys a joke without the use of words.
 E.g. At the beginning of The Immigrant Chaplin's character is hanging
over the side of the boat. The audience gets the impression that he is
seasick, however we soon learn that he is actually just fishing
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  E.g. to pick money up off the floor. When he is caught approaching the
floor in this scene he pretends to be tying his shoe or brushing off his
pants. Often at the beginning of a film A subsequent view of the scene
shows something not viewed before
 E.g. Charlie Chaplin in the Pawnshop Chaplin fights with his coworker
and punches at him once their boss walks in mid-swing and Chaplin
changes the motion to act like he was dropping to his knees to scrub
the floor.
4. LITERAL AND THE METAPHORICAL
DEFINITION This technique is the object analog (relating), which occurs
when the character uses an object for something that it is not suitable for.
This is different from the mimed metaphor simply because there is no joke
necessary for the object analog. It is important that the audience recognizes
"visual similarities while aware of their differences
EXAMPLE
 E.g. in Easy Street when the woman carries the stolen food in her
apron and it looks as though she might be carrying a child.
5. SOLUTION GAG
DEFINITION Unexpected nature of the situation, in order to accomplish
victory in a difficult situation In order to make this gag work, it is
necessary to have the immediate reversal of a situation caused by the
character doing something that the audience cannot predict.
Gags can be a part of the narrative or else entirely incidental to it.
EXAMPLE
 E.g. Chaplin confronts the villain and is being strangled, Chaplin does
something that the audience would not be able to predict; he forces the
head of the large man into the lamp post which makes the man sleepy
and, thus easier to control.
PARODY/SPOOF (የታወቀን ሰራ በአሰቂኝ ሁኔታ መኮረጅ)
DEFINITION Is a mode (way of doing comedy) bases itself in reality
these films impersonate, ridicule, or scoff at serious situations and
people
It has own techniques and methods, not particular form (structure).
It can form when occur within a narrative feature film
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These films depend heavily on satire and can be used as a means of social
or political commentary.
EXAMPLE
 E.g. mimic famous political personalities and this allows them to
target what they think are unintelligent political and social viewpoints.
 E.g. Shakespeare wrote in parody of traditional love poems common in
his day. He presents an anti-love poem theme in a manner of a love
poem mocking the exaggerated comparisons they made:
My mistress eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen rose’s damasked, red and white,
But no such roses see I in her cheeks;”
 E.g. a comedy sketch melees with big eye
 E.g. parody movies that mimic famous blockbusters. “Vampire Sucks”
parodies and pokes fun at “Twilight” which was a film adaptation of
Stephanie Meyer’s novel
 E.g. Parody has entered our day-to-day life through hilarious parody
movies that mimic famous blockbusters. “Vampire Sucks” parodies and
pokes fun at “Twilight” which was a film adaptation of Stephanie
Meyer’s novel “Twilight”.
 E.g. you have an Indian person in your classroom and one day, in a
gathering of a few friends, you say, “Will you veddy much bring me a
coke please?” This imitation of an Indian accent is a parody.
Parody/Spoof films can also take the form in a fake documentary called a
MOCKUMENTARY
DEFINITION It is not generic hybrids, but it can make us laugh by other
generic conventions
Parody need not necessarily be comic. When it is comic and occurs
within the context of a comedy, laughter is consistently produced by
gags and funny lines
EXAMPLE
 E.g. Blazing Saddles isn’t a Western with comic elements or a comedy-
western but a comedy which relies upon knowledge of the Western
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 amongst the audience to work effectively.
SATIRE (ምፀት)
DEFINITION Parody examples are often confused as examples of satire.
Although parody can be used to develop satire, it differs from satire to a
certain extent. Parody mimics a subject directly to produce a comical
effect. Satire, on the other hand, makes fun of a subject without a direct
imitation. Moreover, satire aims at correcting shortcomings in society by
criticizing them.
Satire works to mock and attack. Sometimes prevailing norms are
attacked in the name of other non-dominant social values.
EXAMPLE
 E.g. Charlie Chaplin’s attacked the inhuman values of modern
industrial society ‘in the name of disappearing values it associates with
pre-industrial life especially rural life.
 E.g. arrangement is not a real wedding. It is purely a business
arrangement which is convenient for different reasons for both parties.
SLAPSTICK COMEDY (ሰድብ ግርግር ሚበዛበት)
DEFINITION Slapstick is another mode of comedy that can be found in a
very diverse range of forms.
It was predominant in the earliest silent films, since they didn't need
sound to be effective, It inappropriate for romance or its fulfillment
because it lacks a plot structure that is capable of taking romance
seriously
Slapstick often required timing and well-honed performance skills
It is usually the case that stronger narratives are less reliant upon slapstick
styles of comedy and also that these comedic forms are more likely to be
marketed as a genre hybrid.
NOTE Narrative comedy can accommodate slapstick but the reverse isn’t
the case
It is physical comedy therefore it marked as violent comic action uses
visual action, such as
 Aggressive
 harmless or painless cruelty and violence,
 horseplay,
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  And often vulgar sight gags
EXAMPLE
 E.g. a custard pie in the face,
 E.g. collapsing houses,
 E.g. a fall in the ocean,
 E.g. a loss of trousers or skirts,
 E.g. runaway crashing cars,
 E.g. people chases, etc.
WIT
DEFENATION A natural aptitude for using words and ideas in a quick and
inventive way (intelligence) to create humor in situation
WIT CHARACTER
DEFENATION A witty person has ability to make observations and to
understand them then who is able to say or write things that are usually
considered amusingly clever in perception (the ability to see, hear, or become
aware of (understanding, or interpreting something) and expression Sometimes
the intention of a witty remark is insulting someone, rather than being
funny
DIALOGUE IS IMPORTANT
Writing a witty character they are interacting with is equally clever a battle
of the minds. I usually focus most of energy on writing clever dialogue or
coming up with good one-liners.
INSULTS ABOUT GENDER
 A woman's mind is cleaner than a man's. She changes it more often
SUB-GENRE
Amusing can be seen as a partial synonym for laughter but it expresses
far more than this are most people like ‘amusing’ (make happy) films,
however, one person’s sense of humor is another person’s unhappy. That
make comedy and the comic is complex Therefore Comedy film has the
tendency to become a many sub-genre and combination(Differing forms of
comedy which in more sophisticated products might all be present, which lends appeal
to a wide range of audiences.).

EXAMPLE
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  E.g. one person laughs at slapstick another not, but laugh when only at
parody
LIST OF SUB GENRE OF COMEDY
CRINGE COMEDY
DEFINITION A comedy of embarrassment, in which the humor comes
from inappropriate actions or words; usually popular in television shows
and film, but occasionally in stand-up as well.
BLUE
DEFINITION The name derives from word blue to refer to morally strict
standards hence the phrase “blue laws” to refer to ordinances restricting
certain behavior typically sexual in nature and/or using profane(not respectful
of religious practice) language; often using sexism, racism, and homophobic
views
BLACK COMEDY
DEFINITION A sub-genre of Comedy these films often explore concepts
and topics and situations that are commonly held as serious and
explores them in a comical way that are considered taboo (restricted by
social custom) subjects including,
 death,
 murder,
 sexual relations,
 suicide and war, in a satirical manner as
 drugs,
 terrorism,
 rape,
 illness
Because of this approach, Black Comedies often cause the audience to aim
to scare and feel uncomfortable but also provide comical outlets let
to laugh simultaneously
COMEDY OF MANNERS (Restoration comedy)
DEFINITION it satire and farce the manners (behave, speak, habit, custom
artificial values) and affectations (ማስመስል) life of upper class society’s
basically true to its tradition and philosophy.
It often represented by stereotypical stock characters,
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Also, the plot of the comedy is often concerned with
 Often built around a love story, an illicit(forbidden by law, rules, or
custom) love affair
 Sexual innuendos are used and rakish behavior is shown.
 Faithfulness in love was boring.
 Sex should be tempting.
 Genuine sexual feelings had no place on stage.
 Characters often fought with each other in situations of conflict in
love triangles and intrigues
 or some other scandal(an action or event regarded as immoral. or legally
wrong and causing general public gossip arising)
 Issues of adultery
 Wrong business
 and marrying for wealth and the characters did not take
love/marriage seriously, but more as a playful venture
 Country life was also considered boring.
But Plot is generally less important than its witty dialogue because it is a
verbal based comedy with heavily witty repartees and cynicism
dialogue and less physical action
It has equal amount of both satire and farce
STOCK CHARACTER
is a stereotypical person whom audiences readily recognize from frequent
recurrences in a particular literary tradition and it is flat.
EXAMPLE
 E.g. when rich girl came and ask either water is boil or not poor
mother say I boil only for hen preparation
They used their observations from their own life (setting, events, and
personalities).
FISH OUT OF WATER COMEDY FILM
DEFINITION In a fish out of water comedy film, the main character
or character finds himself in an unusual environment, which drives most of
the humor. Situations can be swapping (exchange) gender roles,
EXAMPLE
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  [Link] age changing role
 E.g. freedom-loving individual fitting into a structured environment,
as in Police Academy
 E.g. a rural backwoodsman in the big city, ,
SCREWBALL COMEDY

DEFINITION There’s a pitch in baseball called a screwball, a pitch with a

particular spin and drops it goes in different directions, and behaves in very
much unexpected ways unconventional.
EXAMPLE
 E.g. James described the essence of Laurel and Hardy’s comedy as the
scene in which the two are moving a piano across a narrow suspension
bridge in the Alps, and halfway across they meet a gorilla. This may be
more than the essence of Laurel and Hardy. it’s illogical, it’s
impossible,
DEFINITION Screwball comedy subcategory of romantic comedy
indicated foolish, craziness, eccentricity, ridiculousness, erratic
behavior, unconventional, abusive language and meaning unbalanced
went in different directions, and behaved in unexpected ways
BATTLE OF THE SEXES
New idea of comedy because use modernize equality, Equal teaming of
female & male
As it a subcategory of romantic comedy displacement in treating sexuality
'battle of the sexes'(Physical and verbal sparring (engage in argument
without marked hostility) replaces overt (done or shown openly) lovemaking
and class tensions
PHYSICAL BATTLE:
 much running around,
 falling,
 mild physical aggression,
 damage to clothing
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VERBAL BATTLE:
 fast dialog,
 aggressive speech,
 Insults; use of puns (joke exploiting the different meanings of a word or the fact
that there are words of the same sound and different meanings.)
 other language with indirect sexual charge
 wit,
 double entendre(a friendly understanding),
 humor,
 symbol, & metaphor(a figure of speech in which a word or phrase is applied to
something to which it is not literally applicable)
 argument,
 verbal wrangling(long and complicated argument): as counterpart to
physical action and a new symbolic language of love
Note This form of comedy film it is often loosely applied to slapstick or
romantic comedy films
MOST OF TIME IT EMPHASIZED
 romance between opposites
 wit
 whacky situations
 Some form of role reversal, and a happy ending.
ROMANCE BETWEEN UNEXPECTED WAYS OPPOSITES
It was applied to films where everything was juxtaposition (ጎን ለጎን ማሰቀመጥ)
 educated and uneducated,
 rich and poor,
 intelligent and stupid,
 honest and dishonest,
 and most of all male and female
 Emotional And practical ,
The seemingly mismatched couple works against each other Couple will
often use physical and even painful measures against each other much like
in a slapstick comedy.
Romantic couple usually starts as antagonists (only to fall in love by the
conclusion) or faced obstacles such as class and cultural boundaries,
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which too would be overcome by the end.
When two people fell in love, they did not simply surrender to their feelings,
they battled it out. They lied to one another, often assuming indifferent
personas toward each other. They often employed hideous tricks on each
other, until finally after running out of inventions, fall into each other’s
arms. It was fossilized comedy, physical and often painful, but mixed with
the highest level of wit and sophistication, depending wholly on elegant and
inventive writing.
EXAMPLE
 E.g. An idle (lazy, no purpose, spend time doing nothing.), rich, fun-
loving Woman and a hard-working, practical, serious man
WIT
It cans a natural aptitude for using words and ideas in a quick and inventive
way to create humor
WHACKY SITUATIONS
Funny or amusing in a slightly odd or strange way because Depression.
Some form of role reversal, and a happy ending,
In end, it's the level-headed man who "comes around" to being more like,
or at least appreciating, the madcap woman.
SUB-PLOT
Main character is constantly put into trouble or increasingly
ridiculous and out-of-hand situations by another character. Most of the
time it is a woman leading a man, and leads him into trouble
Because of this many screwball comedies also tackled the social pressure of
the Depression as a sub-plot. Depression during the Great Depression. A
very skillful blend of sophistication and slapstick.

GENDER ISSUES
WOMAN CHARACTER is generally stronger, takes initiative, lead actress
often had top billing madcap heiress (ወራሸ)' type
LEAD MALE CHARACTER is often of lower social status, though not
poor, characteristically made to look foolish (though this is necessary at
the end to teach him to relax)
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SECONDARY MALE CHARACTER:
Conventional female equivalent to male character, with same
characteristics conservative endings (marriage or promise of marriage,
but with redefined (define again or differently) roles)
SCREWBALL COMEDY OF REMARRIAGE
The romantic pair are divorced or separated, sexual experience can be
assumed, the plot brings them back together
In remarriage comedies it is generally the wife who is reeducated about
romance, whereas in standard screwball it is more often the man who
changes most
CHARACTERISTICS OF THE SCREWBALL COMEDY
URBAN ENVIRONMENT
Cities often presented as places of irrationality; the screwball process
turns fear of cities into fun, Conclusions often occur in the country (a
pastoral environment or "green world")
APOLITICAL OUTLOOK
The screwball protagonist is too busy coping with an irrational world to
consider political solutions
THE SCREWBALL COMEDY HERO CHARACTERISTICS
It depended on heavily upon five key characteristics concerning the
main characters
 ABUNDANT LEISURE TIME,
 CHILDLIKE NATURE,
 BASIC MALE FRUSTRATION (ESPECIALLY IN RELATIONSHIP TO
WOMEN),
 A GENERAL PROPENSITY FOR PHYSICAL COMEDY,
 AND A PROCLIVITY FOR PARODY AND SATIRE”
ABUNDANT LEISURE (TIME SPENT IN OR FREE FOR RELAXATION OR
ENJOYMENT OFTEN IN HIGH SOCIETY)
The ability for such leisure time is usually associated with
 The character’s professional life in which he is a self-made
millionaire
 Or has acquired wealth and status through family inheritance
Frequent character types:
 madcap heiress,
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  idle rich,
 absent-minded professor,
 Newspaper reporter, etc.
CHILDLIKE NATURE
The protagonist is often demonstrates a childlike nature that brings contrast
to his wealth and status. The character, although on his own and very
successful
EXAMPLE
 E.g. the middle-aged character’s parents still give him orders and
overpower his decisions.
The character will also collect many unnecessary things
 fine clothes,
 expensive cars, and beautiful homes,
 Child collects toys
 will have a dog
EXAMPLE
 E.g. animals (particularly pet dogs) serve as surrogate children or
playmates

ECCENTRIC CHARACTERS
More often not, this film focused on eccentric characters doing odd
things but Often these characters were wealthy, a rarity without being
affected by the Great Depression that allowed for strange, crazy behavior
MALE FRUSTRATION
Usually is male’s attempts to pursuit (follow to catch) of a seemingly uninterested
female but the women are almost always prevent from succeeding in leaving
him frustrated (prevent (a plan or action) from progressing, succeeding, or being
fulfilled.
CAUSE OF MALE FRUSTRATION
 BASED ON RATIONALITY
Male character's frustration related to his attempts to live in a rational
(with reason or logic.) way; whereas screwball women are more attuned to
irrationality
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  REVERSAL OF SEX ROLES
The genre is all about the humiliation of the male because especially in
relationships with women Screwball heroines dominate men
reversal of sex roles when the male figure dominates in a screwball
comedy, there is generally a second, weak male character to balance
him
 FILM NOIR
Screwball heroines have a predatory (A person who make use of unfairly benefit unjustly
from the work or actions of others) quality, and may anticipate (be aware of (a future event)
and take action.) the non-comic

SECONDARY CHARACTERISTICS
The screwball comedy many secondary characteristics of this genre are
similar to the film noir, but it distinguishes itself for being characterized
by a female that dominates the relationship with the male central
character, whose masculinity is challenged. The two engage in a humorous
battle of the sexes, which was a new theme for Hollywood and audiences at
the time. Other elements are fast-pace repartee, farcical situations, escapist
themes, and Plot lines involving courtship and marriage Screwball
comedies often depict social classes in conflict; some comic plays are
also described as screwball comedies
STRAIGHT COMEDIES
DEFINITION The longer-term success of this type of film relies upon the
sophisticated use of a combination of comic conventions. This allows
it to appeal to a wide audience base despite having a weak narrative
and avoiding genre-hybrid.
1-It utilizes parody to raise a laugh from a deliberate other conventions of
representation particularly the historical heritage costume genre.
EXAMPLE
 E.g. they are fighting in town using surge, wearing like brave heart
 E.g. Like Ethiopian patriots in city fighting
2-It also uses political satire when
EXAMPLE

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  E.g. King Arthur has a political debate with the peasant’s collective
SOCIAL COMEDY
DEFINITION situational comedies drawing on class conflict and social
realism,
TEEN COMEDY
DEFINITION Often set in high school and involving adult sexual
adventure and conflicts with authority
GROSS-OUT COMEDY
DEFINITION A currently successful cycle (relatively recent development)
which may involve any of the above, but pushed more towards excessive
gags.
Dependent on heavily on vulgar, sexual or "toilet" humor and make joke
in this film by.
 Socially awkward people
 lack social skills to fit in,
 Shy
 lack self esteem
 Witty characters often sarcastic, ironic wit
DEADPAN
DEFINITION Delivered with an impassive, expressionless, matter-of-fact
presentation, it is telling jokes without a change in facial expression or
change of emotion
FARCICAL
DEFINITION Comedy based on improbable coincidences and with
satirical elements, punctuated at times with overwrought, frantic action. (It,
like screwball comedy — sees below — shares many elements with a comedy of errors.)

JUVENILE/SOPHOMORIC
DEFINITION Humor involving childish themes such as pranks, name-
calling, and other immature behavior.
SELF-DEPRECATING
DEFINITION Humor in which performers target themselves and their
foibles or misfortunes for comic effect

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ANARCHIC COMEDY
DEFINITION Anarchic refers to a sub-genre of comedy that uses stream-
of-consciousness humor. The humor in these films tends to be nonsensical
with exaggerated characters and situations.
Anarchic film often uses slapstick tendencies, yet is considered to be less
psychically violent. Unlike classic comedy, Anarchic films tend not to rely on
narrative to explain the context of the humor.
GENRE HYBRID
DEFINITION Comedy genre can incorporate into many other genres
range from romantic comedies to black comedies, the stronger the
narrative the more the film takes on either multi-generic or hybrid
generic
LIST OF COMEDY HYBRID
ACTION COMEDY
In this genre combine characters comic antics (foolish, unusual, or
amusing behavior) wit and action while the action scenes tend to be
less intense than in the traditional action movie.
EXAMPLE
 E.g. Rush Hour,
FANTASY COMEDY
Fantasy comedy films are types of films that use magic, supernatural
and or mythological figures for comic purposes.
Most fantasy comedy includes an element of parody, or satire,
SCI-FI COMEDY
Sci-fi comedy films, like most hybrid genre of comedy use the elements of
science fiction films to over the top extremes and exaggerated science
fiction stereotypical (ግልባፅ) characters.
MILITARY COMEDY
Military comedy films involve comic situations in a military setting.
When a film is primarily about the experience of civilians called into military
service and still feeling out of place, it may be referred to as a "service
comedy". Because war is such a grim subject, many military comedies are
set in peacetime or during wartime but away from battle zones. Military
and service comedies include:
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HORROR-COMEDY
Combines comedy with traditional horror movie dark themes cross over
into the Black Comedy sub-genre aim to scare the audience and characters
are treated with a humorous approach provide comical outlets that let
the audience laugh at their fear.
 These films either use goofy horror, Some are don't parody horror
 Another style of comedy horror can also rely on over the top violence
and such films are sometimes known as slapstick,
COMEDY-DRAMAS
 Consist of 70% drama and plot,
 20% funny characters
 And 10% hilarious moments.
It is important to understand that the proportion of comedy and drama
must be maintained so as to obtain a good movie.
DRAMA
It approaches serious subject, which often place the public into difficulty
of understanding its complex characters through a strong inner life and
which people might find themselves, the plot involves usually a political or
financial interest.
Most of the times, the action of a comedy-drama occurs in situations of in
which each of us will find itself at least once in a lifetime.
 a potential inheritance,
 a future marriage,
 A birth or a divorce.
 death
Use of emotionally charged situations, apparently ordinary, in which
the characters find themselves
FUNNY CHARACTERS
CHARACTERS must be flexible in terms of temper (ግልፍተኝነት),
personality in order to be able to be both funny in certain situations and
also natural in the dramatic situations.
HILARIOUS (VERY FUNNY) MOMENTS
Introduced to reduce the tension caused by the approached drama situation
and to help the audience to relax,
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DRAMEDY FILM
It is a genre that has the amount of drama and comedy are almost equally
balanced this balance provides
 A dramatic tone, addressing serious issues.
 has important elements of comedy comedic relief for the audience
ROMANTIC-COMEDY
One of the most popular Hollywood hybrid genres it involves the
development of a relationship between a man and a woman with social
interactions and sexual tensions between the pair.
The stereotyped plot line follows the
BOY-GETS-GIRL (meeting cute), revolves around a romantic ideal,
such as true love, Couples, especially in the 25-35 age
BOY-LOSES-GIRL Complications ensue, light-hearted and usually
places the two protagonists in humorous situation
BOY GETS GIRL BACK AGAIN Love over come problem in the
end, the ideal victory over the situation or obstacle, thus creating a
happy ending sequence
Audiences like to see the same pattern over and over because it catches the
viewer’s heart with the combination of love and humor
Also involve some extraordinary circumstances,
EXAMPLE
 E.g. magic, dreams, the fairy-world, etc.
CREATING COMIC CHARACTERS
Comedies are more likely than other films to fall back on the success and
popularity of an individual star
One of the best ways to make a character appealing is to make her comical.
You can create a comical character in one of four ways:
 1. Your character can be funny because of what she says.
EXAMPLE
 E.g. A law is like a rule only meaner, said Frannie.
 2. Your character can be funny because of what she does.
EXAMPLE
 E.g. Mrs. Mouse went to the cupboard and came back carrying an
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 umbrella, a pair of galoshes, suntan oil, a parachute, and a life
preserver.
 3. Your character’s situation can be funny.
EXAMPLE
 E.g. in the Big City Samantha set about looking for employment.
Jobs for alligators were scarce, but she soon found work testing
toothbrushes.
 4. Humorous language can be used to describe the character.
EXAMPLE
 E.g. He played on the beach until even his teeth were sunburned.
Children love exaggeration and word play. If you are trying to create
a comic character, look for humorous possibilities in the dialogue,
the description of the character and his situation, and other people’s
reaction to him. Exaggerate his foibles and follies and use amusing
comparisons and word play to describe him. You can also add humor
by using comic details:
LOVE STORIES FILMS(ROMANCE)

DEFINITION it is a sub-genre for the most part, this category shares some
features with romantic dramas, romantic comedies, and sexual/erotic films.
These are love stories (heart center on passion, love emotion)
involvement of the main characters (usually a leading man and lady) and the
journey that their love takes through to get each other (overcome their
differences that their love takes through courtship or marriage)
SUB-GENRE
These story types include:
• Romantic comedy
You can make comedies in any genre but romantic comedies are one of
the most popular and successful
• Doomed love
EXAMPLE
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  E.g. Romeo and Juliet
• Epic love
• Odd couple
• Love triangle
• Matchmaker
• Brief encounter
• Second time around
• Unrequited love
EXAMPLE
 E.g. Peter and Juliet’s story in Love Actually
ROMANTIC COMEDY
DEFINITION Romantic comedies or ‘Rom-Coms’, as they are more
commonly known, light-hearted and humorous dramatic stories centered
around the themes of romantic attraction and the difficulties of finding ‘true
love.’
ICONOGRAPHY
The following elements of iconography figure prominently within this genre:
 aspirational clothing;
 romantic gifts and objects
EXAMPLE
 E.g. diaries, flowers, rings;
 idealized versions of real world cities;
 glamorous public spaces
Leafy parks, upscale bars and restaurants;
 rain as a symbol;
 weddings and relationship related events
EXAMPLE
 E.g. romantic meals, dances;
 public demonstrations of affection - such as a romantic clinch against a
glamorous backdrop;
 public attempts at courtship or reconciliation
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SETTING
Romantic comedies usually unfold in aspirational and glamorous settings.
These might include:
 exciting international cities
EXAMPLE
 E.g. London, Paris or New York
 apartments with designer furniture, where characters may be seen in
rooms visitors might not usually be invited into, such as bedrooms and
bathrooms;
 small towns, generally in plots where the heroine must learn to re-
embrace their roots in order to find true love,
 aspirational foreign locations, in which the heroine is a fish out of water
EXAMPLE
 E.g. the rustic Italian small town,
 exciting aspirational workplaces, where the heroes and/or heroines of
rom-coms will, more than likely, work in a glamorous profession such
as magazine editing
EXAMPLE
 E.g. modelling/acting
 high schools,
NARRATIVE
A number of narrative concepts and tropes recur throughout the genre:
 MEET
The basic rom-com plot template has two people meet, form some
connection of deeper feelings and then part due to some contrivance or
misunderstanding. Initially, the couple will resist the pull of their
mutual attraction - social pressures, fear of rejection, may be uncertain
about the possibility of true love, or some pre-existing
 INITIAL SEPARATION
After this initial separation one or both of the characters will have a
realization: they will then actively pursue the object of their affections.
After some degree of friction, awkwardness(hard to do or deal with.) or damaging,
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 the two will finally declare their mutual love for each other and the film
will end on a happy note suggesting that an idyllic life-long bond has
been formed.
 THE MEET CUTE
In meet cute scenarios, the way in which the couple meet is driven by
social awkwardness (hard to do or deal with.), comic misunderstandings or
whimsical happenstance (coincidence.). This method of meeting will usually
serve to highlight just how different the two characters are but also
serves to explain the otherwise improbable of two people with such
divergent viewpoints or social statuses meeting.
STYLE
 Exterior scenes may be shot in pleasant surroundings with warm
natural light being used to suggest a feeling of romantic excitement.
Alternatively, scenes may use dim lighting and rich colors to suggest a
romantic, intimate mood.
 Rain will often be used as a feature of mise-en-scene, sometimes to
suggest despondency (in low spirits from loss of hope or courage)
 Popular songs and ballads (a slow sentimental or romantic song.) will be used to
convey both
 the sudden rush of romantic attraction
 And the heartache of separation.
 Montage techniques may be used for a variety of purposes.
 Montage techniques are used to show us the hero’s bitter-sweet
recollections of a love affair that has ended.
 Sometimes montage sequences are used to convey sudden, positive
change, such as the shopping montage which signals the heroine’s
suddenly elevated social status
CHARACTERS
Character types in this genre may include:
 desperate single people of either gender;
 bachelors(man who is not and has never been married) who are resistant to change;
 supportive best friend characters with comically exaggerated flaws or
character traits;
 characters wounded by past relationships;
 rival(a person or thing competing with another for superiority or the same objective) suitors(a man
who pursues a relationship with a woman with a view to marriage);
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  unreasonable bosses or other authority figures;
 obstructive parents or family members;
 Obstructive ex-partners.
THEMES
The following themes recur throughout the genre
 pre-destined love overcoming all obstacles;
 romantic union making both participants better, more complete people;
 The joys of love, even failed love, being ultimately worth the heart-ache.
GUY FIMS (MAN FILM)

DEFINITION Composed of macho (showing aggressive pride in one’s

masculinity) films that are often packed with sophomoric humor, action,
cartoon violence, competition, mean-spirited putdowns and
nudity and sex. Gal films (chick flicks) are their counterpart for females.
This category of film is highly subject to opinion, although there are many
classic, testosterone-laden 'guy' films that most viewers would agree
MUSICAL/DANCE FILMS

DEFINITION in cinematic forms that emphasize full-scale scores or song

and dance routines in a significant way (usually with a musical or dance
performance integrated as part of the film narrative), or they are films that
are centered on combinations of music, dance, song or choreography.
MUSICAL SUBGENRES
Major subgenres include the musical comedy or the concert film.
The “Musical” film genre...
A descendant of the opera, this genre creates a “real world” where the
characters in the story sing and dance. A lot of Musicals are love stories at
their foundation but just about any genre could work as musical.

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SPORT GENRE

DEFINITION Sports films may be fictional or non-fictional; and they are a

hybrid sub-genre category, although they are often dramas or comedy films,
and occasionally documentaries or biopic, Character arcs are almost always
the name of the game in this genre the protagonist learns, changes, matures
in this Films that have a sports setting (football or baseball stadium, arena,
or the Olympics, etc.), event (the 'big game,' 'fight,' 'race,' or 'competition'),
and/or athlete (boxer, racer, surfer, etc.) that are central and predominant
in the story.

MYTHICAL
DEFINITION Stories where the way the story is told is defined by its
similarity to a well-known folktale (a traditional story originally transmitted
orally)

FEAR
DEFINITION The oldest and strongest human emotion is fear, it was the
fear of unknown and mysterious phenomena, which people could not
explain.
EXAMPLE
 E.g. it was fear that initiated the establishment of faith and religion.
To every unexplainable phenomenon they attributed a character, human or
inhuman, which they associated with supernatural skills and invincible
power. And since the human imagination knows no limits, a wide scale of
Archetypal characters have been created, such as
 gods,
 demons,
 ghosts,
 spirits,
 freaks,
 Monsters or villains.
Three genres are based on fear and imagination:
 Science fiction,
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  Fantasy
 and horror
Which together form a so-called fantastic triangle it is why they so often
overlap and enrich themselves.
HORROR FILMS

DEFINITION Horror films explore the theme of mortality in an

extremely direct manner and its effort to evoke audience hidden worst
feelings of fear, and terror for lead character then audience become
terrified.
SUB-GENRES OF HORROR
Whose aim is to make you fear so much for the lead character that you
become terrified yourself, these can be divided into a number of sub-genres
with Different audience expectations three categories of subgenres
1-THE UNCANNY
The source of horror is subject to rational explanation
 [Link]
DEFINITION Sub-genre, feature strongly defined and readily
identifiable bogeymen (evil spirit).
2-SUPERNATURAL
The source of horror is irrational or from the spirit world, many horror
movies pit characters against mysterious, supernatural forces like
 [Link]
DEFINITION Stories about family curses, mysterious and haunted
places,
 [Link] / SUPERNATURAL
DEFINITION Battle between good and evil, God and the Devil
 [Link]
DEFINITION Films where numerous characters are killed one after
another,
 [Link] MOVIES
Large ugly freighting creature
 [Link]
 [Link]-FI
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 DEFINITION Science Fiction combined with monster (large ugly
freighting creature) is related to a corruption of technology, or when
Earth is threatened by aliens.
 [Link] MOVIES
DEFINITION where the enemy is an overpowering force of nature
 [Link]
 [Link]
DEFINITION possess in devil etc.
3-SUPER-UNCANNY
DEFINITION The audience is kept guessing between the two other
possibilities.
ICONOGRAPHY
The following elements of iconography are common to the horror genre:
 SUPERNATURAL ENTITIES
EXAMPLE
 E.g. Such as ghosts and demons;
 MONSTERS
EXAMPLE
 E.g. Such as wolves, vampires and zombies;
 MASKED KILLERS
 GOTHIC SETTINGS
EXAMPLE
 E.g. Such as old building, Graveyards (funeral beside church)
 ISOLATED RURAL LOCATIONS
EXAMPLE
 E.g. Such as farmhouses and abandoned (stop use) large country
land with houses;
 SCREAMING VICTIMS;
 WEAPONS
EXAMPLE
 E.g. Such as knives, axes etc.
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SETTING
MISE-EN-SCENE (the setting of event) In Horror films can be any settings
that locations will be used to generate terror
 LOCATION WILL IN ITSELF
offer an obvious source of terror.
EXAMPLE
 [Link] the case of a Graveyard or morgue NORMAL BUT
 PLACE GOTHIC PAST
usually the 18th or 19th centuries
 SEEMINGLY SLEEPY AMERICAN SMALL-TOWNS OR
PEOPLE HOUSE
which hide dark secrets;
 PLACES WHERE YOUNG ADULTS MAY IN MASS
EXAMPLE
 E.g. high schools, and social events; such as High school proms and
summer camps;
 ISOLATED RURAL LOCATIONS
 FRIGHTENING BY NEW CONTEXT
In other cases, a seemingly normal or benign in location or setting will
be made to seem frightening by being present in a new context.
EXAMPLE
 [Link] exclusive ski hotel is presented in an eerie context but the
following are the most common:
NARRATIVE (STORY ABOUT) (CONCEPTS)
A number of narrative concepts throughout the genre:
 SLASHER FILMS
A disparate group of characters, usually young adults, are stalked and
killed, one by one, by an unstoppable and sometimes literally
supernatural killer.
 ZOMBIE FILMS
The dead return to life as shambling monsters with a hunger for human
flesh and the surviving human characters must battle to survive this
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 threat. Civilization, as we know it, may collapse.
 GHOST STORIES
Characters are threatened by supernatural forces.
In body horror disease or biological change drives the narrative.
EXAMPLE
 E.g. The Birds (non-threatening creatures attacking people) , nature
itself seems to rebel against humanity
STYLE
Because they aim to generate suspense and unease, horror films often use
extremely expressionistic film language techniques.
 VISUAL
 OUDIO
VISUAL (LIGHTING AND CAMERA TECHNIQUES)
 LOW KEY LIGHTING
Is used to dramatic effect to create stark shadows
 CAMERA TECHNIQUES
Certain techniques are particularly dominant in this genre.
 SMOOTH GLIDING TRACKING
Shots may be used to suggest the unseen movement of malign forces.
 POV SHOTS
Might also be used to suggest unseen monsters or to give us an
unsettling ‘killer’s eyes’ view.
AUDIO
Music and diegetic sound effects are used to unnerve the audience.
 MUSIC
Musical scores may use musical motifs (distinctive) to reinforce the
sense of terror,
EXAMPLE
 E.g. the shrieking violins use atonal (not written in any key) music
to generate a sense of intense Unease (experiencing worry).
 SOUNDS
 SUDDEN UNEXPECTED SOUNDS
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 Might erupt on the soundtrack to generate tension
 DIEGETIC SOUNDS
Such as screams may be amplified to further generate terror
CHARACTERS
Character types may include:
 mad scientists,
 maniacal killers;
 misunderstood monsters who may be, on some level, sympathetic;
 doomed victims;
 heroic survivors who are ultimately left alone to battle the film’s main
threat;
 mediums, religious figures or mentors, who are able to offer the main
character advice on battling the threat;
 Disbelieving authority figures.
THEMES
The following thematic questions recur throughout the genre.
 Is everyday reality hiding some sinister supernatural threat?
 Can we play God without paying some ghastly consequence?
 Is there a life beyond that which we can see?
 How would society respond if faced with a sudden upheaval of nature’s
laws?
PLOTS
Their plots typically involve themes of
 violent death,
 supernatural occurrences,
 horrifying biological or physical changes,
 And mental illness.
STIMULATE TO WATCH HORROR FILMS
There is some are motivational groups, which stimulate the viewer to watch
horror films
GORE WATCHING
This approach reflects the curiosity for physical violence and revenge.
The viewer is interested in the way the victims are dying; he likes to see what
they deserve. He likes the view of blood and gore. He is characterized by a
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low level of empathy, lowered levels of fear and increased desire for revenge.
THRILL WATCHING
The viewer is interested in the emotion of tension and excitement
evoked by a horror film.
Typical features are high level of empathy and longing for adventure
because some people want to experience what they are not allowed in real
life;
INDEPENDENT WATCHING
These are independent viewers who chose a particular role that assumes
testing their own bravery and adulthood. They are described by a low level
of dispositional empathy
 Because some increase their tolerance to fright and fear to avoid panic in
dangerous real life situations,
 Some want to escape from the uncomfortable reality
 Some are testing their character
PROBLEM WATCHING
The viewer watches the horror because he feels angry and he tries to avoid
the problems of his lack interest life, He seeks excitement in the suffering
of others and often identifies himself with the victim this way revealing his
own powerlessness.
Note Many times they cannot even explain or describe what drives them
to seek outputs of horror production
FANTASY FILMS

DEFINITION usually considered a sub-genre, are most likely to overlap

with the film genres of science fiction and horror, although they are
distinct.
Fantasies take the audience to netherworld places (or another
dimension) where events are unlikely to occur in real life (they
transcend the bounds of human possibility and physical laws) with the
supernatural.
EXAMPLE
 E.g. when hearing hyena sound he begin roll on mud
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  E.g. one of the major categories of fantasy-action films are the super-
hero movies, based quite often on an original comic-strip or comic
book character. They may appeal to both children and adults,
depending upon the particular film
ELEMENT OF FANTASY
They often have an element of
 MAGIC,
 WONDER AND THE EXTRAORDINARY
 MYTH (a traditional story concerning the early history of a people or explaining a
natural or social phenomenon, and typically involving supernatural beings or
events.),

EXAMPLE
 E.g. ቆሪጥ came from ዙቃላ when his leg cut
THEMES
The following thematic questions recur throughout the genre.
 Can one man or woman working alone defeat the force of evil?
 What is the nature of heroism?
 Can violence only be repelled with more violence?
 How far should one go to survive?
 Can heroes driven to violence ever really be part of the communities
they protect?
SUPERNATURAL FILMS

DEFINITION it is a sub-genre category, may be combined with other

genres, including comedy, sci-fi, fantasy or horror.
It is usually presented in a comical or a romantic fashion not designed to
frighten the audience
HYBRIDS
There are also many hybrids that have combinations of fear, fantasy, horror,
romance, and comedy.
THEME
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They have themes including gods or goddesses, ghosts, spirits, miracles, and
other similar ideas of extraordinary phenomena.
SCIENCE FICTION

DEFINITION: Science Fiction generally deals with themes relating to

issues raised by technology such as time travel, space exploration, Alien
life and artificial intelligence.
These films give us technologically advanced worlds in hypothetical
futures like imaginative with heroes, aliens, distant planets, impossible
quests, settings, fantastic places, great dark and shadowy villains, futuristic
technology, unknown and unknowable forces,
NOTE Lacks any reference to SCIENCE OR SCIENCE-RELATED
THEMES and is classed as a fantasy film rather than a science fiction
movie.
SCIENCE FICTION HEROES BATTLE
 Aliens and monsters,
 Galaxy-destroying villains,
 Unknown forces,
 Or technology itself
Science fiction often expresses the potential of technology to destroy
humankind and easily
SUB-GENRES
Many differing sub-genres within the science fiction bracket
 Time-travel films,
 alien invasion movies,
ICONOGRAPHY
The following elements of iconography are common to the genre:
• Spaceships;
• Artificially Intelligent Robots And Computers;
• Time-Machines;
• Futuristic Cityscapes;
• Futuristic Weapons, Such As Laser Guns;
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 • Futuristic Technology, Such As Teleportation Devices Or Flying Cars;
• Extra-Terrestrial Creatures;
• Parallel Universes.
SETTING
Science Fiction films can unfold in any number of settings but the following
are the most common:
 POINTS IN THE FAR FUTURE
Where travel between the stars is possible and humanity have spread
far beyond the confines of Earth;
 DYSTOPIAN FUTURES
Where, though the technologies of modern life still exist, the world has
become a grimmer (unattractive, or depressing) place, either through war
and environmental collapse or through shifts towards totalitarianism
(centralized and dictatorial system of government);
 POST-APOCALYPTIC FUTURES
Where an Earth-shattering event, such as nuclear war or climate change,
has destroyed the world as we know it;
 NEAR FUTURE WORLDS
Not too far removed from our own, but altered by the advent of some
new technology.
NARRATIVE
A number of narrative concepts and tropes recur throughout the genre:
• IN ALIEN INVASION FILMS
Extra-terrestrial forces attack Earth and are, at great cost, ultimately
repelled.
• IN POST-APOCALYPTIC FILMS
Survivors battle to survive their dangerous worlds.
• IN TIME-TRAVEL STORIES
The narrative usually revolves around the characters’ efforts to alter the
past or the future in order to save the world from some calamity.
• IN DYSTOPIAN SCIENCE FICTION FILMS
The narrative often involves efforts to overthrow or overturn the
institutional cause of that world’s problems.
• IN ALIEN ENCOUNTER STORIES
Humanity’s discovery of life beyond this planet has profound
implications for its central characters.
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 In films which explore the implications of technological progress, a new
invention may have unintended consequences for humanity. The
narrative might then explore how our characters cope with or try to
undo this development.
STYLE
• VISUAL
Because they generally aim to transport us to exciting new worlds,
science fiction films place a heavy emphasis on visual spectacle.
Cinematography and mise-en-scene are used to generate stunning
vistas and to immerse us in new environments, such as alien worlds or
futuristic cities.
There is a corresponding emphasis on visual effects shots. In exciting
space adventure films, such as sweeping orchestral
• AUDIO
music itself uses electronically generated sounds and instrumentation to
evoke a futuristic feel.
CHARACTERS
Character types may include:
• RELUCTANT HEROES OR HEROINES
Forced by circumstance to fight for humanity’s survival
• TYRANNICAL RULERS
Be they galactic (galaxy) warlords, such as Darth Vader, or the various
despots
• MACHINES
Intelligent but emotionless machines;
• INTELLIGENT MACHINES
Or non-human characters who acquire humanity;
• EXTRA-TERRESTRIAL INVADERS;
• VISITING EXTRA-TERRESTRIALS
Who seek to help humanity to advance to some higher level?
• SCIENTISTS
Whose works have unexpected consequences;
• ORDINARY PEOPLE
Affected by extra-ordinary events.
THEMES
The following themes recur throughout the genre
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 • How would we respond if our technology rebelled against us?
• Are we alone in the universe?
• Do we have the right to create artificial intelligences and what might
be the consequences of doing so?
• How would we survive if our species was faced with an extra-
terrestrial threat?
• If time travel were possible, would we have the right to alter past
events?
THRILLERS (SUSPENSE)

DEFINITION it is sub-genre, Thriller and suspense films are virtually

synonymous and interchangeable they are types of films audience feels
strongly for the lead character by suspense, a high level of
anticipation(be aware of a future event and take action regard as probable,
look forward to), more intense expectation, uncertainty, Strongly
wanting to do or have something and nerve-wracking tension.
REASON FOR STRONGLY FEELING FOR LEAD CHARACTER
The audience feels strongly for the lead character because
 wants to know how they will overcome their life threatening
problems and escape disaster and danger
 the principal character is unsuspecting or unknowingly involved in a
dangerous or potentially deadly situation
 Dangerous mission from which escape seems impossible. Or a mystery.
SUB-GENRES
Have numerous sub-genres focusing more on the suspense and
danger that is generated.
Suspense-thrillers come in all shapes and forms though a major sub-
genre is the disaster film
 chase thrillers,
 women-in-danger films,
 courtroom and legal thrillers,
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  erotic thrillers,
 Action,
 Adventure,
 War Movies,
 Political Thriller,
 Spy Thrillers,
 Detective Thriller,
 Crime And Gangster Thrillers,
 Revenge Thriller,
 Prison Thriller,
 murder mysteries,
NOTE Thrillers keep the emphasis away from the gangster, crime, or the
detective in the crime-related plot, focusing more on the suspense and
danger that is generated

DETAIL OF SUB-GENRES OF THRILLER

ACTION THRILLER
DEFINITION An Action Thriller uses physical action to create
suspense within the film. Like a traditional Action film, this sub-genre
will often have continuous motion and action including physical stunts,
chases, fights, battles, and races. Often, these scenes will contribute to the
overall sense of danger that the protagonist is facing. .
CRIME THRILLER
DEFINITION Crime Thriller film is a sub-genre that incorporates the
suspenseful aspects of a thriller with a crime film plot. This sub-genre's plot
usually centers on a serial killer, murderer, robbery, or manhunt. As
opposed to traditional crime films, the storyline focuses both around the
criminal and the protagonist. Crime Thrillers use both action and
psychological aspects to build tension and suspense.
FILM-NOIR
DEFINITION Film Noir is not simply a sub-genre, but rather a term for a
distinct, stylistic type of crime-drama or thriller that was popular
throughout the 1940s and 1950s. Film-Noir is characterized by a black-and-
white style with stark lighting effects. The main character is usually a cynical
hero. Film-Noir relies on a narrative voice and various flashbacks to explain
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the intricate plot.
PSYCHOLOGICAL THRILLER
DEFINITION a Psychological Thriller incorporates elements of drama and
mystery film. The suspense in this sub-genre comes from the mind,
rather than from a psychical threat. The protagonists in Psychological
Thrillers must rely on their mental resources to solve the situation.
Because of their nature, many Psychological Thrillers cross over into the
Horror genre.
SCIENCE FICTION THRILLER
DEFINITION Science Fiction Thriller incorporates science-based themes
into the plot of the film. Traditionally, a Science Fiction film will incorporate
heroes, villains, unexplored locations, fantastical quests, and advanced
technology, these elements can be used in a Science Fiction Thriller to
create anticipation and suspense.
Often, this sub-genre will explore the “future-gone-bad” theme, including
plots that revolve around alien invasions, dystopian scenarios, and super-
diseases.
EXAMPLE
 E.g. Aliens
RELIGIOUS THRILLER
DEFINITION Religious Thriller film incorporates religious themes,
including religious questions, Ceremonies.
Though some films can revolve around a specific church, many Religious
Thrillers include Supernatural experiences not related to a certain religion.
Exorcisms(out evil spirit form place or person), Demon possession and church
cover-ups are typical themes of Religious Thrillers.
DIFFERENT BETWEEN MYSTERY AND THRILLER GENRES
People often confuse the mystery and thriller genres, while it’s true that
they often overlap but there’s a distinct difference
 A MYSTERY
follows an intellectual protagonist, who puts together clues to solve
a crime after it’s been committed,
 AND A THRILLER
details the prevention of a crime before it has been committed.
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HYBRIDS
Thrillers are often hybrids with other genres there are
 Action-Thrillers,
 Crime- Thrillers,
 Western-Thrillers,
 Film-Noir Thrillers,
 Even romantic comedy-thrillers.
CHARACTERS
 Convicts (declare to be guilty of a criminal by a jury or the decision of a judge in a
court of law.),
 criminals,
 assassins,
 down-on-their-luck losers,
 innocent
 victims (often on the run),
 prison inmates,
 danger women,
 terrorists, cops and escaped cons,
 Private eyes (a private detective.),
 drifters,
 people involved in twisted relationships,
 World-weary men and women and more.
THE THEMES
Of thrillers frequently include
 terrorism,
 political conspiracy,
 pursuit, or romantic triangles leading to murder
ELEMENTS OF A THRILLER
There are Six Elements of a Thriller
STORY START WITH HOOK
The best way to hook someone who’s seeking a thrill is to start with an
action scene.
NOTE The action hook may or may not be related to the story as a whole.
But it sets the tone for what the reader can expect throughout. Hopefully.
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EXAMPLE
 E.g. Bond movies always starts in the middle of some life or death
situation that he’s required to bomb, shoot, or ski his way through to
safety.
HERO A LARGER THAN LIFE CHARACTER
Your hero should be someone who’s capable of achieving the grand task
you’ve set before him.
VILLAIN EVIL AND POWERFUL ENOUGH TO EXACT TROUBLE
ON A GRAND SCALE
EXAMPLE
 E.g. Dave villain is only a programmer, smart enough to hold the
National Security Agency hostage with his unbreakable code. To crush
the NSA would have disastrous effects on the security of our country,
and the world.
SETTING EXOTIC
Thrillers take us away from the mundane, everyday geography of our lives.
We want to see foreign countries, romantic cities, the deep ocean,
STAKES HIGH ENOUGH
The stakes have to be on a grand scale assassination, terrorism, biological
warfare something that will affect the masses, Have a far-reaching effect.
HERO’S GOAL TO STOP THE PLANS OF THE VILLAIN
In a thriller, your character is not solving a crime that’s already been
committed. Your hero’s ultimate goal is to prevent a powerful villain from
achieving his plans of great destruction.
ROAD FILMS

DEFINITION it journey on the open road (or undiscovered trail(ዱካ)), to

search for escape or to engage in a quest for some kind of goal either a
distinct destination, or the attainment of love, freedom, mobility,
redemption, the finding or rediscovering of on self, or psychologically or
spiritually.
Road films have ranged in genres from westerns, comedies, gangster/crime
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films, dramas, and action-adventure films.
ARTHOUSE FILMS
DEFINITION it is where the audience expects that the filmmakers will not
follow the normal rules of constructing a story.
NOTE When this is done well it can be very good, but often the films fail
because a big part of the pleasure of watching a film is anticipating what
will happen, but being surprised by the detail of how the story unfolds.
MOCKUMENTARY FILM GENRE
DEFINITION a Film within this genre has the look and feel like
documentary but is purely fiction. The idea is to satirize hypocritical
institutions and thinking.

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 CHAPTER EIGHT
ACTION
ACTION
DEFINITION it is the basic unit of screenwriting in script to tell story
visually, that describe what happens in the scene, including physical and
psychological(related to the mental and emotional state of a person.) movement,
when combined with a character’s dialogue, action helps to tell the story.
ACTION TELL ABOUT CHARACTER
People are what they do, not what they say, and therefore character is
action! Who attempts the action or endures the action happening to
them, so that action tell story for the audience about
 CHARACTER’S ATTITUDE
EXAMPLE
 E.g. Alex is through the acts of rape and violence; these choices of
actions tell Alex’s attitude to the audience.
 THEIR CHANGE
EXAMPLE
 E.g. William Wallace undergoes a character change when an English
Commander publicly executes his bride (Catherine McCormack);
provoking William to abandon his life as a family man and sends
him down a warrior’s Path.
 OR GIVES INSIGHT INTO THE CHARACTER’S CORE.
EXAMPLE
 E.g. Action demonstrates a character’s core in the case of Luke (Paul
Newman) in Cool Hand Luke showing the audience that no amount
of physical, emotional or psychological action performed against
Luke will break his rebellious foundation.
PATTERN OF ACTION
Intensity and amount of action is 3 type
 STEADY ACTION
DEFINITION It is Maintains the same amount of action throughout the
story
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  RISING ACTION
DEFINITION It is builds from begging the story and reaches a peak at the
end.
 RISE AND FALL ACTION
DEFINITION Rising and falling from time to time.
WRITING ACTION
In Action description what you are seeing in your mind's eye suggests to
the producers and director how the film will look when it's shot also for the
camera is the best and most effective way of telling your story.
Note dialogue in narrow column become eats screen time in a way that
action does not.
CAMERA DESCRIPTIVE TECHNIQUES
Not mean specific camera angles zoom…, Instead you should write simple
descriptive sentences that convey the crucial elements of the human
interactions which move the story forward.
 Think how people look at each other;
 how they react to what someone does;
 And how they react to what someone says.

1. Think like a camera - but don’t write the camera. Thus you don’t write
Medium Shot or Long Shot, but describe what you would see if the camera
was placed in that position. Similarly if you write a long sentence with
commas that picks out several things to look at the reader will assume you
are writing a PAN or DOLLY SHOT;
1-CAMERA ANGLES
Don’t write camera angles unless the angle is absolutely essential to
understanding the action
EXAMPLE
 E.g. CLOSE ON the Ambassador’s wife’s hand as she slips the key into
James Bond’s pocket; or PULL BACK TO REVEAL the Ambassador
watching from the balcony above, or you have some splendid CRANE
SHOT opening where you absolutely need to indicate how they might
go about achieving the desired visual result.

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2-PUNCTUATION USED TO CAMERA VIEW
Use punctuation to create the visual impression you require.
Don’t forget to focus on how the conflict is playing and use your descriptions
to increase the sense of tension or suspense. Think how gunfight scenes are
shot to focus closer and closer in upon the action and to use surreal low
angles to intensify our emotional response
3-QUICK CUTS
Whereas if you write staccato (series of short, detached sounds or words.) sentences they
will assume that you intend to make quick cuts.
4-NEW SHOT
Every time you write a full stop you suggest a new shot
5-A NEW CAMERA PLACEMENT
Every time you move the camera from one set-up to another (e.g. from a table in
a restaurant to the door), this needs to be written as a separate paragraph
indicating a new camera position
6-MOVING SHOT
If you wish to describe a moving shot (whether it be a steady cam shot, a tracking shot or a
pan), write it as one sentence broken up with commas every time important
new elements come into frame.
EXAMPLE
A busy street. A man dodges through the oncoming crowd, ducks left
into a lane, and starts to run.
 E.g. camera is steady but image are out and in in frame she is putting,
go to room, it boiled, other person come and picked up

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 CHAPTER NIGHN
POINT OF VIEW
POINT OF VIEW
DEFINITION it is the choice of narrator and the position of the
narrator an author takes in presenting a story, it indicates through whose
eyes the reader sees what happens, it determined by the authors'
descriptions of characters, setting, and events told to the reader
throughout the story
POINT OF VIEW ANSWERS THE QUESTIONS
 Who is speaking?
 How much does the narrator know?
 And where is the narrator in relationship to the action of the story?
CHOICE OF NARRATOR
FIRST PERSON (NARRATOR USES “I”)
The story is told by a primary or secondary character or an observer
who is an eyewitness to the action in the story.
FIRST PERSON CAN NARRATE
The narrator is a character in the story who can reveal only
 Personal thoughts and feelings But He can’t tell us thoughts of other
characters.
 and what he or she sees
 And what told by other characters.
EXAMPLE
 E.g. If I ran the Zoo, and to Think That I Saw It on Mulberry Street,
and May I Bring a Friend?
Note The first person point of view may present difficulties for small
children, because they are learning their own "I" identity, and may have
trouble identifying with the strange "I" of the story. And telling a story
from one character also limits the amount of information available to the
reader, requiring the reader to add information.

THIRD PERSON (NARRATOR USES “HE,” “SHE,” “THEY”)

The story is told by a narrator who is not a character or part of the
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action taking place.
POSITION OF NARRATOR
LIT OF POSITION OF NARRATOR
1. OMNISCIENT
2. LIMITED OMNISCIENT
3. CENTRAL
4. PERIPHERAL
5. OBJECTIVE
OMNISCIENT

DEFINITION Narrator is all knows (god-like) in every detail of action,

thought, and feeling (conscious or unconscious) outsider who can enter the
minds of all the important characters, can go back and forth in time,
analyzes and summarizes and provides an overview of the scene when
necessary.
Narrator is not a character in the action of the story (third person).
LIMITED OMNISCIENT

DEFINITION Narrator is all knowing but allows the reader has access to
the minds of some but not all of the characters in the story. The
narrator analyzes, summarizes, and can go back and forth in time and place.
Narrator is not a character in the action of the story (third person).
Sometimes the author uses limited omniscient point of view (when only a select
amount of characters are presented omnisciently),
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EXAMPLE
 E.g. Little House stories where LAURA'S actions and thoughts are told
but no other characters. Laura's understanding of Santa Claus. "Santa
Claus did not give grown people presents, but that was not because
they had not been good... It was because they were grown up, and
grown people must give each other presents.
 E.g. In Summer of the Swans, Byars tells most of the story from Sara's
point of view but there are some parts where she tells what is in the
mind of Charlie, her retarded brother. "The whole world seemed to
have been turned off when Sara went into the Weicek's house. His
ticking watch is his pleasure as he listens to it and watches the red
second hand sweep around the dial.
CENTRAL

DEFINITION story is told from the viewpoint of only one primary

character.
Narrator is a character in the action of the story (first person).
PERIPHERAL

DEFINITION story is told from the viewpoint of a secondary character.

Narrator is a character in the action of the story who is "on the edge" of the
action. This viewpoint is useful when including attitudes, interpretations,
and irony which may not be suitable if attached to a primary character. It is
also suitable if an author wants to use a naive character who is unaware of
the implications of what he or she is saying.

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OBJECTIVE

DEFINITION The Narrator gives all information through dialogue and

action. This is the most realistic point of view, most closely resembles day-
to-day living. The reader is not allowed to get inside the minds of the
characters. Narrator is not a character in the action of the story
OBJECTIVE OR DRAMATIC POINT OF VIEW:
DEFINITION There is no explanation to the reader of what is going on or
what the characters think or feel. The camera selects and we see and draw
our own conclusions.
EXAMPLE
 E.g. Incredible Journey is an example. Since the characters are
animals we are not able to know what they think, if indeed they do. We
must imagine their actions and movements or other sensory images.
The old dog walked gingerly into the shallow water, shivering... turning
his head away. Once more the Labrador swam the river, climbed out...
shook himself, and barked. There was no mistaking the command. The
old dog took another reluctant step forward, whining piteously, his
expressive tail tucked under... again the Labrador swam across...
THIRD-PERSON OBJECTIVE
DEFINITION The narrator is an outsider who can report only what he or
she sees and hears. This narrator can tell us what is happening, but he can’t
tell us the thoughts of the characters.
CAMERA NARRATOR
DEFINITIONS it refers to the elements of direction specifically controlled
by the camera scope and movement. The camera is the audience’s ‘eye’ into
a story. However, the audience doesn’t control what that ‘eye’ looks at that’s
the province of the director.
The camera is directing your vision at all times, dramatizing the story
through the motion (or stillness) of the camera, Sometimes the director is
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very overt in their decisions for camera placement and movement, though
sometimes the director is more subtle but either way, the story itself always
dictates the camera’s, and the audience’s, perspective.
EXAMPLE
 E.g. the main protagonist, Oscar literally ‘becomes’ the point of view of
the camera, and we watch the entire film from that 3rd person
perspective as Oscar experiences it.
GENRE AND POINT OF VIEW
MURDER MYSTERY FILM SUBGENRE
Usually told in the point of view of the master detective.
CAPER FILM SUBGENRE
Usually told in the point of view of the master criminal.
DETECTIVE FILM SUBGENRE
Told in the point of view of the detective or cop.
GANGSTER FILM SUBGENRE
Told from the gangster's point of view.
THRILLER OR REVENGE TALE FILM SUBGENRE
Usually told from a victim's point of view.
COURTROOM FILM SUBGENRE
Usually told from the lawyer's point of view.
NEWSPAPER FILM SUBGENRE
Told from the reporter's point of view.
ESPIONAGE FILM SUBGENRE
Told from the spy's point of view.

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 CHAPTER TEN
CONFLICT
CONFLICT
DEFINITION it is the physical and/or emotional struggle of the
protagonist against either internal or external obstacles
It creates through DESIRE + OBSTACLE, your character want, need or
desire mention early on script when obstacles is occur it case for
STRUGGLE (actions and reactions) between opposing forces that creates
SUSPENSE AND TENSION because viewers will want to see how the
conflicts are resolved.
ELEMENT OF CONFLICT
 WANT, NEED OR DESIRE
 OBSTACLE
 STRUGGLE
 SUSPENSE AND TENSION
 SET A DEADLINE
 SHOW THE AUDIENCE SOMETHING THE CHARACTERS DON'T
KNOW
 HIDE INFORMATION FROM THE AUDIENCE
 CUT FROM THE ACTION AT THE CLIMATIC POINT TO A
SUBPLOT TO HEIGHTEN THE SUSPENS
WANT, NEED OR DESIRE
1. Get the prize (money, love interest, respect, job position etc.)
2. Save one's self from destruction
3. Save the world (or some part of it: country, city, tribe, family members)
4. Survival (food, safety, shelter)
5. self- realization (creative & spiritual fulfillment)
6. order: a sense of place in society & the cosmos
7. understanding
8. a desire for knowledge
9. a sense of recognition ( self-esteem )
10. acceptance(a sense of belonging & community)

OBSTACLE
DEFINITION Is any resistance to the main characters want or desire
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all the problems in the world are obstacles
STRUGGLE
DEFINITION Any action and reaction physical and/or emotional to
overcome obstacle
EXAMPLE
 E.g. a quarrel, Disagreement
 E.g. war =warfare
 E.g. Action =fights Fight clash of opposition
 E.g. Fight cancer through medicine and advice
 E.g. Run to escape
 E.g. Challenge in sport, court, dance
SUSPENSE AND TENSION
DEFINITION During struggle suspense and tension create are created
using four element
 SET A DEADLINE
DEFINITION Hero needs to complete something by a certain time
or suffer a loss. That makes for suspense
EXAMPLE
 E.g. the bomb is going to go off in one hour and harm the characters
we care about. As the time counts down the suspense builds, the
closer to zero the more the suspense
 SHOW THE AUDIENCE SOMETHING THE CHARACTERS
DON'T KNOW
DEFINITION The bad guy is hiding to attack the hero. The hero
doesn't know it, but the audience does. The audience is rooting for the
hero but can't let him know he's in danger so they feel tremendous
suspense.
 HIDE INFORMATION FROM THE AUDIENCE
DEFINITION That a character knows, the hero enters a place the
audience thinks is dangerous but the hero knows a secret.
This creates suspense, but when the audience realizes they've been
fooled they feel some resentment for being tricked.
LESS DESIRABLE This technique is less desirable than the
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 previous one of having the audience know more than the hero

 CUT FROM THE ACTION AT THE CLIMATIC POINT TO A

SUBPLOT TO HEIGHTEN THE SUSPENSE
DEFINITION Another good use of subplots is to enhance suspense.
EXAMPLE
 E.g. Our hero's friend has gone out into the woods alone at night to
sulk. The crazy slather steps from behind a tree.
TYPES OF CONFLICT
There is different type of conflict and the more you have in your screenplay,
the better
PERSONAL CONFLICT
 INTERNAL CONFLICT
 AND/OR HUMAN WEAKNESS
EXTERNAL CONFLICT
 THE LAWS OF PHYSICS AND NATURE,
 SOCIETY
 COSMIC
 INTERPERSONAL
 CIRCUMSTANCES (SITUATIONAL) AND PEOPLE (OTHER CHARACTERS)
 MYSTERIES
 ACTUAL PHYSICAL OBJECT AND ANIMAL
 RELATIONAL
 ANTAGONIST
PERSONAL CONFLICT
DEFINITION Virtually every protagonist suffers from some kind of moral
dilemma and/or human weakness in addition to all other obstacles
externally
TYPE OF PERSONAL CONFLICT
There is two type of personal conflict
 INTERNAL CONFLICT
 AND/OR HUMAN WEAKNESS
INTERNAL CONFLICT
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DEFINITION It is struggle within a character’s mind that is based on
internal obstacles it is not visible as physical obstacles every protagonist
suffers from some kind an internal conflict is a good test of a character’s
values.
NOTE The internal conflicts of a character and how they are resolved are
good clues to the character’s inner strength.
IN CHARACTER MIND
1. UNCERTAINTY character faces a difficult decision
2. SELF-DOUBT conflicting feelings
3. MORAL DILEMMA guilt, stress, shame
AND/OR HUMAN WEAKNESS
DEFINITION Flawed character overcomes seemingly insurmountable
obstacles in the pursuit of a goal. If the character was perfect, obstacles are
meaningless.
Character growth the flawed that create Suspense comes from the
audience wondering how the hero will overcome
 E.g. industrialized womanized the battle to save other.
 E.g. A low-level executive struggles against feelings of failure and low
self-esteem.
THREE WAYS TO SHOW PERSONAL CONFLICT
Inner conflict and character flow is the most difficult to show on the
screen.
1. without dialogue external visual way
2. also in dialogue
3. And music.
INTERNAL CONFLICT EXTERNAL VISUAL WAY
 E.g. The drinking, the smoking,
 E.g. The expressions on his face,
 E.g. We see him exchange money to meet a widow, and the self-hating
expression on his face
 E.g. Restlessness,
 E.g. Over thinking,
 E.g. Being unable to relax
 E.g. And having trouble falling asleep are all signs of an internal
conflict that is going on in your mind.
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  E.g. small amount of stress and frustration,
CHARACTER FLOW EXTERNAL VISUAL WAY
 E.g. Womanize he is with girl and sees other girl
CHARACTER FLOW EXTERNAL BY DIALOGS
 E.g. Asking advice
 E.g. by voice over
MUSIC
EXAMPLE
 E.g. A soldier on the battle lacks courage.
 E.g. girl suffers from years of sexual abuse at the hands of her father.
 E.g. politician finds himself on both sides of a political fence
 E.g. A nun (a member of a female religious community,) wants sex,
but her religion forbids it.
 E.g. A parent is clueless about raising children.
 E.g. An upper class teenage girl falls for an impoverished drug dealer.
 E.g. A lawyer knows the client is guilty.
 E.g. jerry wasn’t sure what to do. Friday night was tom party, and he
had already told her she was going. Unfortunately,
 E.g. Rose's inner conflict is that she hates the life she's living. She
feels trapped. She wants out. This conflict is what drives her to Jack
 E.g. Hamlet is all about internal conflict. Hamlet is in a war with
his conscience and his inner conflict is actually resolved as he is dying,
when he realizes that his mother wasn’t a part of planning his father
death
 E.g. she can’t decide which one she love she will be with both
EXTERNAL CONFLICT
DEFINITION Obstacles pressuring your character from the outside
TYPE OF EXTERNAL CONFLICT
 THE LAWS OF PHYSICS AND NATURE,
 SOCIETY
 COSMIC
 INTERPERSONAL
 CIRCUMSTANCES(SITUATIONAL) AND PEOPLE (OTHER CHARACTERS)
 MYSTERIES:
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  ACTUAL PHYSICAL OBJECT AND ANIMAL
 RELATIONAL ANTAGONIST
PHYSICS
DEFINITION
 E.g. Cars run out of gas,
 E.g. ship heat gun that's going to sink
 E.g. Car shot on gas tank it explode
NATURE
DEFINITION
 E.g. people get tired and hungry
 E.g. a bodily harm such as may restrain a person’s freedom of action
particularly weapons, diseases
 E.g. Wind blow
 E.g. Obstacles include physical limitations Wheelchair.
 E.g. fatuma and everyone in his family had been having a great time
perfect day. But suddenly her grandfather heart attack
WITH SOCIETY
DEFINITION Within the character’s social environment
 E.g. When Fatuma decide to take up wrestling (fighting), she w, all the
wrestlers as her school had been boys
 E.g. chemical release to river
RELATIONAL
DEFINITION With a love interest, family or friends, work colleagues
COSMIC
DEFINITION versus God or Satan
INTERPERSONAL
DEFINITION Conflict a conflict going on between the main two
characters in the story that make goal is impossible
 E.g. The two characters belong to different classes, which makes
being together impossible.
 E.g. The next element is a difference in philosophies. Jack believes
in living in the moment. Rose believes in being prudent and careful
about her choices.

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  E.g. The next element of conflict is that Rose is engaged. She's
getting married and her husband is right there on the ship
ACTUAL PHYSICAL OBJECT AND ANIMAL
DEFINITION Obstacles can very well be actual physical objects and
animals arbitrarily placed in front of a character path
 E.g. River, hill, very, slope
 E.g. endurance test like scaling a prison wall or climbing
 E.g. Bullets and bombs are a common obstacle in any cop, war or
crime thriller.
 E.g. dog Animals are widely used
MYSTERIES
DEFINITION Obvious obstacles are the questions, what happened,
and where is this person
CIRCUMSTANCES AND OTHER PEOPLE
DEFINITION circumstances and people in some Condition that make
difficult the situation
CIRCUMSTANCES
 He fall in star
 When he comes ticket it is over
 Traffic light
 His leg stack
 he forget money go buy gift her
 you don’t have enough money to buy house
 roadblocks
 loss job company reduce people
 failures like test,
HERE IS A LIFE EXAMPLE
 E.g. the roofer ladder fell over and he has to go to the restroom in the
worst possible way. All of the other roofers have gone to lunch, and he
is alone. He has a need, but the obstacle is the ladder that fell
over. What he going to do? Yell, scream, try and find another way
down this roofer need motivates him to ACT and over-ride the obstacle
OTHER PEOPLE
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DEFINITION other people Condition that makes difficult the situation
 Skepticism(accepting opinion),
EXAMPLE
 E.g. He try to explain to police to get in but he didn’t listen him he
say go back place sire other way…
 Secrets,
 arguing,
EXAMPLE
 E.g. When Oliver found the shoe department, there was only one
pair of size 13 sneakers left on the sale rack. As he reached out to
grab them, so did another person, “Excuse me,” said Oliver, holding
tight to one of the sneakers
 E.g. When you in hurry but secretary is in phone
 Passive aggressiveness,
EXAMPLE
 E.g. His father is sick when he try to go job test
 Different class
 You lose job because your boss not like you
 P.O.V. - the way they SEE the world
EXAMPLE
 E.g. Vegetarian, Devout Christian/Muslim/Buddhist/Scientologist,
Conscientious Objector, Dreamer/ Idealist/Sociopath/Saint etc.
ANTAGONIST
DEFINITION The greatest obstacle that resist the goal
 A boss gets greedy.
 A wife is jealous.
 A best friend wants the same girl/guy.
 A doctor performs illegal operations.
 A terrorist plants a bomb.
 A Wall Street financial advisor cheats 1000s out of their investments.
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  A soldier is shot by a member of his own platoon.
 A politician uses a baby as a shield against a snip
 A loved one is taken hostage
TYPE OF ANTAGONIST
There is two type of antagonist
 EXTERNAL ANTAGONISTS
 INTERNAL ANTAGONIST
THE BEST RULE TO FOLLOW
SINGLE
Antagonist should be a single
MORE POWERFUL
Than your protagonist if you put the two of them into a room together,
the audience should have no doubt that the antagonist would kick the
protagonist ten times out of ten when protagonist win get goal.
EXTERNAL ANTAGONISTS
DEFINITION The greatest obstacle of all is the antagonist, determined
to stop the protagonist from reaching his/her goals
INTERNAL ANTAGONIST
DEFINITION Protagonist must have an internal flaw that makes his
external goal particularly difficult for him to achieve, It nice and simple
when that the same person, but it often two different people, who has
intense possible version of that same flaw, who opposes to overcome
his internal flaw.
separate internal antagonist If your primary antagonist is opposed to
your protagonist internal flaw, then you need to have a separate
internal antagonist whose job is to prevent your protagonist from
overcoming his internal flaw.
SEQUENCE OF DEFEAT ANTAGONIST
When your protagonist defeats that character, then the audience will
know that he has overcome his flaw and is well on his way to achieving his
external goal
EXAMPLE
 E.g. When MARK (husband) announces that he is going to leave
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 Vanessa (wife), thus making it impossible for JUNO (girl who give her
baby to adapt) to achieve her goal of finding a great couple to adopt her
baby. This event, along with the fight that Juno has with BLEAKER
(boyfriend), causes her crisis of faith in humanity, so she has to
consult with her father/internal mentor in order to figure out how to
proceed. Once JUNO has rejected MARK, thus removing him from the
picture, she is able to figure out the right way to proceed with her
external.
 E.g. in film fired a gun three times, he dropping his pipe and falling
into the ocean. Rains shallow place in a river or stream that can be
crossed on foot up and moved quickly to the rail, mystified. He sees in
the direction from which the shot had come, but it was like trying to see
through a blanket. He clamped upon the rail and balanced himself
there, to get greater elevation his pipe, striking a rope, was
knocked from his mouth (obstacle). Tear came from his lips as he
realized he had reached too far and had lost his balance. The cry was
off short as the blood-warm waters on his head.
AMOUNT OF CONFLICT IN SCRIPT
Every scene should have some element of conflict, 90% of your script
must be conflict. If everybody agrees on everything or the
characters don't face any resistance there’s a good chance your scene
is boring, quickest way to make these scenes interesting is to add conflict
TECHNIQUES FOR EFFECTIVE CONFLICT
in your scene, create a main goal for your protagonist with a main
obstacle antagonist that is preventing him from achieving that goal, and
break this down goal and obstacle into smaller goal and
obstacles use these
EXAMPLE
 E.g. Archaeologist Indiana Jones wants to obtain the Lost Ark by
digging for it in an ancient city in Egypt.
HIS GOAL is to get the Lost Ark, which is contain the Ten
Commandments and to possess the power of God.
THE MAIN OBSTACLE to his goal is that a French archaeologist is
already helping an army of Nazis dig for the Ark in Egypt So, to
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 overcome this large obstacle, Indiana Jones must follow the Ark in
several stages of action, each of which has its own smaller obstacles.
NO CONFLICT SCENE
Noted that in rare circumstances, you can get away with no conflict, so as
long as you have a purpose for not using conflict, it's okay.
EXAMPLE
 E.g. in order for the scene in Nothing Hill she invites he up to her hotel
only to find her boyfriend there (a scene heavy with conflict), we
needed a few scenes with the two having a great time together. So
eliminating the conflict in those previous scenes actually made the
conflict stronger in this one.
CONFLICT HANDLING
PREVENTION OF CONFLICT
DEFINITION It can be prevented by taking action, before an actual
conflict has developed. Some of the methods for doing this consist in
encouraging mutual consideration and building mutual obligations, i.e.
"If I help you/are nice to you, you will help me/be nice to me" and vice versa
IN GENERAL, creating similarities between people tends to remove the
risk for conflict.
AVOIDANCE OF CONFLICT
DEFINITION It refers to a case in which conflict action is expected (because
of actual conflict generating features or experienced grounds for conflict is there), but does not occur,
because ignoring or It also refers to the case where the parties "agree to
disagree", where avoidance is used to prevent the continuation of a conflict.
COMPROMISE (partially wins, partially lose)
It is a symmetrically regulated type of conflict handling, where all parties
inhibit their claims and demands to some degree, so that mutual
compatibility between the claims can be reached
DOMINANCE AND SUBMISSION
DEFINITION It occurs when conflict is terminated by one party winning
dominate (be right) and another party losing submit (accept, agree)). If the
conflict and what is to be gained or lost is kept fairly restricted and
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regulated, dominance and submission. If the conflict is unrestricted (as in
war) victory, defeat and extermination appear as other ways in which
conflict can be terminated.
CONFLICT RESOLUTION (Resolve (remove grounds for conflict))
DEFINITION A conflict is resolved if the experienced causes for the
conflict are removed. This usually means that it is not enough to only cease
conflict action to resolve a conflict. The conflict parties should also feel that
there are no more grounds for conflict. Resolving a conflict, thus, often
involves changing attitudes of revenge and hatred by excusing and
forgiving the other party
CONTROL AND STANDARDS
DEFINITION In studying how conflicts are handled and settled, it can
have some interest to determine who controls this process. In principle, at
least three cases can be distinguished.
(i) THE PARTIES THEMSELVES (ONE OR BOTH)
DEFINITION This is probably the most frequent case. If the settlement is
symmetrical, both parties participate in the control. If it is asymmetrical,
one of the parties dominates and dictates conditions.
(ii) THIRD PARTY
DEFINITION Third party control occurs when a conflict is handled and
settled by bringing in a third party
EXAMPLE
 E.g. A negotiator
 E.g. A therapist or a judge, Disputes in court are typically settled by a
judge.
 E.g. In the case we are studying -the academic seminar - the chairman
can, to some extent, have this third party role.
(iii)IMPERSONAL STANDARD
DEFINITION Both when the conflicting parties themselves or a third party
is controlling a conflict settlement, they can make use of impersonal
standards such as the law, scientific method or a lottery.
THE COOPERATIVE-COLLABORATIVE MODE
DEFINITION It is building agreement creating a good atmosphere
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Cooperation involves friendly corrections and miner improvement, non-
submissive acceptance and agreement, contextualizing and relativizing your
own position, suggesting alternatives, friendly additions.

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 CHAPTER ELEVEN
DIALOG
DIALOGUE
DEFINITION It is what characters say for audience, for himself and
conversation between two or more people for expressing idea although
It is better to show, but if the information cannot be shown visually in a
character’s body language or actions then using interesting dialogue is must.
NOTE TV is more talk than film, usually because of lower budgets, and
because as a medium, television is more explicit, whereas film is more
implicit.
DIALOG ELEMENTS
Most lines of good dialog have 5 common elements:
1. Economy
2. Simplicity
3. Vernacular speech(the language spoken by the ordinary people of a country or region)
4. Invisibility
5. Progression
FUNCTION OF DIALOG
Dialog can simultaneously serve many functions
1) Advance the plot (moves the story forward)
2) Communicate facts and information to the audience
3) Reveal and deepen character
4) Establish relationships between characters
5) Comment on the action
6) Connect scenes
EFFECTIVE DIALOGUE
There are some rule to wright effective dialogue
1. KEEP DIALOGUE CONCISE
2. ASSIGN A DIALOGUE STYLE
2.1. DIALOG CATCHPHRASE
2.2. VISUALL AND AUDITORY WORDS SPEAK
2.3. EMOTIONAL WORDS SPEAK
2.4. SWEAR SPEAK
2.5. IMPERATIVES
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 2.6. POINT OF VIEW
2.7. SPEAD OF SPEAKING
[Link]
3. REAL DIALOG
3.1. AVOID SAYING EXACTLY WHAT YOU MEAN
3.2. BEHAVIOR MODIFICATION
3.3. BAD GRAMMAR
3.4. WEAVE THE DIALOG
KEEP DIALOGUE CONCISE
DEFINITION Giving a lot of information clearly in few words for Economy
of dialog
LIST OF AVOID ELEMENT TO MAKE CONCISE
 any words that are not necessary,
 Avoid big blocks of dialogue(big conversation)
 And long speech (one character).
ASSIGN A DIALOGUE STYLE
DEFINITION Look for new and unique ways to say things with good
dialogue you should be able to tell who is speaking without looking at the
character’s name.
 DIALOG CATCHPHRASE
DEFINITION Give your character a vocabulary that something they
say a lot. All of us have certain words or phrases that we say habitually
EXAMPLE
 E.g. No worries
 E.g. Whoa.
 E.g. Cool
 VISUALL AND AUDITORY WORDS SPEAK
DEFINITION Some people speak visually and some speak with
auditory words
EXAMPLE
 E.g. see this,
 E.g. picture this
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  E.g. can you hear that?
 E.g. Does it ring a bell?
 EMOTIONAL WORDS SPEAK
DEFINITION Talk about how they feel.
EXAMPLE
 E.g. Wow
 E.g. cool
 SWEAR SPEAK
DEFINITION Some people swear a lot and some don’t
 IMPERATIVES
DEFINITION Dominant characters speak in imperatives
EXAMPLE
 E.g. Do it now,
 E.g. I insist.
 UNIQUE POINT OF VIEW
DEFINITION Give your character a unique point of view. By giving
your character a unique point of view, a unique way of seeing things,
what they say will be different from other characters
 SPEAD OF SPEAKING
DEFINITION Some people speak slowly, some fast.
 ACCENT
DEFINITION Give your character an accent. Depending on your
story, your character may have a New York accent or a Southern drawl.
It’s okay to write dialogue phonetically, as long as it is easy to
understand
 USE PUNCTUATION
DEFINITION To emphasize style, illustrate a speaking style with
punctuation. (Some people... speak... slowly.)
REAL DIALOG
DEFINITION Should never be literary unless a literature professor is
talking, it must always sound like real unless purposely stylized
 AVOID SAYING EXACTLY WHAT YOU MEAN
DEFINITION Most people don’t come out and say exactly how they
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 feel, they lie, they avoid.
 BEHAVIOR MODIFICATION
DEFINITION Remember behavior modification (We speak differently in front of
the boss!).
 BAD GRAMMAR
DEFINITION Use bad grammar to “keep it real” - half-phrased
thoughts, sentences without verbs, and word-association.
 WEAVE THE DIALOG
DEFINITION Weaves the dialog and don't exhaust your topic
EXAMPLE
 E.g. ABCDEFG is bad, ADBEACFEG is go
 PAUSES AND (BEAT)
DEFINITION Use pauses and (beat) as SILENCE has great dramatic
effect in a cinema. Audiences can imply a lot into a character’s
meaningful silence because Cinema is implicit
BEAT
DEFINITION It is the writer’s way of illustrating to the reader when a
character takes a brief pause between delivering parts of dialogue. The
(beat) is written as a parenthetical, separates different segments of a
character’s dialogue, and is written in lower-case.
EXAMPLE
 E.g. Upon listening to John’s anecdote about his sudden dismissal of
his long-time passion for tropical fish; explaining how quickly he is
capable of switching from obsession to apathy for any given subject,
Susan becomes puzzled. The writer calls attention to her pause and
suggests that Susan would take a (beat) in order to process John’s
statement before coming up with a response.
TEXT (NOSE) AND SUBTEXT
TEXT (NOSE)
DEFINITION is what the character says exactly what's happening in a
scene or what he thinks or feels or what he'll do.
EXAMPLE
 E.g. look! a car while we see a car coming it is beautiful
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  E.g. or I'm bored while the character (and probably the reader too) is
yawning already.
SUBTEXT
DEFINITION is what is unsaid (what a character thinks but does not say), it show what
is really going on (what a character is really saying) thoughts, feelings, judgments,
Conflict, anger, happiness, guilt, envy, pride, any emotion expressing
reversal by a character's actions and reactions but not in the words, the
word is other thing say
Note Actions do speak louder than words.
EXAMPLE
 E.g. A husband comes home late after a long day (and night) at the
office. He’s drunk, with girl hair, a lipstick, walk in exhausted and
enters the kitchen, where his wife washes dishes like they were bongo
drums.
HUSBAND
You okay, honey.

WIFE
(Coldly)
Fine!

And without giving him even the slightest glance, she punctuates her
reply by slamming the cupboard door... Hard! She then promptly exits
the room, leaving her husband standing there We walks into the dining
room, where two places are set, cold but untouched food on one place
setting and empty bottle of wine at the other. Between is a present and
card. The card reads: “Happy Anniversary”.
 She said she was “fine”, but clearly the subtext illustrates she is anything
but. She’s angry, feeling taken for granted, and for good reason we
love it because of the subtext. The writer gives us two plus two, but lets
us do the math, and we feel smart when solve the equation
REMEMBER: SUBTEXT is when you're dating; TEXT is when you're
married…
REASON USING USE NOSE
1. Screenwriters use on the nose movie dialogue when it's dramatically
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 more efficient to say what's happening exactly the way it is. But they
mix it skillfully with subtext.
2. In real life, sometimes emotions are running so high that people do
actually say what they are really thinking. They blurt out their love,
their fear, their hope. But even then, there is almost always a subtext
beneath their directness. Even as your character says, “I love you”
there’s still something that’s not being said.

REASON USING SUB TEXT

1. On the nose movie dialogues have a tendency to be flat and lacking
depth therefore reader/audience being actively engaged in the story by
filling in the gaps of what is expressed but not said.
2. Mostly when saying things straight would bring the character face the
consequences of what he says, and may lose something (including his face).
3. Subtext is often connected to strong emotions like love, hatred,
jealousy, desire, anger, frustration. In such cases hiding one's true
feelings and thoughts is more the rule than the exception. Things get
implied rather than being said explicitly.
STEPS OF WRITHING SUBTEXT
To write movie dialogues with subtext there is two steps:
1. First write your movie dialogue using on the nose dialogue.
2. Then look at ways to say the same thing differently, using subtext,
taking into account your characters, and what we know about them
EXAMPLE ONE
NOISE
She starts to walk away.

MIKE
I don’t want you to go just
yet.

CLAIRE
I can stay a little longer.

MIKE
Let’s talk.

SUB TEXT
She starts to walk away.
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 MIKE
Claire?

CLAIRE
Hmm…

MIKE
(Holds up crossword)
You wouldn’t happen to know
what language they speak in
India, do you

EXAMPLE TWO
NOISE
Mary toys with her food. She looks up at Frank.

MARY
Do you love me?

FRANK
I have to admit that I don’t
really love you very much.

MARY
That makes me feel very
unhappy, but I’ll just have
to get on with it, even
though my heart is breaking.

SUB TEXT
It’s fascinating how much can be revealed by a question that is left hanging
after you’ve cut the answer. Or an answer given to a question that’s not been
asked. Find creative ways for your characters to change the subject, or the
reverse: return to an old subject.
Mary toys with her food. She looks up at Frank.

MARY
Do you love me?

Frank says nothing but stares at his plate.

MARY
I’ll get the dessert, then.
It’s trifle. You’re
favorites.

EXAMPLE THREE
West and Joanne about a possible code violation but west wants to
investigate the case alone
First with subtext, then on the nose
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 WEST
Joanne, why don't you get
yourself a cup of coffee?

JO
Thank you, sir, I'm fine.

WEST
Joanne, I'd like you to leave
the room so we can talk about
you behind your back.

EXAMPLE FOUR
NOSE
Jon could have responded in an on the nose version
JON
Don't worry. I'll terrorize
this guy and have him wake up
next to the severed head of
his six hundred thousand
dollars horse. This should
help him out reconsidering
his decision and giving you
the role.

Apart from the fact that this movie dialogue line is weak - it explains too
much and is unnatural, it could actually put the character in jeopardy if
someone was to hear it.
SUB TEXT
So Jon says instead:
JON
I'm going to make him an
offer he can't refuse.

As we saw the Jon in action before, we know that this line means trouble
and we are left wondering what will happen.
EXAMPLE FIVE
This is a story of a divorced father, George, who has a few months to live.
When he gets fired from his job, he decides to tear down his shack and build
a house with Sam, his estranged son.
The first example of subtext regards the relationship of Sam with his father:
This is what Sam says to his father at the beginning of the story:
SAM
Why don't you just beg some money off
my dad and move into something decent
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 with a real kitchen and a real bathroom?
In itself this line has some truth in it. George's shack is shabby. So Sam does
not get into trouble when he says that.
However, the subtext is clearly "You're such a loser!”
Sam conveys the subtext by using the put down movie dialogue technique
with the intention to hurt George's feelings - especially when he says
"my dad" while referring to his stepfather.
Later on Sam says the following to his father:
SAM
You can't promise me
anything! You don't have
anything to promise! You
live in a garage! You don't
have cable! You're not
hooked up to the internet
because you don't even own a
computer! You don't have a
job!

Again a brilliant line - the subtext is "you're nobody, you've got nothing to
say."
And Sam uses this time the movie dialogue technique known as "list" to
really make his point.
Fast forward: This is a few months later. George and Sam are different
human beings and they have completely transformed their relationship.
George is dying in the hospital. Sam wants to get into his room.
NURSE
Excuse me. I'm afraid no
one's allowed in there now.

And Sam responds

This time - the movie dialogue technique used is "telling it like it is". George
is effectively Sam's biological father.
But this is the first time Sam refers to his father as such in the whole script.
And when he does, what he expresses with subtext is that he loves his father
and is proud to be his son.
SECRETS AND GOSSIP, LAUGHTER AND TEARS
SECRETS AND GOSSIP
DEFINITION Everyone loves learning secrets and hearing gossip. Reveal
important secrets from time to time. Include occasional bits of shocking
gossip about one of the characters.
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LAUGHTER
DEFINITION Even the most serious drama must have lighter moments.
Humor in a story is not about telling jokes. It's about observing our fellow
humans in novel, silly and embarrassing situations that we have experienced
ourselves.
CRY
DEFINITION Everyone loves to cry for some strange reason. Even men
love to cry although not necessarily over the same things as women. Tears of
joy when the hero finally gets his/her reward after much suffering are the
best kind of
Tears.
MEMORABLE DIALOG FROM FILM

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 CHAPTER TWELVE
PLOT
PLOT POINT (TURNING POINTS) (REVERSAL)
DEFINITION It refers to the major events that happen within a story,
each dependent upon the event that proceeds and succeeds Sequence that
connected by cause‐and‐effect (life moments and those moments impact), it is use
story go to forward because when characters journey to word desire there
is different event (plot).
NOTE Aristotle said that a story is driven from the outside by the plot. (This
reflects the belief of his time that the Gods controlled all human destinies.) , Today it is felt that
stories are driven from the inside by the characters. Although the Gods can
cause unexpected things to happen, it is the actions of the characters in
response to those things that make a story interesting.
EXAMPLE
 E.g. love story plot is about Meeting girl, calling diner, spending time
together, Conflict, courtship, Marriage
TYPE OF PLOTS
In one film there will be two or three story therefore There are two three
type of plot in a film regarding to which stories has most screen time.
 MAIN PLOTS (A STORY)
 SUBPLOTS (B AND C STORIES)
 SECONDARY SUBPLOTS
MAIN PLOT (A STORY)
DEFINITION it is the lead characters (or groups) interactions with the
main opponent (opposing force) is called the main plot, it occupies
about 70% of the film’s screen time (most story spin about that)
EXAMPLE
 E.g. a murder mystery in detective with searching murderer
 E.g. brave heart straggle to over through English rule

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SUBPLOTS (B AND C STORY)
B STORY
DEFINITION While the lead character’s interactions with other
characters are called subplot, it occupies about 20% of the total of film’s
screen time.
Main plot relates to what the lead character wants, the subplot relates to
what they need. This explains the popularity of the romantic subplot
EXAMPLE
 E.g. S/he wanted to rule the world, but what s/he really needed was
the love of a good man/woman
 E.g. his goal is to win football his sub plot little sis school problem
 E.g. Big Fish the son is the lead character in the story about his father’s
death, and his father is the main opponent. But in Subplot B father’s
magical life story, the father is the lead character and death is the
opponent
SECONDARY SUBPLOTS
DEFINITION Secondary characters may also have secondary subplots
with each other
NOTE where the screenwriters need to focus as much attention as
possible on the lead character to create the necessary mystery, tension and
suspense
EXAMPLE
 E.g. Big Fish the son is the lead character in the story about his father’s
death, and his father is the main opponent.
But in Subplot B father’s magical life story, the father is the lead
character and death is the opponent. And secondary Subplot the
father’s story has another story inside it which is about the love affair
between the father and the mother
C STORY
DEFINITION is relief, comic (About 10% of screen time).Your film’s C
PLOT Comedies are light-hearted plots consistently and deliberately
designed to amuse and provoke
GENRES FOR PLOT AND SUBPLOT
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For plot and subplot there is genres most movies have more than one
story or even genre inside them.
PROPER GENRE FOR SUBPLOT
 ROMANTIC SUB-GENRE (dramatic genre)
This subplot in almost any film, but you cannot have a horror or thriller
subplot in a romance or drama (unless it’s a comedy),
 HORROR SUB-GENRE
Wouldn’t have a zombie turning up in a love story, unless it was an
anarchistic comedy otherwise people are either misled about what might
happen or become more interested in the sub plot than the main plot
 COMEDY SUBPLOT
No comedy subplot in horror because they satisfied by scaring happen or
become more interested in the sub plot than the main plot
TRUE ENSEMBLE MOVIES
DEFINITION Ensemble movies are a collection of separate stories, where
no substantial connection exists between the different plots. While the
characters may be interconnected by the time or setting, they are primarily
connected by their themes not their plots. Despite the fact that they have
numerous secondary subplots
DIFFERENT LIST PLOT POINT
TURNING POINTS (PLOT POINTS) (REVERSAL)
Story turning from beginning to middle and from middle to end by two
turning points also called plot points or reversal although there may be
dozens of turning points in a movie, the two are leading into a new act of the
script writer can’t omit.
 PLOT PINT ONE
 PLOT POINT TWO
THE MAGNIFICENT 7 PLOT POINTS
Writer Feel free to play with the order of the following plot points. Repeat or
omit ones to fit his story flow.
 HOOK (DRAMATIC QUESTIONS)
 BACK STORY
 STATUS QUO
 PREDICAMENT
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 FORESHADOWING
 INCITING INCIDENT (CALL TO ADVENTURE)( OPPORTUNITY)
 DEBATE(REFUSE TO CALL) (THE NEW SITUATION)
 FORCED OR MENTOR
 FIRST PLOT POINT
 CONFLICT
 LOCK IN (SET-BACKS)
 B STORY
 FUN AND GAMES
 MID-POINT
 COMPLICATIONS & HIGHER STAKES
 MAIN CULMINATION(CRISIS)( THE DARK MOMENT)
 SECOND PLOT POINT
 FINAL PUSH
 CLIMAX (FINAL STRUGGLE)
 RESOLUTION
 AFTERMATH

137
 STRUCTURE
STRUCTURE
structure gives you the freedom to be creative, It frees you as the writer so you
don’t have to make decisions about the form of the work, thereby allowing
you to concentrate on style and content.
THE HERO’S JOURNEY
Hero’s Journey story template has 12 steps
THE HERO’S JOURNEY TEMPLATE
1. The Ordinary World
2. The Call To Adventure
3. The Refusal of the Call
4. The Meeting With the Mentor
5. Crossing the First Threshold
6. Tests, Allies, Enemies
7. Approach to the Inmost Cave
8. The Supreme Ordeal
9. The Reward
10. The Road Back
11. The Resurrection
12. The Return with the Elixir
EXAMPLE
 E.g. Possibly the most famous films to use the Hero’s Journey story
template is the Star Wars series, Harry Potter movies, Lord of the
Rings series…
STORY WARS: HARRY POTTER vs. STAR WARS
Star wars anew hope (Harry potter and philosophers stone); synopsis
Luke skywalk (Harry potter) is an orphan living with his uncles and
aunt on the remote wildness of tattooing (subunit)…
TRUBY’S STORY STRUCTURE
Screenwriting analyst John Truby has developed a `Classic Story Structure’
template which runs somewhat contrary to the Syd Field 3-act structural
paradigm.
Problem/Need

138
the situation affecting the hero and
what's missing within the hero
Desire or what the hero wants
in the story
Opponent the character
competing for the same goal as
the hero
Plan how the hero will
overcome the opponent and
succeed
Battle the final conflict that
decides who gets the goal
Self-Revelation
the fundamental
understanding the hero
gains about him or herself
which fulfills the
need

New Equilibrium
the world back to normal with
the hero at a
higher or lower point

ROBERT MCKEE’S SCREENWRITING METHOD

Screenwriting lecturer Robert McKee teaches a combination of the 3-act
Aristotelian model, and `classical’ five-part narrative structure. This
involves:
inciting incident
progressive complications
crisis
climax
resolution

THE STORY MAP

Another story tool is the following template, as promoted by screenwriting
139
instructor John Vorhaus in his book The Comic Toolbox:
Who is the hero?
What does the hero want?
The door opens
The hero takes control
The spanner is thrown in the
works
Things fall apart
The hero hits rock bottom
The hero risks all
The hero wins

BARRY PEARSON’S STRUCTURE

Yet another structural guide, this time from screen structure teacher Barry
Pearson.
This paradigm applies to a 100-page screenplay.
THE SETUP: The first 10 pages sets up the Hero or Bonding character
(villain, or monster, or potential love-interest).
THE BONDING EVENT: between pages 9 and 18 an event occurs which
brings the Hero into contact and interaction with the Bonding Character.
NB THE OPPOSING/ATTACKING FORCE note that the Bonding Event is
typically the culmination of a sequence of Backstory events set in motion
and propelled by the evil or negative force in the story (the
Opposing/Attacking Force).
THE LOCKING EVENT: occurs between pages 20 to 35. Introduces a turn
of circumstances that alters the relationship between the two major
characters, so that they cannot easily disengage from each other.
ESCALATING EVENT: occurs somewhere between pages 40 to 55. There is
a development that raises the stakes for the Hero and Bonding Character,
the
ESCALATING EVENT: This event often raises matters to a life-and-death
issue.
SENDING YOUR HERO TO HELL: from pages 60 to 75 - a sequence of
developments wherein the Hero tries to accommodate, adjust to, and escape
from - the situation of jeopardy in which he or she finds himself or herself.
THE PLAN THAT FAILS: pages 75 to 85 - the Hero plans to defeat the
140
forces opposing him. The Hero puts a plan into motion - and locks horns
with the opposing force or forces, in an effort to defeat them.
THE HIDDEN WEAKNESS: the Hero's plan has failed and he or she looks
to be utterly, finally defeated. Now there is a sequence in which he or she
discovers what appears to be a hidden weakness in the opposing force or
forces.
THE PLAN THAT SUCCEEDS: occupies pages 85 to 95 the Hero having
discovered the hidden weakness of the opposing forces, initiates the "plan-
that-succeeds" and the Hero battles and defeats the opposition.
THE WIN AND THE PRIZE: pages 95-100 Following the Hero's victory,
there is a final sequence in which the writer dramatizes the Hero's new
status and situation, and allows the audience to vicariously savor the Hero's
victory, even if it is bittersweet -which it often is.
ECO & THE JAMES BOND PLOTS
In his book The Role of the Reader Umberto Eco has analyzed Ian Fleming’s
Bond novels for a basic narrative template:
1. M moves, and gives a task to Bond.
2. The villain moves, and appears to Bond.
3. Bond moves, and gives a `first check’ to the villain or the villain gives
`first check’ to
4. Bond.
5. Woman moves, and shows herself to Bond.
6. Bond consumes the woman: possesses her, or begins her seduction.
7. The villain captures Bond.
8. The villain tortures Bond.
9. Bond conquers the villain.
10. Bond convalescing enjoys the woman, whom he then loses.
11. This structure obviously also applies to many of the films in the Bond
franchise.
DAVID SIEGEL’S NINE-ACT STRUCTURE
David Siegel, WWW design legend and author of Designing Killer Web Sites
has invented his own structural film story paradigm. His Nine-Act Structure
runs thus:
Act 0: Someone Toils Late into
the Night.
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Act 1: Start with an image.
Act 2: Something bad happens.
Act 3: Meet the Hero (and the
Opposition).
Act 4: Commitment.
Act 5: Go for the wrong goal.
Act 6: The reversal.
Act 7: Go for the new goal.
RICHARD MEGAHIT STRUCTURE
In a 120-page script:
Prelude = 10 pages
Act 1 = 30 pages
Act 2 = 45 pages
Act 3 = 30 pages
Resolution = 5 pages
IN THE PRELUDE
the first ten pages of the screenplay, the writer must "hook" the audience by
creating empathy for the protagonist, hatred for the antagonist, and
establish the primary objective of the story. This is the most important
section of the screenplay.
IN ACT ONE
the conflict between the protagonist and antagonist is further developed up
to the first plot twist.
IN ACT TWO
the conflict is further "complicated" up through the second major plot twist.
By this time about 85 minutes of screen time will have passed.
IN ACT THREE
the climactic battle between the protagonist and antagonist will occur. The
action will be extremely intense and very fast, ending with the victory of the
hero over the villain.
THE RESOLUTION
scene of the story will be the shortest, showing that the protagonist has
achieved his primary objective and showing his victory being celebrated by
the community.
VIKI KING'S INNER MOVIE METHOD
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It The Inner Movie Method: How To Write a Screenplay In 21 Days builds
on the `screenplay
1. FIRST MINUTE: (FIRST PAGE!)
In the first minute, you will know everything you need to know about a
movie: you will see a place, a time, and a mood. Is it a big picture? With a
musical overture and large vistas? The size and scope of the story are
revealed right away. In the first minute, we also see the POINT OF VIEW.
EXAMPLE
 E.g. in the Dirty Harry movies; "This is a dirty world and someone’s
got clean it up" - If possible, start with a visual metaphor for your
whole story. Also, put a `page-turner’ at the bottom of the page to get
the reader hooked.
We have to know who it's about, too. Start with your main character if
you can.
2. PAGE 3
Find a line of dialog that expresses the central theme
(e.g. Jake Gittes in Chinatown "You have to be rich to get away with
murder.")
3. PAGES 3 TO 10
What's it about? Whose story is it? What does he/she want? What's
stopping him from getting it? Do we like him/her? Or care what happens
to him? Why?(show vulnerability, engender audience empathy) Do we
care if he/she gets what he wants? Are we wondering what happens next?
Make sure all the main characters are introduced in the first 10 pages.
4. PAGE 15
The `Inciting Incident’ the event that triggers the story, and propels the
hero into action.
5. PAGE 25 OR 30
The First Turning Point. The story takes a sharp left turn. First Act ends.
The Second Act begins…
6. PAGE 45
The `Act 2 metaphor’ (a symbolic scene or action that gives a clue to the
story’s resolution.
7. PAGE 60
The `Point of no return’ our Hero commits totally to his/her goal After
143
 this, a lighter moment; breathing space. Show the hero changing.
8. PAGE 75
a New Development the hero's just about to give up...
9. PAGE 90
The Second Turning Point, end of Act 2 - an event that "educates" the
hero about how to achieve their goal. They have an epiphany. Act 3
begins…
10. THE CLIMAX – 95-110
The hero can see their goal, but faces the final obstacle – the final
moment of truth – all or nothing. They find their inner strength, and
devotion to something bigger than themself.
11. THE END – I.E. LAST 3-5 PAGES
The Resolution. Remember - the goal is to touch the audience deeply,
and affect them profoundly.
THE SCREENPLAY BEAT SHEET
Page Scene Event Story beat
1 1 Place, Time, Mood.
The Visual
Metaphor.
2 2
4 3 Thematic Dialog
Line
6 4
8 5
10 6 What’s it about?
12 7 All characters
intro’d?
14 8 P.15 –Inciting
Incident
16 9
18 10
20 11
22 12
24 13
26 14
28 15
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30 16 1st Turning Pt –
Act 2
32 17
34 18
36 19
38 20
40 21
42 22
44 23 Act 2 Metaphor
46 24
48 25
50 26
52 27
54 28
56 29
58 30 Midpoint
60 31
62 32
64 33
66 34
68 35
70 36
72 37
74 38
76 39 75 - New Dev’t
78 40
80 41
82 42
84 43
86 44
88 45
90 46 2nd Turning Pt –
Act 3
92 47
94 48
96 49 Climax begins
145
98 50
100 51
102 52
104 53
106 54
108 55
110 56 Climax peaks
112 57
114 58 Resolution
116 59
118 60
120 FADE OUT

146
 ACT I (SET UP) (EXPOSITION)
ACT I (SET UP) (EXPOSITION)
DEFINITION it is one of the most important part in script ,in which movie
will take all the information that need to story rolling and grab the
reader/audience to demand that to keep reading/watching by hooking and
dramatic quotation rise.
It accomplishes the first quarter or 25% of the screenplay, for a two hour
movie, Act I would last approximately 30 minutes in 30page
ELEMENTS OF ACT ONE (SET UP)
BEGINNING
1. PRELUDE
1.1. OPENING IMAGE
1.1.1. ESTABLISHING SHOT (PIG PICTURE)
[Link]. IMAGE
[Link]. SETTING
[Link]. POINT OF VIEW
[Link]. CONCEPT THAT SETS THE STAGE FOR THE STORY TO
COME
[Link]. TONE
[Link]. THEME (If you can best)
[Link]. GENRE (if you can best)
1.1.2. THE ESTABLISHING SHOT (THE CHARACTER'S WORLD)
1.1.3. THE MASTER SHOT
1.2. STATUS QUO
1.2.1. TRUE BEGGING(HOOK)
1.2.2. TONE
1.2.3. THEME
1.2.4. GENRE
1.2.5. PROTAGONIST WORD
1.2.6. INTRODUCE PROTAGONIST
1.2.7. PROTAGONIST INNER AND OUTER NEED
1.2.8. PROTAGONIST CHARACTER FLOW
1.2.9. PROTAGONIST BACK STORY
1.2.10. GIVE AT LEAST A GLIMPSE OF ANTAGONIST
1.2.11. PREDICAMENT OR STACK OR FIRST OBSTACLE
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 1.2.12. INTRODUCE MAIN CHARACTER
1.2.13. AND HIS OR HER DAY TO DAY ROUTINE OR WAY OF LIFE
1.2.14. INTRODUCE MAIN GOAL
1.2.15. INTRODUCE CONFLICT
MIDDLE
2. INCIDENT
3. REFUSE TO CALL THEN FORCED
END
4. PLOT POINT ONE
5. LOCKED IN
PRELUDE
DEFINITION it is beginning of first act (first ten pages) of the screenplay, it
is the most important of the entire script. It hold establishing shot and
statutes quo Writer must immediately grab his/her reader emotionally by
the hook then set up also the audience hook by creating empathy for the
protagonist, hatred for the antagonist, and establish the primary
objective(main goal) of the story.
OPENING IMAGE
DEFINITION To overview the audience understands where the
subsequent action will take place it is used at begging of film or scene
KIND OF OPENING IMAGE
 ESTABLISHING SHOT (OPENING IMAGE)
 THE ESTABLISHING SHOT (THE CHARACTER'S WORLD)
 THE MASTER SHOT
THE ESTABLISHING SHOT (BIG PICTURE)

DEFINATION it is at begging of story show world of story may not

include any actors to set audience mined by upcoming post (to overview the
audience understands where the subsequent action will take place.), in a big picture with
music classical or visual metaphor (picture with verbally sound background)
Where possible the establishing shot should be from a high angle to give a
148
bird's eye
IT ACCOMPLISHED on In First minute (first page)
STRONG IMAGE
A strong image is establishing very good sense all kinds of things about the
film mood, atmosphere, tone, location, genre and sometimes
especially theme for your whole story and for the eye picks up details much
more quickly than the ear if verbally added audience is likely to miss
information on environment visually therefore is better big picture with
music classical
ELEMENT OF BIG PICTURE
1. IMAGE
DEFINATION it is iconic image that has important role in film
EXAMPLE
 E.g. The taxi in Taxi Driver
 E.g. Leave in he send message on it
2. SETTING
DEFINATION You will see a place, a time, and a mood
2.1. TIME
DEFINATION The year, decade, or century in which the story's action
occurs.
EXAMPLE
 E.g. Present or past in 1999 day or night
2.2. PLACE
DEFINATION The location, both generally and specifically, of the
events occurring
EXAMPLE
 E.g. working place in shop, home, town,
2.3. ATMOSPHERE
DEFINATION The prevailing mood presents in the story
EXAMPLE
149
  E.g. Village girls making cock children playing mood, Noise of the
city Bird sing wolf sound
2.4. TIME SPAN
DEFINATION Actual length of time that passes during the action of
the story
3. CONCEPT
DEFINATION That sets the stage for the story to come
EXAMPLE
 E.g. Long ago, in a galaxy far away, a controlling government called
the Empire takes control of planets, systems, and people. Anyone who
resists is dismissed
4. POINT OF VIEW (P.O.V)
DEFINATION The way they see the world
EXAMPLE
 E.g. Vegetarian, Christian/Muslim/Buddhist/Scientologist,
Conscientious Objector, Dreamer/ Idealist /Saint Etc.
 E.g. In the Dirty Harry movies; "This is a dirty world and someone’s
got clean it up
5. TONE
6. GENRE
7. THEME
EXAMPLE FORM FILM
 E.g. think of the opening image of witness the serene and isolated calm
of wind over a wheat field. It’s the world of the AMISH the non-violent,
unhurried world into which city violence will soon be introduced. It’s a
great contrast with the next image to come the noise of the city. This is
a great opening image because it also suggests the climax (which takes
place in the grain silo the villain is killed by the spill of grain as the
townspeople keep him surrounded).
 E.g. the opening image of silence of the lambs is a dark, misty forest,
through which tome is running as if in a dream.
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  E.g. The Untouchables opens with the planting of a bomb in a local
establishment and explosion. An innocent girl dies in that explosion,
which quickly suggests the depth of corruption responsible for such an
action. It visually pits good against evil from the start.
THE ESTABLISHING SHOT (THE CHARACTER'S WORLD)
DEFINATION it is a very wide angle shot that shows the locale of the
scene. This familiarizes the audience with where the scene is taking
place.
EXAMPLE
 E.g. imagine a distant shot of a mountain castle during a lightning
Storm at the beginning of an old horror film.
THE MASTER SHOT
DEFINATION It is wide enough to include all the actors. If you are
shooting on film and have a very small budget this may be the only shot you
can get.
TONE
Very quickly you want to establish the tone of the script is it a serious film, a
comedy, a fantasy, a spoof? Let people know right away that it is okay to
laugh, to cry, to dream, etc. it accomplished in page 1
EXAMPLE
 E.g. killed the townspeople keep him surrounded
 E.g. Eccentric man running and fall
STATUS QUO (ORDINARY WORLD)
DEFINITION is the existing state or condition of characters (Their day to day
realities, it shows their current life situation) in a film. And must establish identification
with your hero by making her sympathetic, threatened, likable, funny
and/or powerful
It accomplished in Pages 3 to 10
EXAMPLE
 E.g. so here, in the first scene of the movie, we meet Sandy and Diana
protagonist and antagonist in direct conflict with one another.
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USE OF STATUS QUO
 Character wants throughout the course of the film status quo can be a
decisively motivating factor for the main character
 The status quo is important before the conflict arises, and what the
characters have at stake to lose if the status quo cannot be maintained.
EXAMPLE
 E.g. introduced to Tom and his suburban middle-class family. Tom
owns and operates a diner and coffee shop in town and is a seemingly
normal average-Joe member of the community. His children go to
school, and life goes on for the family very like how it has for the past
twenty years or so. This introduces the audience to the Stall family's
status quo; how their lives are before the dramatic opposition is
introduced: the events which will try to thwart the Stall's comfortable
status quo and drive a wedge between members of the family in hopes
of breaking them apart.
 E.g. Josh, a normal twelve year old boy who lives with his average
family in a regular town and spends his days doing typical twelve-year-
old boy things:
Playing video games,
Taking out the trash,
Riding his bicycle
And daydreaming of what life will be like when he's a grown
up and can do whatever he wants.
Josh's status quo, what the boy's life is like before a series of events
unfolds that changes his life forever. Josh mysteriously and magically
turns him into a full grown man overnight. It challenge to Josh's
previously established status quo; since there's no way he could
possibly explain this sudden and unexplainable transformation to his
parents, Josh must head out into the world
Get himself an apartment,
A job, and an adult life with the mental attitude
TRUE BEGGING
DEFINITION searching right moment in which story begin (specific scenes),
as late as possible without losing anything essential.
True beginnings don't need to be set up. That's why they are called
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beginnings!
WRITERS ASK THEMSELVES TO BEGINNING THE STORY
 Is this the true beginning?
 Is this the point before which there is nothing?
 What would be lost if I started on page eight? Or eleven? Twenty-two? If
nothing would be lost by starting on page eleven, start there.
EXAMPLE
 E.g. a beginning screenwriter would setting up to start the story by
focusing on the bad marriage, perhaps letting us see an argument then
separation, the true beginning which is the moment the wife leaves.
And this is the true moment to begin because the story is not about the
marriage but about the father's relationship to his son.
 E.g. The Fellowship of the Ring – Gandalf explains `the ring situation’
to Frodo while the black riders are outside, searching for it…
 E.g. Raiders of the Lost Ark – the dissertation about the Lost Ark, and
why it must be found before the Nazis get to it, is given to some
`ignorant’ outsiders (army intelligence), so that Indy can become
“Morrie the Explainer” in a lecture room.
REASON FOR TRUE BEGINNING
If writers start scenes too early or if set up is first there is no hook and
unnecessary for story
HOOK
DEFINITION after big image, in the begging of the film, there is Hooks
scenes early in your story that grabbing the reader/viewer's immediate
attention not only that, it should create enough mystery to keep the
audience wondering what's in store
Start in the middle of a mess (a confused and problematic situation) to hook audience
fast
CREATE TENSION AND MOTIVATE
It rises question What happen? , tell me more next and what's in store
EXAMPLE
 E.g. tom never saw a dead man before, let alone [Link] begins by
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 creating question what is happening and who killed those men?
VISUAL HOOK
DEFINITION The hook can be very effective when it is purely visual.
EXAMPLE
 E.g. In germen city one man spying on them and is excited about what
he's seeing.
We really don't know the details yet, we only know the guy (not even the hero)
until he calls up the hero or helper and what he's discovered does, the
dialogue begin, minutes into the film. We want to know what happens next!
HOOK DIFFERENT THAN SPINE OF THE STORY
DEFINITION The hook doesn't necessarily have to "hook into" the spine of
the story. It can have to do with a subplot or even with the atmosphere or
backdrop of the story.
it accomplish 1-5 page
EXAMPLES OF HOOKS
 E.g. The hook in The Graduate is about Benjamin's general situation
there is nothing relating to Mrs. Robinson or Elaine here, who soon
comes to the center of the story.
We have a young man who has just graduated from college and has
no idea what comes next. Many of us can identify with that, and even
if we can't we have reason to want to know what is going to happen to
him.

 E.g. tom is led away at gunpoint, a victim of mistaken identity (4/5

min.).
 E.g. Atlantic City: Dave steals a stash of drugs from a phone booth,
propelling the subplot that will inform the main story (2 min).
 E.g. a space craft is on the ground, aliens collecting samples of plants
(1 min.).
 E.g. Johnny is trying to get the courage to propose to Loretta (4 min.).
 E.g. The protagonist-spy crashes a divide into parts by coming in
under the ice of a lake (1 min.).
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  E.g. Where is tom? The star won't go on (1 min.)
 E.g. at minute four, we get the story hook the toys come to life
then set up we’re introduced to the major players: Mr. potato head,
slinky dog, Bo-peep, etc. relationships are hinted at and we see that
woody is the leader of this clan.
 E.g. In The Graduate, the fact that Benjamin is lost without plans for
the future, wanting only to have a different summer
This enough for us to want to know what is going to happen to him it
is Quiet stories.
EXAMPLE
 E.g. an American reporter goes to the Australian outback to meet an
eccentric crocodile poacher and invites him back to New York City. -
Crocodile Dundee
 E.g. Two unemployed losers raised on TV decide to rob a bank Idiot
Box
 E.g. A man kept locked in his house for 30 years by his overly-
possessive mother now out into the outside world. - Bad Boy Bubby
 E.g. A young girl bets her prized telescope she can prove to the young
town that her new neighbor is not an alien. - Sally Marshall Is Not an
Alien
WORLD OF THE STORY
As the story begins, you will introduce the world of the story
 Where does it Take place?
 What is different and interesting to this World?
 What are the rules of this place?
EXAMPLES
 E.g. In the first minutes we establish Woody’s world, consisting of
Andy’s room.
INTRODUCE CONFLICT
in the first scene of the movie Try to have your story’s exposition revealed
through a scene with underlying conflict or overt action going on, rather
than just two or more “talking heads

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EXAMPLES
 E.g. Sandy and Diana protagonist and antagonist in direct conflict with
one another.
 E.g. The Fellowship of the Ring Gandalf explains the ring situation’ to
Frodo while the black riders are outside, searching for it…Raiders of
the Lost Ark – the dissertation about the Lost Ark, and why it must be
found before the Nazis get to it, is given to some `ignorant’ outsiders
(army intelligence), so that Indy can become “ Morrie the Explainer” in
a lecture room.
 E.g. Terminator – the “time travel and Terminator robot” scenario is
explained to Sarah Connor during a car chase while actually escaping
from it.
 E.g. Titanic – the crew are shouting on a ship’s deck, during a
submarine recovery operation.
THEME
Find a line of dialog that expresses the central theme because a reader or
audience will get restless if they don’t have a good theme of the story within
the first five minutes (PAGE 5) of a movie.
Sometimes it’s enough to have just a sense of the central conflict.
EXAMPLES
 E.g. you have to be rich to get away with murder.
 E.g. “do big things” George’s father tells him that in their own small
way, he feels they are doing big things at the Building and Loan; they’re
satisfying one of the most basic needs of human beings by helping
them own their own homes.
INTRODUCING PROTAGONIST
Physical, psychological and sociological by an interesting, clever and
evocative introduction to your main character at the same time. E.g.
physical the way of dressing, walking, age
EXAMPLES
 E.g. Psychological he worries about other toy when and put them in
garbage he refuse to go with him to collage
 E.g. sociological And Relationships are hinted at and we see that
Woody is the leader of this clan.
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  E.g. In the first images of toy story we’re introduced to Andy and his
favorite toy sheriff woody (our protagonist). Physical and
psychological Andy playing Woody’s and takes him back upstairs and
lays him on his bed introduces us to personalities
MISSING FROM YOUR PROTAGONIST'S LIFE
The protagonist may have a problem, but it’s a problem she’s always had
EXAMPLES
 E.g. Unemployed single mother who can’t find a job, it’s her status
 E.g. He didn’t have girlfriend ever
 E.g. His mother and father dead
PROTAGONIST WEAKNESS (CHARACTER ARC) CHARACTER FLOW
We see the protagonist’s flaw in relation to the stakes character.
The main character’s Weakness(s) must be clear so that the later obstacles
can attack that weakness in the second act.
EXAMPLES
 E.g. we see the protagonist’s flaw in relation to the stakes
character (antagonist): This scene we also see how easily Sandy is
duped by Diana, showing his flaw. Note that Diana may not be a stakes
character at this moment in time, but she becomes one as the story
progresses.
INTRODUCE ANTAGONIST
FIRST GLIMPSE ANTAGONIST
Be sure to give us at least a glimpse of your Antagonist.
Introduce your Antagonist by
 Glimpse Antagonist by a conclusion reached on the basis of evidence
and reasoning. Or characters simply talking about him or her
 actually showing him or her to us
 Big entrance showing what they do best.
 Introducing a problem or crisis that has actually been set in motion
by the antagonist.
 or introduce a mystery, which is what you do when you’re going to
keep your antagonist hidden to reveal at the end

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EXAMPLES
 E.g. At work, Sandy Patterson answers his cell — it’s a woman from the
fraud protection department who says they’ve just stopped his identity
being stolen. She asks if he wants to take out their protection plan. We
see that she’s an overweight woman, Diana, making the call from a
mall in Florida. Sandy gives her his financial details and she silently
celebrates
NEXT AMPLIFY ANTAGONIST
Amplify what we already know about Antagonist
EXAMPLES
 E.g. At home, Diana makes another fake credit card. Her whole house
is a forgery den. This scene amplifies what we already know about
Diana not only is she a con artist, but she’s elevated forgery to an art-
form
 E.g. That night, Diana enters a club; she calls herself Sandy and starts
a tab with his fake credit card. She starts chatting to a couple of guys.
Later, she’s incredibly drunk and buying rounds for everyone as they
chant her name. She falls down, but is okay. The barman tells her these
people are only her friend because she’s buying them drinks.
 Outside the club, Diana is arrested by two cops. She throws up on one
while doing a Breathalyzer test. At the precinct, she has a mug shot
taken.
FINALLY ANTAGONIST BECOME STAKES
The antagonist become stakes the antagonist or deflector threatens to take
the stakes character away from the hero
EXAMPLES
 E.g. Later, the officer says Sandy is in the clear, but Daniel says he has
to let him go. Daniel is the deflector character who threatens to take
away Sandy’s job, which would take Sandy further away from his real
stakes character(s) his family. Unless…
INTRODUCE MAIN CHARACTERS
Introduce the rest of your main characters as soon as possibleLet us know
physical, psychological and sociological Give them a scene in which they
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stand out from the others for reader follow them and not get confused.
EXAMPLES
 E.g. After big image and introduction of woody we then move into the
“staff meeting” scene which reintroduces us to our supporting cast, this
time demonstrating their personalities, and confirms Woody’s role as
the leader of the toys (and even sets up a romantic relationship with Bo
Peep which will come into play again later). This is all establishing the
status quo of their world, but Toy Story takes it one step further as the
announcement of the birthday party brings out one of the themes of
the film as well the fear of losing your friends of being replaced.
 E.g. at minute four, we get the story hook: the toys come to life. At
this point we’re introduced to the major players: Mr. Potato Head,
Slinky-dog, Bo-Peep, etc.
PREDICAMENT
Sets up identifies difficulty situation that will be central to the story,
with first state possible obstacles.
EXAMPLES
 E.g. her father is very hard gay, show he’s power kicking other person
who refuse accepting he’s idea, he want she go to box class. But she
wants dance school.
 E.g. Andy put all toy in basket he is pouring playing with them but
woody risk them
The obstacle is Andy’s birthday party and a covert toy-style mission to
see if there are any new, bigger and brighter, toys to be worried about.
Every toy’s deepest fear is that they will be replaced and Andy will no
longer love them.
 E.g. toy story Woody’s predicament in the film, his fear of being
replaced, both as Andy’s favorite toy, and as the alpha toy in the room.
This predicament sets up the Main tension around which the story will
be built: Will they fall in love? Will they rob the bank? Will they escape
alive? Will they do all three?
BACK STORY
DEFINITION it is an event (any action or dialogue) that generally takes place
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before the movie begins. The Back Story is some past emotional shock
following a stressful event that affects the character’s attitude and behavior
throughout the movie.
WAY TO SHOW BACK STORY
 AT FIRST SCENE
Sometimes, moviemakers show the Back Story as the first scene in the
movie and then cut to “years later” where the present-day movie begins.
 A FLASHBACK
Other times, they show us a flashback of the Back Story at some point in
the movie.
 THROUGH DIALOGUE
Usually, the back story is revealed through dialogue. Because the story
should be linear. The events of the story should be told in the order they
happen, or at least in the order that makes for the most interesting
experience, so the audience feels they are on a journey of discovery.
Proper sequencing also makes for suspense and surprise.
FORESHADOWING
DEFINITION An author’s use of hints or clues to suggest events that will
occur later in the story, not all foreshadowing is obvious.
Frequently, future events are hinted at through
 dialogue,
 description,
 the attitudes
 Reactions of the characters.
PURPOSES OF FORESHADOWING
Foreshadowing is serves two purposes
 It builds suspense by raising questions that encourage the reader to go
on and find out more about the event that is being foreshadowed.
 Foreshadowing is also a means of making a narrative more believable by
partially preparing the reader for events which are to follow.
DEUX EX MACHINA
DEFINITION One of the biggest storytelling mistakes is to write yourself
into a corner where there is no way the hero can escape and then just solve it
through some previous unmentioned device. It's called "deux ex
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machina" which Very roughly translates as "the gods decided to fix
everything".
Your audience will hate you for leading them on. The solution is called
foreshadowing.
EXAMPLES
 E.g. If your hero is trapped with the monster closing in when he
suddenly finds a bow and arrow and makes one perfect shot to kill the
monster
Your audience will hate you.
 E.g. Instead have a shot of his childhood room complete with a bow
and arrows and trophies for marksmanship, then later when he he
enters the trap show a bow and arrow on the floor beside the skeleton
of the last victim of the monster.
Now your audience will think you are a clever writer when you have the
hero pick up the bow and shoot it perfectly.
 E.g. A group of teenage couples go to stay in an isolated cabin in the
woods for the weekend in your slasher screenplay. One of them
comments on the huge bear trap hanging on the wall. The audience will
think it very clever when the hero remembers the trap and uses it later
to save himself.
INCITING INCIDENT (CATALYST) (CALL TO ADVENTURE) (THE OPPORTUNITY) (BIG
EVENT)
DEFINITION When a movie begins, life is in balance. Yes, the protagonist
may have a problem, but it’s a problem she’s always had it’s her status quo.
Then something kicks things out of balance (hero is hit by a major blow by the antagonist)
(First perception of the predicament to come visual) and gives her a new problem or
desire or opportunity. That will create the main tension of the story. It’s
catalyzes your hero to go into motion and to take initial action.
Note Notice that the desire created here is not the specific goal
EXAMPLE
 This is when the detective is assigned the case,
 where Boy meets Girl,
 And where the Comic Hero gets fired from his cushy job, forcing
him into comic circumstances.
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  Two now each other one day she told him she is deported,
 When he sees sells man car,
 Hearing the Gunshots that made him go to the rail,
 Boy kidnaps
EXAMPLE
 E.g. Sandy realizes he’s not getting that bonus. Ever. Is he going to
be able to survive with another kid on the way?
DEBATE (REFUSE TO CALL)
DEFINITION A period of the thinking deeply without decision by
 serious consideration only,
 self-doubt,
 reluctance (ግትር),
 unwillingness,
 When the hero doesn’t know what to do,
 When the hero doesn’t know what he need
 Hero when Afraid what happen on them
 Perhaps don’t see call important
 They have responsibility not want leave family.
FORCED
If he (or she) doesn’t make a decision because most heroes not go to conflict
by voluntarily to act, they are forced to do react
It accomplish in page from 15-29 page
EXAMPLES
 E.g. Ben (his friend and mentor) tells Luke about a world where the
Empire rules and Rebels fight back, how Luke must face Darth Vader
(antigens) the man who killed Luke’s father and now seeks to destroy
Luke too. Luke refuses, but when he goes back to his farm, he finds his
family has been killed. He has no choice but to join.
 E.g. Woody’s refusal culminates, tries to keep his authority by saying
just it is new toy, but is slowly take a position of power by Buzz when
his flaws of pride and jealousy cause him to pick a fight with Buzz. .
 E.g. In harry potter there’s a whole sequence of Harry’s uncle trying to
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 prevent Harry from receiving his invitation to Hogwarts’s school.
THE STAKES
DEFINITION The stakes have to be clear in order to show the audience
how and why this tension is important to them, or more importantly - what
will happen if the character does not solve his/her problem. It should be
huge a matter of life and death.
THE PROTAGONIST DECIDES HE / SHE MUST ACT TO SAVE
THE STAKES CHARACTER
EXAMPLES
 E.g. Later, Sandy is looking at his call register on his cell and realizes
he knows Diana.
The officer says he needs her to be here, not in Florida.
Sandy says he can get her. He will bring her back and convince her to
get him his job back.
Daniel (police) is reluctant to let him go, but gives in and gives him one
week. Sandy rushes out — that’s all he needs.
At home Sandy calls the hairdresser in Florida for their address.
He packs and argues with Trish (wife) who’s afraid he’ll get hurt. He
shows her the mug shot of Diana again, saying she’s not dangerous. He
says goodbye to the kids.
Sandy makes the big decision at the end of Act 1 he must go to Florida
to bring Diana back within one week. He thinks he’s just saving himself
and his family, but he will in fact end up saving the movie’s other
stakes character as well Diana.
HOPE/FEAR (STAKES)
Good storytellers will be very clear about what we hope and fear for the
main character as same as her or his INNER NEED.
EXAMPLES
 E.g. We hope George Bailey will defeat Mr. Potter.
 E.g. We fear Potter will drive George and his family into ruin(and
George possibly to suicide).
Our fear for the character should be the absolute worst case scenario:
in a drama, mystery or thriller we’re talking madness, suicide, death,
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 ruin. In a comedy or romance the stakes are more likely the loss of
love.
Our awareness of the stakes may grow along with the main character’s
growing awareness, but it most stories there are clues to the bigger picture
right from the beginning
PLOT POIANT 1(INITIAL ACTION) (FIRST THRESHOLD)
DEFINITION It is decision to initial reaction does the main
character take because of incident, it really didn’t have any direction
and everything he did seemed to be reactionary to the event that
happened and it set overall goal is established.
It turns the narrative drive of the story into a new direction making us
wonder what's going to happen next then from Setup of Act I and into the
Confrontation of the Act II.
It accomplished near the end of Act I (around pages 25-30)

Note The first plot point may be as shocking as the death of a loved one or
as gentle as the touch of a hand. Both actions have the power to launch a
great story.

EXAMPLES
 E.g. Star Wars: Luke comes home to find his aunt and uncle dead
and he joins Obi-Wan to fight back.
Inciting incident (cause) Luke comes home to find his aunt and
uncle dead
First plot point (effect) he joins Obi-Wan to fight back
 E.g. Harry Potter: Harry finds out he is a wizard and he goes to
Hogwarts to learn magic.
Inciting incident Harry finds out he is a wizard
First plot point he goes to Hogwarts to learn magic
 E.g. Erin Brokovich: Erin forces Ed Masry to give her a job.
 E.g. Woody’s refusal culminates when his flaws of pride and jealousy
cause him to pick a fight with buzz.
Both toys fall out of the car and Andy’s family drives away, leaving woody
and buzz on the pavement. The two have now become lost toys!
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This is the moment when woody and buzz cross the first threshold and
move us into act two, point of no return. Woody and buzz are no longer
in the ordinary world but the special world, which will force them to grow.
The energy of the story changes here because the two have a new desire to
get home (main goal).
UN PREDICTABLE AFTER PLOT PINT ONE
Plot point one, are usually surprises, Audiences know that something grand
will happen eventually. They might even know what the result of that event
will be. But don't allow them to guess the details of the event itself or you'll
spoil the surprise.
EXAMPLES
 E.g. Star Wars audiences know that Luke Skywalker will eventually be
called away from the safety of his family and into training. They may
also guess that, as a result, he will have to fight Darth Vader, but they
don't know exactly how these proceedings will transpire.
Stories that hint too thoroughly at upcoming events become overly
predictable and less exciting to watch.
 E.g. in Zorro, the young brother meets his future mentor. He must
choose to fight the villain now or follow this instructor and heed his
advice to wait. His decision tilts the plot toward the true story the
training of a legend.
OUTER AND INNER DESIRE (WANT AND DEEP NEED) (OVERALL DESIRE AND
NEED)
One of the most important steps of creating a story, from the very
beginning, is identifying the protagonist overall desire and need in the story.
WANT (OUTER DESIRE) (OUTER MOTIVATIONS) (OVERALL DESIRE)
DEFINITION What does the character want? It is outer event influencing
on main character, he/she will want something immediately
 E.g. he wants to have sex with the love interest.
 E.g. He want to be rich
 E.g. She want to divorce with her husbands
NEED
DEFINITION it is inside land, underneath surface in main character mind
and heart desire
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KIND OF NEED
There is three kind of need
 INNER MOTIVATIONS
 DEEP NEED
 NEED
INNER MOTIVATIONS
DEFINITION It is something underneath surface, the reason why s/he
want, it show how badly does he/she want something, what are the lengths
he/she is willing to go to get it in and that need really driving the character
want.
It answers to the question, why does the character want this (the outer
motivation)?

DEEP NEED
DEFINITION it is character true want, the character will know that s/he
wants that outer desire, but probably have very little idea that what she
really needs is the inner desire.
And in good characters, those inner and outer desires are in conflict.
EXAMPLE
 E.g. George wants to see the world (boring little community can’t wait to escape),
to do big things, design big buildings it is external goals. But his deep
need is to become a good man and community leader like his father,
who does big things and fights big battles
But every choice he actually makes in the story defers his external need
to escape, and ties him closer to the community, It’s a story of how an
ordinary man becomes a true hero.

NEED
DEFINITION When the hero doesn’t know what to do, how to do the need
for s/he want most time overcome the character flow
EXAMPLE
 E.g. it’s usually true that the external desire will be a selfish want
something the protagonist wants for him or herself, and the inner need
will be unselfish could be said that the arc of a character is almost
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 always about the character realizing that s/he’s been obsessed with an
outer goal or desire, when what she really needs to be whole, fulfilled,
and lovable is (fill in the blank).
INTERNAL AND EXTERNAL DESIRED CONFLICT
DEFILATION
EXAMPLE
 E.g. external desired He want to be rich by leaving his home internal
desired but he has doubt and do not want leave his parent
OBJECTIVE
DEFINITION A character’s objective or goal is what drives him. This
should be very specific, very clear. How badly does he/she want something
and what are the lengths he/she is willing to go to get it.
LOCKED IN (optional)
DEFINITION at first act concludes the main character is locked in to
predicament (something predicated difficulty) because plot point 1 fails, that push the
hero forwards into a new direction (new quest) to try accomplishing a specific
goal.
WAY OF LOCKED IN
Identifies that predicament for the audience and then, as the first act draws
to a close It locks the Protagonist into that predicament because plot point
1 fails, Plot point 1 fails because Not aware of really needs, will usually go
about getting what wants the wrong way.
This will bring into conflict with other people (both enemies and friends)
 who don’t like what is doing
 Or the way s/he is going about it
 Or what decision does he/she make
That change the script direction that predicament locked in leads to a new
direction to obtain goal new objective throughout the second act the
main tension will be established at the end of the act1
EXAMPLES
 E.g. we set up her father want to go to box class but she go to dance
class when he know he prevent her (locked in)

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  E.g. He lied his girlfriend we set up she separate with her ex by line
when she know she leave him (locked in)
 E.g. It’s in this moment that Woody’s worst fears become reality. He
has lost his position of respect and his friends. His predicament has
been locked in, because he threw buzz in window He want live with
ande and as Alfa toy but he didn’t really need though with window it
cause for conflict and we’re off into Act II.
DRAMATIC QUESTIONS
DEFINITION Screenplays ask dramatic questions throughout the course
of the story; how central conflict is resolved? And does win or lose? It’s the
question on which the entire action of the story hinges.
These questions create tension and motivate the reader to turn to the
next page or to see next minute.
SCOPE OF DRAMATIC QUESTIONS
After locked (plot point) dramatic questions is rise because protagonist decide
to react (accept) central conflict therefore audience want to know how
resolved and does protagonist win or lose, that spins the story into the
second act, finally In a lot of stories, the central question is actually
answered in the climax As soon as the question is answered, the film is
often over.
EXAMPLES
 E.g. How he solve the problem by overcome the character flow
 E.g. poor man want rich how happen and will happen?
 E.g. Will Harry and Sally ever be more than friends?
 E.g. A tennis star’s hands are damaged in an accident. Will she ever
play tennis again?
 E.g. He decide to fight the king he will win or …
 E.g. Will Jon get jerry to give her the information she need to catch
tom before he kills again?
 E.g. Will Sheriff Team be able to kill the shark before it kills again
 E.g. Will the crew of the hero be able to catch and kill that alien before
it kills them?
 E.g. Finally, Sandy realizes what’s going on his identity’s been stolen
by a woman named Diana in Florida equation arise what he do you do
with her.
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REVIEW ACT ONE
DEFINITION First acts are often the most revised and rewritten
sections of the story. It’s also need of cutting and condensing. All these
things have to be done, within such a limited time frame (page frame it has 25 or
30 pages) however it is not a good idea to do a major rewrite at this stage,
unless you are considering major changes in your concept give it a quick
review before moving on and tack not
FOCUSING IN ACTION DESCRIPTIONS
First, look at your script's action descriptions and Imagine that this is a
silent movie that you are writing. Would it work? The more it works as a
silent movie, the more your visual action is pulling its weight.
 Look for economy, letting the verbs do more work than the adjectives.
 Look for places where you can replace dialogue with action.
FOCUSING ON CHARACTER
Next concentrating on character and dialogue.
 Does each of your major characters have a unique voice or do they all
sound alike?
EXAMPLE
 E.g. Dialogue for a Catholic priest will have a different vocabulary than
a drug dealer.
 Look for idiomatic expressions for major characters, a certain verbal
EXAMPLE
 [Link] character may say true blue a lot; another may begin with
Let me think on that a moment a lot. Look for verbal fingerprints,
if you will, for each of your major characters.
LENGTH OF YOUR SPEECHES
Look at the length of your speeches. Cut wherever possible.
 Look Sentence fragments, not complete sentences.
 Look for ways for characters to make quick verbal exchanges, rather
than long speak.
IN ACT I SETS UP THE STORY
 establishes character,
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  launches the dramatic premise (what the story is about),
 Illustrates the situation (the circumstances surrounding the action) , and creates the
relationships between the main character and the other characters
who inhabit the landscape of his or her world.
ACT ONE ACCOMPLISH
Plot point one needs to accomplish the following:
 Push the action in a new direction
 Force the protagonist to make a choice and take a risk
 Raise the central question for the first or second time
 Raise the stakes
 Reverse the action into a new direction
 Force your Protagonist to make a choice but voluntarily proceed into
Act II even though risk is involved
 Once again make us wonder and ask ourselves if your Protagonist will
succeed
 Increased stakes i.e., higher risk, seemingly insurmountable obstacles,
higher reward if successful
 Boiled down, the role of this second sequence is to establish exactly
what the dramatic conflict of the story is going to be. It identifies
that predicament for the audience and then, as the first act draws to a
close, it locks the Protagonist into that predicament. They’ve now
officially started their journey towards whatever their goal in the story
is.

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 ACT II (CONFRONTATION)
ACT II (CONFRONTATION)
DEFINITION This act is the main portion of the story, it is all about
obstacles during struggles to achieve protagonist goal, each sequence
centers on a new obstacle or obstacles and stack increasing difficulty great
detail and intensity.
Throughout the second act, Subplots are typically introduced and the
protagonist should be showing signs of change.
EXAMPLE
 E.g. there is no way that our hero can get out of the jam, he does, only
to end up in a worse jam
It accomplished Two quarters of the film. (For a two hour movie, Act II would last
approximately 60 minutes.)
For dramas, Act two is typically 60 pages and for comedies, 48 pages
ACT TWO ESSENTIAL ELEMENTS
 PROGRESS
 MIDE POINT
 COMPLICATION AND STACK
 MAIN CALUMNIATION
 SECOND PLOT POINT
PROGRESS (TESTS, ALLIES, AND ENEMIES) (Act IIA)
DEFINITION For the next 25% of story, hero's plan seems to be working
as he takes action to achieve his goal. This is not to say that this stage is
without conflict. But whatever obstacles your hero faces, he is able to avoid
or overcome them as he approaches
It accomplished pages 30-60
EXAMPLE
 E.g. Ethan Hunt begins closing in on the villain in Mission Impossible
2
 E.g. Pat gets involved with the woman of his dreams in There's
something About Mary.
 E.g. ERIN BROKOVICH: Erin gathers evidence, gets Hinckley
residents to hire Ed to represent them, and gets romantically involved
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 with George.
 E.g. GLADIATOR: Maximus is taken to be killed, escapes to find his
family murdered, and is captured and sold to PROXIMO, and who
makes him a powerful gladiator.
IT FULL FILL LOGLINE PROMISE
This is the section of the story that fulfills the promise of your premise.
Start answering dramatic question raised
EXAMPLE
 E.g. Toy Story’s premise is: how do two rival toys find their way
home when lost in the real world? Well, they hitch a ride to pizza
planet. They get chosen by The Claw and taken home by the evil
neighbor Sid. They defend themselves against cannibal toys. Each
obstacle gets harder and harder. And it leads us to…
After Buzz and Woody are kidnapped by Sid, they must work together
to escape Sid’s house. Unfortunately, Buzz sees a Buzz Light-year
commercial. He realizes that his laser is fake, his space command
communication device is a sticker, and worst of all he cannot fly. The
realization that he is only a toy makes Buzz spiral into a depression.
Woody works to boost his morale and eventually he is able to convince
Buzz that, even though he is not a space ranger, life is still worth living.
FIRST CULMINATION (MIDPOINT)
DEFINITION The Point of no returns it your hero from reactionary to
stronger action (attack), and sent him main character to make a 180 degree
change in direction/change in emotion/change in anything.
Heroes are taking a much bigger risk, and exposing themselves to much
greater than at any previous time in those films, usually, that first reaction
fails, forcing new actions that precipitate a rising conflict the conflict
intensifies, and the pace quickens until the worst thing that could happen.
PARALLELS TOTHE RESOLUTION
It usually parallels the resolution of the film
 if the story is a tragedy and our hero dies, then the first culmination (or
midpoint) should be a low point for our character
 However, if our hero wins in the end of the film, then sequence four
should end with him winning in some way.
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EXAMPLE
 E.g. Harry witnesses VOLDEMORT drinking a unicorn’s blood and
vows to protect the Philosophers Stone so VOLDEMORT couldn’t get it
and come back into power.
 E.g. that Rose makes love with Jack in Titanic
 E.g. Once on board the Death Star, Luke discovers the princess is
being held as a hostage. He and the group set out to find the princess,
while Ben sets out to find a way for them to escape the base.
 E.g. Thelma and Louise rob the grocery store
 E.g. Erin and Ed file the lawsuit, risking dismissal by the judge, which
would destroy any hope of a settlement.
COMPLICATIONS AND HIGHER STAKES
DEFINITION it is consequence hero tack in mid-point Achieving the
visible goal becomes far more difficult (main obstacle), and your hero has
much more to lose if he fails (stakes), the hero is in real trouble both
internally and externally.
Therefore more important to accomplish the goal
EXAMPLE
 E.g. he begins collecting evidence against the mafia at that movie’s
midpoint, he now must hide what he’s doing from FBI (complications),
and failure will result in either prison or death (higher stakes).
 E.g. After rescuing the princess, Luke and the group try to escape. Ben
sacrifices himself so they can flee, and Darth Vader kills Ben. The
group flees the Death Star on their own ship.
 E.g. Sandy arrives at work. Daniel knows about Sandy’s finances being
screwed. Sandy tries to explain, but the officer arrives and says his
name and credit cards have turned up in a narcotics bust. They have a
warrant to search his workplace for drugs and guns.
 In this scene we learn that not only has Sandy had his identity stolen
but, thanks to Diana, he’s now a suspect in a narcotics ring. The “depth
of feeling” between protagonist and antagonist becomes more evident
as the stakes are raised for Sandy even further.
 E.g. He try to agree with his wife but she her he sleep with 9 girl, that
moving toward the central issue of the story
MAIN CULMINATION (CRISIS) (BLACK MOMENT) (THE MAJOR SETBACK)
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DEFINITION it occurs at the end of the second act and brings the main
tension to a close while simultaneously helping to create a new tension for
Act Three.
The worst of the worst the moment at which successful resolution seems
absolutely impossible because of midpoint he tack action consequence
Finally something that gives them new information or inspiration to
move beyond the “darkest hour” These disastrous events leave your
hero with only one option he must make one, last, all-or-nothing, do-or-die
that is The second plot point
Note The central character faces a crucial decision to fight through the
blackness emotions to find the strength for the final battle using second
point at act3.

EXAMPLE
 E.g. The horrors catch her after big straggle, she fall in her dream see
say jo jo horrors mother she say he stop to cut her…..
 E.g. he is cleaning out his dad’s office and sees a document about
Jenny from Specter.
Thinking this is a woman in whom his dad had an affair, Will drives to
Specter and meets Jenny that moment comes when Will learns his
father has had a stroke. Jenny Hill has just told Will that his
father has been faithful to his mother. Will would finally be
able to have a conversation with his father about it but
because of the stroke, he can’t.
 E.g. LUKE is destroying over BEN’S death, and he is more determined
to fight DARTH VADER and help the Rebels defeat the Empire. Luke
joins the Rebel army, and helps them plan an attack on the DEATH
only weakness
 E.g. she know he sleep with 9 girls
THE SECOND PLOT
DEFINITION it is the point in your story where everything seems to
come to gather for your character and only final injection of new
information that final thing you need to make it happen in the
resolution, He into the battle against. The second plot moves your story to
the effort as he enters and push toward the climax
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EXAMPLE
 E.g. HARRY POTTER Harry discovers the stone is in his pocket
because his motives are pure, and In turn is able to defeat Voldemort.
 E.g. In a mystery, it’s when the final clue is dropped, causing
Protagonist to have all the details needed to solve the puzzle
 E.g. In a romance, it’s when the protagonist realizes he’s in love with
the girl and must now do everything in his power to win her back
 E.g. Toy story Woody hits rock bottom and reaches the in-most
cave or crisis of the story. Both Woody and Buzz are trapped,
Woody’s friends have abandoned him, and he can now see that his
pride has led him astray.
AN ACT TWO CHECKLIST
After you've celebrated finishing another section of your script, go back and
ask some basic questions about your entire Act Two
9. Does the act begin by spinning off the twist that was the plot point at
the end of Act One? Do we see the hero making some kind of
adjustment as a result of that twist? Usually this involves moving into
the new "extraordinary" world of the story, leaving the "ordinary"
world of his/her usual life behind.
10. Do we get a better sense of the person, people and/or forces who
stand in the way of the hero achieving his/her goal?
11. Are you still following all the basic skills of screenwriting?
12. Despite bringing the antagonist/villain forward, is the hero still the
clear focus of the story? In particular, do you have no more than five
consecutive pages in which the hero does not appear - and if so, can
you justify them?
13. Is there another twist midway through the second act, a major plot
point that again demands a reaction from the hero? Does s/he see a
"new goal," or the old goal in somewhat different light and/or more
clearly? Is there a sense that this is going to be much harder than it
seemed at first?
14. Are you creating a "rhythm of tension" by following scenes of high
tension with quieter scenes?
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15. Do the stakes of the story continue to be raised through the second
act?
16. Is the antagonist a worthy opponent - that is, is there a real challenge
and contest here between the hero and villain, protagonist and
antagonist?
17. Are you moving in the direction of the end-of-act plot point, when the
hero may even seem defeated?
18. Does the second act build and move toward the ending plot point that
quickly spins off into a showdown between hero and antagonist? Is
this all set up in the second act? Is "the ticking clock" about ready to
begin as you end the second act?

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 ACT III (RESOLUTION)
ACT III (RESOLUTION)
DEFINITION Something happened at the end of Act Two (crises and second
plot point) that leads the hero to a decision to act, which in turn spins into
the final confrontation (fighting with blackness) the lead character not only
faces up to the enemy for the last time but also confronts their own
problems, all conflict in The main story and subplots are all resolved in
Differing ways, but all with some sense of finality, the feeling that the
conflict is over.
it accomplished It is condensed, fast, organized resolution part from 99-
120 pages

ELEMENT OF ACT THREE

In Act three there is mini beginning (rising action) to set up for the big event
(final push), middle (climax) (the big event happens) to confront and end (falling action) (after
match).

EXAMPLE
 E.g. Hunter thinks of this movement as preparation to act, the action
itself, and the consequences (ending).
LIST OF ACT THREE ELEMENT
1. BEGINING
1.1. FINAL PUSH
1.1.1. MOMENT OF TRUTH(HERO CHANGE CHARACTER ARC) (THE STORY
CLIMAX)(DECISION)
1.1.2. THE TICKING CLOCK
1.1.3. THE RUN-UP TO THE CLIMACTIC MOMENT
2. MIDDLE
2.1. CLIMAX (PHYSICAL (PLOT) CLIMAX) (FINAL STRUGGLE) (FINAL CULMINATION)
(GUNFIGHT) (OBLIGATORY SCENE)
2.1.1. IMMEDIATE AFTER MATCH
2.1.2. RESOLUTION
3. END
3.1. AFTER MATCH
3.1.1. SHOW HERO GROWTH PHYSICALLY
THE FINAL PUSH (SET UP)
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DEFINITION just after the crisis usually come a change because hero
know risk, everything (mostly second lot point (Hero discovered the hidden weakness of the
opposing forces)) therefore Hero initiates the plan (preparing) (set up) or give
everyone strength, confidante and courage hero possesses, to achieve
ultimate goal like his buddy, or love interest and run-up to the
climactic moment for one last confrontation (climax)
EXAMPLE
 E.g. Luke joins the Rebel army, and helps them plan an attack on the
Death Star’s only weakness
 E.g. Sid takes Buzz into the backyard to blow him up and Woody
realizes he must save the only friend he has left. This propels us into
act three and the final push where Woody devises a rescue plan.
TYPE OF CLIMAX
There are really two types of climaxes that occur in many popular movies
 EMOTIONAL (STORY) CLIMAX
 PHYSICAL (PLOT) CLIMAX
THE STORY CLIMAX (THE MOMENT OF TRUTH) (DECISION) (CHANGE)
DEFINITION it is hero inner journey decides to do or become.
The inner journey and the external journey are interconnected when
inner journey (moment of the truth) take place before external climax because
hero decides to do or become (moment of the truth) is affects how hero
will behave or act in the climactic moment
Character flow stop (character emotional growth or change) in the manner in which
he/she chooses to resolve the third act conflict.
Note Generally the moment of truth that makes external climax
moment possible. It doesn’t mean that if hero makes the right decision
that make automatically win but after straggle at climax though that is
usually what happens
EXAMPLE STORY CLIMAX AND PLOT CLIMAX
Below examples are drawn from movies
 E.g. STAR WARS
The STORY CLIMAX occurs when Luke decides to the spiritual force
instead of computerized technology to guide his final…
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 The PLOT CLIMAX occurs when the Death Star is destroyed.
 E.g. MATRIX TRILOGY
The STORY CLIMAX occurs when Neo accepts that he is the ONE and
sacrifices himself to save Zion.
The PLOT CLIMAX occurs when the Machines stop destroying Zion.
 E.g. TITANIC
The STORY CLIMAX occurs when Rose decides to rejoin Jack on the
Titanic instead of staying on the lifeboat she decides to stay with the
man she loves.
The PLOT CLIMAX occurs when Rose throws the jewel “the heart of
the ocean” back into the ocean above the sunken Titanic, then rejoins
Jack in her dreams (or after her death)
 E.g. SHREK
The STORY CLIMAX occurs when Shrek tells Fiona he loves her.
The PLOT CLIMAX occurs when he is eaten by the Dragon, Shrek
kisses Fiona, and the spell on Princess Fiona is broken.
 E.g. LORD OF THE RINGS TRILOGY
The STORY CLIMAX occurs when Frodo decides not to destroy the
Ring. This shows that the Ring is too powerful for any human or hobbit
to possess.
The PLOT CLIMAX occurs when Gollum falls into the lava river
holding the ring which is then destroyed
 E.g. emotional climax occurs when she discovers that (wife and
husband) are splitting up and not planning to offer her baby, two-
parent home she had hoped for adapt her baby.
This is a major important stage in her life she rushes out of the house,
gets into her vehicle, and takes off. Emotions get the best of her. She
pulls over to the side of the road and starts bawling (shout out noisily),
like a baby. Feels lost and scared she’s a high school girl and can’t
handle all of this right now. She comes home and reaches out to her
mam and dad for emotional support and guidance then she became
emotional decision to give her baby.
 E.g. character has been a lack courage the whole time and now, with
the villain about to tack with the treasure and the girl, he has a choice
to make man or mouse. If he decides to go with the old way and remain
gutless, he’ll probably escape his own danger, by lose the girl and the
treasure … and hate himself forever. If he decides he’s not going to
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 discourage away one more time, then he’ll face a new set of
consequences for that choice. The villain and his men will fight him, he
may still lose the treasure and the girl, but he will have done so as a
hero.
 E.g. Before he discover caner he was not love with all people now he
finds a deeper connection with his best friend, the spark of real love
more grown-up relationship with his mother (emotional growth).
 E.g. in the beginning hero choose to lie or cheat to resolve an issue, but
since his arc has taught to his morals, he tries to honestly resolve the
situation.
it accomplished in
THE RUN-UP TO THE CLIMACTIC MOMENT
The run-up to the climactic moment to the location that big event happen
LOCATION FOR ACT THREE
DEFINITION Regarding to climax moment, there is writer choice where
the big showdown location this crucial for action.
That place considering surprising, wonders or can verify that climax
indeed, writer found the right place.
EXAMPLE
 E.g. if action about world destroying villain location will be at amazons
 E.g. if it is romance about
 E.g. If script writing is a thriller about a killer who preys on children,
could the final standoff occur on a playground?
DIFFERENT LOCATION (NEW LOCATION)
DEFINITION Some climax done in a location we haven’t seen yet if your
Act 3 takes place largely in a new location, the run-up begins when the
hero arrives at the new location. So somehow you’ve got to get from the
last item on your Act 2 map to this location. Maybe at the end of Act 2
your hero can set out for the Act 3 location: she picks up her sword and
strides toward the villain’s lair.
EXAMPLE
 E.g. ACT THREE IN THE LORD OF THE RINGS TRILOGY
It is different location just for the final showdown
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 Battles and monsters and betrayals have tried to bar their way, but
Frodo and Sam finally arrive at Mount Doom.
The whole Cracks of Doom sequence is the climax portion
After all the ups and downs, the Nazis really are going to open the Ark
of the Covenant.
SAME LOCATION (NO NEW LOCATION)
DEFINITION But there’s nothing that says your climactic moment has
to be in a different location. If it’s a sports story, for instance, the climax
may occur in the same football stadium
If your Act 3 does not take place in a new location, you can still indicate
the hero’s intention to purposely walk toward the final
confrontation.
EXAMPLE
 E.g. hero arrives at the airport. Villain reaches the underground to
plan, once she enters the airport, she’ll has probably encounter
guards of some kind, who she’ll have to fight. Somehow she’ll have to
encounter something that leads her to the right place. Her goal will
be in sight and she’ll move toward it. But then of course the villain and
his chief henchmen will appear. She’ll deal with all the other obstacles
and finally come face to face with the villain (climax), she draws her
sword and charges in!
 Or he gets to the airport and jumps out of his car not because of his
character, he can’t against the Department of Homeland Security, so he
politely gets back in the car and finds a proper parking space and
places his parking. Meanwhile the airline closes the door on the plane.
She’s on board! He runs across the parking garage and enters the
terminal. He checks a screen to see what gate she’s at and off he goes.
And so forth, right on through to the climactic moment.
THE TICKING CLOCK
DEFINITION The ticking clock involves a race against time. If story
lends itself to this kind of high suspense at the end, by all means use, it
dooms of a ticking clock is absent.
Note Some stories lend themselves to "a ticking clock" more than others
it is optional.
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EXAMPLE
 E.g. Benjamin is racing against time to get to Elaine before she
marries. He is too late but she goes to him even though she has just
been married, and we get the happy ending.
 E.g. in both the ticking clock is strong, regarding whether she can
escape in time and he hurries trying to divert the police and help her
however, she is killed by her father, gets dark ending.
Film noir is perhaps the one popular genre in which unhappy endings
are readily accepted by the audience
 E.g. Tom tries to rescue Eve before she flies off to her death a strong
ticking clock indeed.
 E.g. we have another very strong ticking clock as the boys try to get
tom to the landing site in time while being chased by the authorities.
CLIMAX (PHYSICAL (PLOT) CLIMAX) (FINAL STRUGGLE) (FINAL CULMINATION)
(GUNFIGHT) (OBLIGATORY SCENE)
DEFINITION it is most exciting and gets all emotional attention of the
audience is max.
up to this point, our hero Has been tested, all the alternatives were
presented are eliminated, main character experienced get deep
understanding of the Needs, Wants and fears Give their inner strength
he and There is only one way left, it is ultimate test because to Final
obstacle for fight their last battle often where The main plot and sub-
pot collides, whether it is physically or emotionally
ELEMENT OF CLIMAX
 ANTAGONIST MEET WITH PROTAGONIST
Now ready to confront for the first time see them going against one
another in both direct or nearly direct conflict and have a plan to win
against the other this is your protagonist’s moment of truth, either
lost or won.
 TWIST
In the middle of the third Act is the last test. You shouldn’t believe
the Solution, very often, if it came directly from the Resolution. So you
come with something that once More offers the character a possibility
to try for the Last time, in a different manner in a surprising,
explainable, and motivated change in direction of the action.

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 Note a sense of new and extraordinary action being introduced in
the story's closing sweep.
 IF NO EVIL VILLAIN
DEFINITION If you’re writing a gentle story that doesn’t have aliens
or evil masterminds about to destroy the world, you can still up the
tension in the climax.
EXAMPLE
 E.g. At the end of Never Been Kissed, Josie is standing with the clock
ticking down. She has wounded her would-be boyfriend but has
attempted to redeem herself by writing a confessional article for her
paper. She hopes Sam will forgive her and come to the ballpark before
the clock counts down to zero. Everyone in the crowd is right there
with her, hoping he’ll come, but there’s no sign of him. She’ll lose the
one thing she most wants if he doesn’t come. But he’s not anywhere to
be wait, who’s that? There he is!
That nail-biting moment didn’t involve a single mutant, dragon or
zombie, but it did an excellent job of raising tension and producing an
admirable climax to the story.
Note At any rate, don't be afraid to go for broke here and make the most
dramatic and "big" confrontation your story permits. It's what the
audience paid their money to see.

It accomplished The climax usually happens pretty fast or is at A huge

scene (or series of scenes) . Notice that the climax can occur anywhere from the
90% point to the last couple minutes of the movie. The exact placement
will be determined by the amount of time you need for

EXAMPLE
 E.g. The Death Star arrives in space near the Rebels, and the attack
begins. Luke joins the assault team of fighter ships.
The Rebels suffer heavy losses, and soon Luke is one of the few
remaining pilots and ships. He takes his chance and initiates the final
attack. Guided by Ben’s voice and the Force, he manages to fire the
single, critical shot to explode the Death Star
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  E.g. in Nixon, the gunfight is more psychological, Nixon trapped and
alone, facing his own demons, an ending quite appropriate to this
"classic tragedy."
THE IMMEDIATE AFTERMATH (logical end of climax)
DEFINITION It is situation those seconds immediately right after the
climax, for the audience to get closure on the moment, you need to
complete what you’ve started. You need to get the hero out of that
dangerous place Play out the logical end of the scene
EXAMPLE
 E.g. the train is still going to crash. They’re still surrounded by
zombies. The main villain may have been defeated, but the walls that
were falling down on the hero’s head before are still falling down
Show him grabbing the heroine’s hand and a short fast run out of the
cave just as it collapses.
Show the hero clambering aboard a fishing vessel to be taken to safety.
Show the hero stepping behind a concrete wall just as the house finally
explodes.
Or, in those softer stories, show the boy finally hitting the home run.
Show the woman nailing the high note.
Show the man recovering the puppy at long last.
 E.g. During bomb exploded hero hidden in concrete wall, then he out
by ambulance.
RESOLUTION
DEFINITION after Protagonist comes face to face with your Antagonist or
Antagonistic Forces (climax) it is the falling action, the third act conflict is
complete, character arc complete, all issues Resolved
Central question of your story is finally answered... Does your Protagonist
succeed or does your Protagonist fail? Either way, this is where your
EXAMPLE
 E.g. But the return home is still wrought with tension as Woody and
Buzz chase down the moving van. Some consider this a second final
climax (think horror films where monsters you thought were dead
jump out at the last minute). Woody grows by putting his pride aside
and works together with Buzz to reunite with Andy. As the film closes
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 Buzz and Woody have returned to the new ordinary world with the
wisdom and friendship of their adventure.
Note If the reader is left to draw their own conclusions about the final plot
then the ending is open. Many adults as well as children are disturbed by
open endings

THE AFTERMATH
DEFINITION No movie ends with the resolution of the; there is an event
that is a direct result or consequence from an event, decision or action. It
is one short scene to show after resolution (achieving protagonist goal) or new
ordinary world show the new life your hero is living now this allows the
audience to express joy and release all the final emotional tensions that
have been built up in the climax scene
Note the aftermath is either the price the characters have to pay, or the
characters reward for their actions

It accomplished little to show or explain, and the writer’s goal is to

leave to audience. So the climax occurs near the very end of the film. But
in most romantic comedies, mysteries and dramas, the aftermath will
include the final five or ten pages of the script It accomplish in page
115-120

ELEMENT TO BE SHOWN AT AFTERMATH

There is 4 thing we can see
1. NEW LIFE YOUR HERO IS LIVING NOW
No movie ends precisely with the resolution of the hero’s objective.
You have to show the new life your hero is living now that he’s
completed his journey
2. REMEMBER THE GOAL
The Resolution Remember the goal is to touch the audience heart
deeply
3. SHOWING HIS VICTORY
Celebrated with people or rewording
EXAMPLE
 E.g. He hold is child and go to school and ask who is king of jangle
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  E.g. Woody and Buzz reunited with Andy friends working together
again. Woody, Bo Peep and mistletoe Christmas new presents
Andy gets a dog
 E.g. with the Death Star destroyed and the Empire severely
damaged, the Rebels hold a grand ceremony to honor Luke and his
friends. The princess awards them with medals for heroism
 E.g. Though Luke is still sad over the loss of Ben and his family,
he has found a place among the Rebels, and with them, he will
continue to fight the Empire.
 E.g. Erin gets a $2 million bonus, and continues working with Ed.
 E.g. Maximus is united with his family in death, and his body
carried away in honor by the new leaders of the Roman republic.
 E.g. She meets her brother and shows him her boyfriend dead
body, and say guess that who is beside him.
 E.g. Marriage
 E.g. STAR WARS Luke Skywalker returns to a joyous rebel base
after destroying the Death Star. The community honors Luke and
Han in a celebration in which they are awarded medals for saving
the planet.
 E.g. MATRIX TRILOGY: The Oracle and the Architect meet in a
park and agree that anyone who wants will be free of the new
matrix. The young girl who was born without a purpose joins the
Oracle to watch the rising sun of a new dawn.
 E.g. TITANIC: Rose walks into the Titanic stateroom and up the
stairway to meet Jack by the clock. The ghosts of those who
drowned on the Titanic applaud their reunion.
 E.g. SHREK: The wedding celebration takes place in Shrek’s
swamp.
 E.g. LORD OF THE RINGS TRILOGY: Gandalf, Bilbo, and
Frodo sail off to the west in the Elf ship. Sam enters his cottage
with his wife and two children
4. SHOW THE HERO'S GROWTH
Show hero change is not only for resolving conflict purpose
EXAMPLE
 E.g. IN JURASSIC PARK the hero learns a professional and a
personal lesson: that scientific research has its dangerous side and
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 that he likes children more than he thought he did. Children are
probably in his future with his girlfriend.
 E.g. IN THE GRADUATE as Benjamin and Elaine bus into the
sunset, Benjamin learns that he can find happiness out of the
middle class conformity in which he was raised. Or can he? With
everyone on the bus staring at the couple, the ending may be
double-edged, the comedy blacker than we realize at first.
 E.g. IN NIXON there is no lesson: in this tragedy, Nixon learns
nothing. His tragic flaw, leads to his downfall
 E.g. IN FARGO the hero and her husband have a quiet reflective
moment in bed. We're doing pretty good she says.
 E.g. IN REBECCA FILM the growth is communicated with the
hero's narrative voice
 E.g. IN JURASSIC PARK FILM the children are in the hero's lap,
safe and comfortable, in the lap of a man who thought he hated
children. A knowing look is exchanged between him and his
girlfriend.
 E.g. THE AFTERMATH TAKING PLACE AT THE BEGINNING
when Jerry and GAEAR to kidnap his wife. The rest of the film
demonstrates how Jerry’s wife is kidnapped, and what happens to
the characters in consequence.
ACT THREE CHECKLIST
When writer has final act a draft ask s/himself the following equation
• Does the hero enter the final act, after the second act plot point,
realizing that a final confrontation is coming?
• Is the villain/antagonist looking more formidable (inspiring fear or respect through
being impressively large, powerful, or capable.) than ever?
• Are subplots coming together to increase the tension in the main plot?
• Is there a sense of a ticking clock?
• Does the step now have urgency to it?
• Do scenes move quickly toward the showdown?
• Is the showdown worth waiting for? Are there a lot of visual "big
sequences" in the showdown?
• Is the antagonist worthy of the hero? Is the hero worthy of the
antagonist?
• Does the hero win?
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 • Does s/he learn anything from the movie's journey?
• Are all subplots end?
• Does the audience feel something at the end - is there an emotional
ending?
• Does the story add up to something beyond itself - is there a theme in
the story?
• Is this a story you yourself would pay to see on the screen?
THE PLOT CLIMAX ANSWERS THE FOLLOWING QUESTION:
 What happens to the primary objective?
 Who obtains the objective at the end of the film?
 What is the outcome of the battle between the protagonist and the
antagonist?
 This scene focuses on the things that happen to the protagonist during
his final battle: the events and obstacles that he has to overcome to
obtain the final prize.

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 CHAPTER THIRTEEN
SCENE
SCENE
DEFINITION it is a unit of action that takes place in one location at one
time in screenplay, scene must push the story forward because Scenes are
pieces of the whole movie (It is basic building block of story).
At the end of every scene why that scene is important to the overall movie
must answer.
ELEMENT OF SENSE
Each scene has to establish
 INTRODUCE CHARACTER
Who is in the scene?
 SETTING
Where it is,
When it is,
 PLOT
And what is happening, who wants what in the scene, and how do those
desires conflict? Who wins in the scene?
AIM OF SENSE
Script sense should do four things:
1. Give new information (and/or reveal character)
[Link] bonding (the audience with the characters)
3. Include conflict (or conflict resolution)
[Link] completion (i.e. move the story forward)
AMOUNT SCENE
As a guide, about 15 scenes in first act, 30 in the second, and 15 in the
third and a total of sixty(60) scenes, with an average scene length of
two pages (two minutes per scene).
There is no lower limit to scene length (a short scene’s often a good scene), but as
for an upper limit, four pages is a pretty long scene.
Each of these scenes usually contains a plot beat.
THE GOLDEN RULE
Writing each scene is the golden rule with writing each scene is come in
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late, and leave early is crucial to keep the viewer hooked.
EXAMPLE
 E.g. this means you don’t have to show someone knocking on a door,
waiting for it to be answered, have characters introduce themselves, and
then begin a conversation.
Instead, have the `point of attack’ in each scene as late as possible
namely try to cut into the scene when they are in the middle of the
conversation, and stay only long enough to get the crucial story
information out, other way cut out of the scene.
THE STRUCTURE OF EACH SCENE
Each scene should have a beginning, middle and end
CREATE FIVE MEMORABLE SCENES
DEFINITION Writer know intimately main character’s likes and dislikes,
loves, hopes and fears therefore creating 5 circumstances that would elicit
a very strong reaction from character. (Love, hate, fear, anger, amusement) Thus, create
5 memorable scenes, in line with story’s THEME.
MEMORABLE SCENES TEMPLE
A) What event/circumstance/situation occurs? And B) How do they react?
1. A)____________________________________________________
________
B)
_________________________________________________
___________

2. A)____________________________________________________
________
B)
_________________________________________________
___________

3. A)____________________________________________________
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 ________
B)
_________________________________________________
___________

4. A)____________________________________________________
________
B)
_________________________________________________
___________

5. A)____________________________________________________
________
B)
_________________________________________________
___________

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 CHAPTER FOURTEEN
STYLE
STYLE
Definition it is how the author says something, the choice of words and the
use of language, sentence construction and imagery. It impact to the
author's writing.
ELEMENT OF STYLE
The particular way in which the author uses word
 SENTENCE STRUCTURE
DEFINITION Length & complexity of sentences.
 VOCABULARY
DEFINITION The words chosen by the author.
 TONE
DEFINITION Attitude or feeling conveyed by author's word choice.
 UNIQUENESS
DEFINITION Other devices which make the story unusual or different.
 FIGURATIVE LANGUAGE
DEFINITION Expressions which go beyond literal meaning.
 METAPHOR
DEFINITION Indirect comparison of two things without the use of
like or as
EXAMPLE
 E.g. Bob is a snake in the grass.
 SIMILE
DEFINITION Direct comparison of two things using like or as
EXAMPLE
 E.g. Bob is as sly as a fox.
 ALLUSION
DEFINITION Any reference to a historic, biblical, literary, or
mythical person, place or thing.
 FIGURE OF SPEECH
DEFINITION Is an expression used in a non-literal context to add
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 intensity of meaning.
 PERSONIFICATION
DEFINITION Is a figure of speech that gives human qualities to
inanimate objects, nonhuman organisms, or abstractions.
 HYPERBOLE
DEFINITION Is a figure of speech that exaggerates or uses an
extravagant statement.
Understatement is the opposite of hyperbole.
 SYMBOL
DEFINITION Is a person, object, situation, or action that operates
on two levels of meaning, the literal and the figurative or suggestive.
 Dove: peace,
 flag: nationality of a country,
 Handshake or gift: friendship.
 PUNS OR WORDPLAY
DEFINITION devices of sound
 ONOMATOPOEIA
DEFINITION Is when a word sounds like what it represents.
 ALLITERATION
DEFINITION Is repetition of initial consonants
 ASSONANCE
DEFINITION Is repetition of similar vowel sounds.
 CONSONANCE
DEFINITION Is the close repetition of consonant sounds.
EXAMPLE
 E.g. Once upon a time there was a Mama Duck. She was
sitting on four eggs, waiting for them to hatch. Every day she
said, "Quack, Quack, and Just wait till my babies hatch. I
always have such beautiful ducklings! “One day the shells
began to go Crack. One, two, three baby ducks hatched out of
their shells.
 E.g. "It was so lovely out in the country - it was summer! The
wheat was yellow, the oats were green, the hay was stacked in
green meadows, and the stork walked about on his long red
legs speaking Egyptian, because he had learned that language
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 from his mother. The fields and meadows were surrounded by
large forests, and there were deep lakes in the middle of the
woods. Yes, it was really nice out there in the country. And
right in the middle of the sunshine was an old castle. It had
deep moats, and burdocks that grew on the bank, from the
walls down to the water; the burdocks were so big that small
children could stand under the leaves of the tallest ones. It was
a wilderness - like the thickest forest - and that's where a duck
had her nest. She was sitting on her eggs, but she'd had just
about enough of it because they took so long to hatch and she
rarely had visitors. The other ducks would much rather swim
in the moats than sit under a burdock and gossip with her
 IRONY
DEFINITION Contrast between what appears to be true and what
actually is true. Or Irony is the contrast between what is expected or
what appears to be and what actually is.
 SITUATIONAL IRONY
DEFINITION An unexpected turns of events those results in an
outcome the opposite of what is expected by both the characters and
reader.
 DRAMATIC IRONY
DEFINITION A situation where the reader is aware of a turn of
events affecting the story's outcome, but the characters are not.
Things are not as the characters think they are, and the reader knows
it or this occurs when the audience or reader knows more than the
characters know.
 VERBAL IRONY
DEFINITION A character saying the opposite of what he actually
means.
 FLASHBACK
DEFINITION An abrupt change in time to introduce information
about the pas relevant to the present
 FORESHADOWING
DEFINITION An author’s use of hints or clues to suggest events that
will occur later in the story through dialogue, action, the attitudes and
reactions of the characters or symbols not all foreshadowing is obvious.
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 It the planting of clues to indicate the outcome of the story, Not all
readers will be alert to these. Some may notice them subconsciously and
describe their inferences as guesses or feelings.
PURPOSES OF FORESHADOWING
DEFINITION Foreshadowing frequently serves two purposes.
1. It builds suspense by raising questions that encourage the reader
to go on and find out more about the event that is being
foreshadowed.
2. Foreshadowing is also a means of making a narrative more
believable by partially preparing the reader for events which are to
follow.
EXAMPLE
 E.g. Charlotte's Web: When we first meet Charlotte we are told
that she eats living things and the friendship looks questionable.
But White adds that "she had a kind heart, and she was to prove
loyal and true to the very end. A prophetic statement. Another
clue is when Charlotte assures Wilbur, after he learns of the
slaughter, with, "I am going to save you."
 VOCABULARY
DEFINITION Words used, there is two kinds of words are combined to
add meaning: connotation and denotation:
 CONNOTATION
DEFINITION Is the associative or emotional meaning of a word?
 DENOTATION
DEFINITION Is the dictionary meaning of a word.
 IMAGERY
DEFINITION Words used to create mental sensory impressions
(sights, sounds, textures, smells, and tastes). It creates setting,
establishes mood, or describes characters.

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 CHAPTER FIFTEEN
STEP OF STORY DEVELOMENT
STORY DEVELOPMENT

DEFINITION it is process of foundational elements are assembled

from not clearly to defined shape It consists of the following activities, which
may overlap and may be sequenced in a different order in different
movies because every screenwriter has a personal way of developing a
story.
STEP OF STORY DEVELOMENT
1. GETTING IDEA USE CREATIVE PROCESS
2. THEME
3. GENRE
4. LOGLINE
5. TITLE
6. FORMULATE A PREMISE
7. CHARACTER NOTE
8. CONFLICT
9. SYNOPSIS
10. PLOT POINT
11. EXPLORE THE STRUCTURE
12. SCENE OUTLINE
13. TREATMENT
14. SCREEN PLAY
TO GET IDEA USE CREATIVE PROCESS
DEFINITION Psychologist identified four stages of the creative process
which are common to most creative enterprises including screen, prose,
poetry, song writing and painting.
NOTE These five steps are useful tools for a writer. If the screenplay isn’t
happening, or you’re experiencing writer’s block, you may want to check if
you’re missing one of these steps
LIST OF CREATIVE PROCESS STAGES
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They are:
 GREAT IDEA
 PREPARATION STAGES
 INCUBATION STAGES
 ILLUMINATION STAGES
 VERIFICATION STAGES
GREAT STORY IDEA
DEFINITION it is brainstorming stage to begin writing story, all story
component spin on it (film is about it). Great Story ideas change to great
screenplay.
LIST OF PLACE TO SEARCHING GREAT IDEA
It's just a few sentences that instantly get your attention; it can come from
just about anywhere, whatever form it takes, it must be emotional depth
feeling
 The daily newspaper, a news story, song, watch an old movie, in several
websites etc.
 family talking, moving house, parents separating, something you heard
on a bus or at school
 idea u want teach, people most loving and interesting thing,
 religion,
 Current issue, people daily equation in their mind.
 a person you know who you think would make a great character
 an image (the main character, or the antagonist, or the film’s climax)
 a theme
 a good way to start is by choosing a subject interested in or an
experience
 Almost movies 60% of TV dramas are adaptations of existing stories
whether they come from novels, short stories, comic books, old TV
shows, newspaper articles, real people’s life stories or other TV
programmers.
EXAMPLE
 E.g. straggle to be rich
 E.g. after he deliver babe he become good beaver
 E.g. Tolerance
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  E.g. Small boy teach Mohamed’s love…..
 E.g. Old man tech about country love
 E.g. Searching Italia put wealth
 [Link] setting of wonji
 E.g. Harare introduction
CONCEPT
DEFINITION it refers to the writer to take a well-known story and
reinvent (change so much so as to appear entirely new) it in a different light
or given a different context by what if scenarios
EXAMPLE
 E.g. what if you could go inside someone’s dream to give them an idea
without them knowing it?
 E.g. Artificial Intelligence the concept film combines a story the
audience already knows ‘what if’ scenario (‘what if a robot could act and
behave just like a real child?’), resulting in a retelling that places the story
within a new context.
PREPARATION STAGES
DEFINITION it is per writing stage, in this stage writer need
preparation by research information (research on the story subject) to
gaining the necessary knowledge
KIND OF RESEARCH
There are two kinds of research
 EXTERIOR
 INTERIOR
EXTERIOR
DEFINITION This research is accomplished by interview, observation,
and reading book or internet, especially if character has a particular
profession or a context that requires some special knowledge.
In this regard, sometimes it’s best to figure out how character fits in with
plot structure.
EXAMPLE
 E.g. if you are writing a story with a policeman as a protagonist spend
time with a policeman or by reading books (particularly memoirs)
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 written by policemen, by studying novels and movies about policemen,
and You can interview a cop about emotional life.
 E.g. if character got sick writer must read about disease.
INCUBATION STAGES
DEFINITION in this stage letting the idea(s) stay in the subconscious
mind
ILLUMINATION STAGES
DEFINITION The actual inspiration and putting masterpiece into an
available physical reality a manuscript (handwritten book)
VERIFICATION STAGES
DEFINITION Editing the raw work into a polished, presentable form

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 CHAPTER SIXTEEN
LOGLINE PITCH HOOK
PITCHING
DEFINITION it is the art of presenting the story for stressed producers,
and overworked executives who read every script on the circuit is
impossible, either verbally or in written in a compact (giving a lot of information, clearly
and in few words) and interesting manner that idea in the form of hook, logline, and

pitch.
HOOKS, LOGLINES AND PITCHES
These terms come from the film industry, but they’re becoming standard.
All should be composed in the present tense, starting with title, genre and
remember that less is more, keep working on it.
Doing both the logline and pitch or either one of these will give a good story
but common tool utilized by both writers and executives is the logline.
LOGLINE
DEFINITION It is a SINGLE SENTENCE sometimes complicated
screenplays two sentence or 27 words sometimes fewer summary of script
WITHOUT character intricacies and sub-plots to tell what a movie is about
by description of basic story idea, a good logline will show the action of the
story.
OTHER NAME OF LOGLINE
Might also hear it referred to as the CONCEPT, the PREMISE or ONE-
LINER for the TV guide like a film description in TV Guide.
NOTE logline is a term that once applied only to SCREENPLAYS, but has
been creeping into the LITERARY world its appropriate term is PITCH
REASON WRITING LOGLINE
There are two main reasons to write script logline
1. FOR WRITING SCRIPT
2. SELL SCREENPLAY OR FOR RAISE FINANCE
3. TO SELL THE MOVIE
FOR WRITING SCRIPT
There is four reason for writing logline during writing script.
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 RECONSIDER EASILY
First Writer get an idea of a story EARLIEST moment and express in
logline then WORKING AND RE WORKING on logline, one can develop
a good story, Because if not good in logline stage, it's not going to get any
better as you write
EXAMPLE
 E.g. If not good idea change by other
 TESTING STORY IDEAS
Good movies have simple story ideas (concepts) the plots might be complex,
If your stories too complex to be told in 27words, then it’s almost
certainly too complicated for a 90min movie.
REMEMBER Logline will usually start out as more than one
sentence. It may even be far too long and complicated. That's okay.
Leave it alone for a day or two.
Then go back, look at it, take a pencil and cross out all the words that
don't contribute to the main action or the heart of your story.
 SEARCH COMMENT
Getting feedback from others is important, it tells to writer if he/she on
right track or go back and rewrite; therefore writer read to his/her
friends, family, fellow writers.
 BAD PITCH
When you pitch your story to someone it's bad if any of these happen:
 They don't seem to get it
 Their eyes glaze over
 You have to explain it more than once
 They think of problems with your logic
 They mention another movie or book that sounds just like it
GOOD PITCH
It's good if these happen:
 They become visibly excited
 They start offering additional ideas
 They can imagine which big stars should play the roles
 They ask to be kept informed of progress
 They offer to help or finance it (a REALLY good sign!)

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  WRITING SCRIPT ON TRACK
After writing logline, get clear idea, it can be used to keep the scribe on
track during the writing process.
TO SELL YOUR SCREENPLAY OR RAISE FINANCE
When screenplay is finished and ready to sell or raise finance for the
shoot logline will be a tool used to market the screenplay.
It will be used in
 QUERY LETTERS
Writer send query letter to agents, producers, and directors that must
contain a logline if writer don't grab them with logline, he won't have
any chance of getting them to read entire screenplay.
 RELEASE FORMS
 IF ORALLY ASK
If writer speak to a producer, director, or agent, that person will ask
"What is your script about?" writer will have 30 seconds to describe
TO SELL THE MOVIE
Later after release of the film is used to sell the movie to the public loglines
will be used in
 press packages,
 And will eventually be seen on DVD boxes and in the TV Guide.
ELEMENT OF LOGLINE
A logline consists of three major elements in an orderly manner, although
sometimes if necessary it will be four that include a brief set-up and it
include other 4 element.
1.1. SETUP(If it necessary)
1.1. PROTAGONIST(it is necessary)
1.2. ANTAGONIST OR ANTAGONISTIC FORCE, ANTAGONISTIC
FORCE WITH STAKES, ANTAGONISTIC FORCE WITH TICKING
CLOCK
1.3. CONFLICT(it is necessary)
1.4. GOAL (it is necessary)
OTHER KEY ELEMENTS IN A GOOD LOGLINE
1.5. USP
1.6. TONE
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 1.7. AN OPEN-ENDED QUESTION (what will happen?)
SETUP
Set up is crucial only for two reason other ways leave it
 WORLD WITH DIFFERENT RULES
Some scripts operate in a world with different rules to our own and
require a brief setup to explain them
EXAMPLE
 E.g. most science-fiction stories World with different rules in a
world where all children are grown in vats.
 E.g. afar people they live in Clint the marred in is among ant child.
EXAMPLE FROM SCRIPT
For instance, concept of pre crime in a logline
 E.g. In a future where criminals are arrested before the crime
occurs, a cop struggles to prove his innocence for a murder he has
not yet committed.
Without the brief set-up, the logline would read like
 E.g. cop struggles to prove his innocence for a murder he has not yet
committed.
To someone who knows nothing of the story, this would make little
sense understand pre crime’s most basic function.
 PERSONAL OR PSYCHOLOGICAL HISTORY IS CRUCIAL
A protagonist whose personal or psychological history is crucial to the
story and needs to be explained briefly
EXAMPLE
 E.g. Driven to a mental breakdown by an accident at work
 E.g. In some cases, the hero could have a past- like a secret or a scar
PROTAGONIS
DEFINITION The person that drive the story make sure your protagonist
is pro-active, in some cases the protagonist will be reactive, but note, this is
not the same as passive e
IN LOGLINE PROTAGONIST EXPRESS
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When referring to the protagonist, do not use a character name. Character
names are meaningless to the reader It has no true information, the one
Exception would be if the character were a famous person like George
Washington. Instead of using a name, use an occupation (profession way of spending time)
or life-status like
 OCCUPATION
Politician, brain surgeon, baseball player, lawyer, music professor,
computer hacker, child psychologist
 LIFE STATUS
A talented young boy, teenager, homeless man, single mother
 HERO’S FLAW (CHARACTER ARC) (MORAL WEAKNESS)
DEFINITION It is a well-chosen adjective to bring greater clarity (give a
little depth) to the character, that negatively influence the goal of protagonist,

describing for unoriginal thinking, beaver or person, It's helpful if the

characteristic you describe will have something to do with the plot
because it has power of irony(showing contrary to what one expects).
LIST OF CHARACTER FLAW
Selfish, A workaholic (tatare)
Greedy (sigebgib), A mute souse-chef,
materialistic, A rebellious computer hacker,
immoral A depressed child psychologist,
womanizing A struggling single mother,
An alcoholic ex-superhero
EXAMPLE
 E.g. For instance, the farm girl heroine could be considered
“lonely” or “neglected.” These words will show with greater
significance (like irony) how to achieve her goal (to get back home).
 E.g. A mute sous-chef
 E.g. An alcoholic ex-superhero
EMOTIONAL GROWTH
DEFINITION Stories plots from character flow to the hero emotional
growth, most leading characters undergo a positive growth through the
course of the story it create irony (Alert to risks or danger (the power of irony), of unoriginal
thing or person how change).

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EXAMPLE
 E.g. from fear to confidence,
 E.g. from cynical to trusting,
 E.g. From pessimist to optimist,
 E.g. selfishness and into selflessness
EXAMPLE FROM SCRIPT
 E.g. When (a materialistic, womanizing Aryan industrialist discovers)
(his Jewish workers are being sent to Nazi death camps,) (he risks his
life and fortune to save them)
Hero’s flaw materialistic, womanizing
Hero Aryan industrialist
A force Sent to Nazi death camps
Stack He risks his life and fortune
Goal (from materialistic to save them emotional growth)
ANTAGONISMS
It can be write in logline in different way
 ANTAGONIST
The antagonist should be described in a similar, but preferably shorter,
manner than the hero.
If the hero faces a more general antagonistic then makes it clear that
they are battling something
EXAMPLE
 E.g. A mute souse-chef wants must fight off an ambitious rival to
win the position of Head Chef at her boss's new restaurant.
 E.g. An alcoholic ex-superhero searches for his daughter after she is
kidnapped by his demanding, jealous former sidekick.
 ANTAGONIST FORCE
You won’t always include the antagonist unless it’s a romantic comedy
but it can be a good way to establish the conflict and the impossibility of
the hero’s want
EXAMPLE
 E.g. Dangerous journey” dangerous show power of the
antagonism we omitting the wicked witch.
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  E.g. Here the family man’s constant failure (as he sees it) serves as
the antagonistic force
 IF YOU CAN, INCLUDE STAKES AND/OR A TICKING TIME
 ANTAGONISTIC FORCE WITH THE STAKES
DEFINITION For audiences to care, the hero has to have a very
strong motivation. If they don’t achieve this goal, the
Consequences are massive are what the character stands to lose
You will generally try to convey in your logline what’s at stake.
NOTE If they fit in easily, include them in your logline
EXAMPLE
 E.g. his house, job, car, husband/wife, their self-respect, life
savings
 E.g. he risks his life and fortune to save them Life and fortune lose is
Antagonist force
 ANTAGONISTIC FORCE WITH TICKING TIME
These are very useful narrative devices that add urgency to your
script. If they fit in easily, include them in your logline.
EXAMPLE
 E.g. To save his reputation a secretly gay frat-boy must sleep with 15
women by the end-of-semester party
SECOND CHARACTER
Log-lines sometimes mention the name of the second most important
character, usually the opponent, unless it’s a love story like Cold Mountain
when you would typically mention both the lover and the external opponent.
EXAMPLE
 E.g. Cold Mountain Two lovers are separated by the American Civil
War. After Inman is wounded he tries to get back to Ada in Cold
Mountain, where he must save her from Teague the murderous leader
of the Home Guard.
CONFLICT ON LOGLINE
A logline must convey the action of the story by carefully chosen words, The
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most useful word in writing a logline is STRUGGLE, because it presents
the goal (and scope) of the story.
EXAMPLE
 E.g. After a series of shark attacks, a sheriff struggles to protect a busy
summer beach community against the bloodthirsty monster, in spite of
the greedy chamber of commerce.
 E.g. After murdering her lover, an aspiring singer struggles for
stardom by using her crime as a stepping-stone to fame and fortune.
HIGH-STAKES CONFLICT
If possible emphasizing high-stakes conflict
EXAMPLE
 E.g. Young Stuart must fight for his life, and prove once and for all
whether he is a man or a mouse.
 E.g. Or go for the thrills by emphasizing the most dangerous scene
 E.g. A toy rabbit must learn to cry real tears in order to save himself
from being thrown into a burning pit by the boy loves.
MAIN GOAL
DEFINITION it is the protagonist’s aim (try to achieve something), desired result
or the destination of a journey.
NOTE Make sure that the goal is present early in the script by logline
because to the destination of a journey limited boundary
FEATURES OF MAIN GOAL
Main goal (vague or abstract) change to 5 features which are most relevant to
you, as a storyteller
NOTE Don’t describe your hero’s goal using all of its SMART attributes.
Be as specific as you can in logline.
 SPECIFIC
 MEASURABLE
 ACTIONABLE (AND ADAPTABLE)
 REALISTIC
 TIME-BOUND

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SPECIFIC
DEFINITION Out of all of the elements within the SMART framework,
this one is the most important protagonist’s goal needs to be specific and
concrete, not vague or abstract.
NOTE Usually, if your protagonist’s goal is specific enough, then
everything else will naturally fall into place.
EXAMPLE
 E.g. Main goal is hero who redeems (thing that saves someone from
error or evil) himself
This goal isn’t specific enough. It’s too abstract. You need to specifically
define how your hero is going to redeem himself,
 E.g. a Secret Service agent redeems himself for failing to protect JFK
in the past by saving the life of the president in the present.
In contrast to redemption, saving the life of the president is a goal
which audiences can see and immediately understand. This is what
drives your story and it will drive your logline too it is specific goal.
 E.g. After a twister transports a lonely Kansas farm girl to a magical
land, she sets out on a dangerous journey to find a wizard with the
power to send her home
Main goal is go to home
Specific goal is journey to find a wizard
 E.g. A mute souse-chef wants to win the position of Head Chef at her
boss new restaurant
 E.g. An alcoholic ex-superhero searches for his daughter
GOAL SHOW EMOTIONAL GROWTH
DEFINITION Stories plots from character flow to the hero emotional
growth, most leading characters undergo a positive growth through the
course of the story it create irony (Alert to risks or danger (the power of irony), of unoriginal
thing or person how change).

EXAMPLE
 E.g. from fear to confidence,
 E.g. from cynical to trusting,
 E.g. From pessimist to optimist,
 E.g. selfishness and into selflessness
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EXAMPLE FROM SCRIPT
 E.g. When (a materialistic, womanizing Aryan industrialist discovers)
(his Jewish workers are being sent to Nazi death camps,) (he risks his
life and fortune to save them)
Hero’s flaw materialistic, womanizing
Hero Aryan industrialist
A force Sent to Nazi death camps
Stack He risks his life and fortune
Goal (from materialistic to save them emotional growth)
REALISTIC
DEFINITION Your hero’s goal needs to balance between difficulties with
credibility (able to be believed).
EASY TO ACCOMPLISH
If it’s too easy to accomplish, audiences shouldn’t question your
hero’s achievement your story will be boring to watch.
SO DIFFICULT
Problems can arise when your protagonist develops special skills or
undergoes radical transformation during his Act Two journey.
It’s not realistic for this protagonist to become
TO MAKE CREDIBLE
 PAIR SOMEONE SKILLED
One is to pair your unskilled protagonist with someone who’s more
skilled the skilled protagonist can deliver the action, while the unskilled
one can handle less exciting, but never the less critical, affairs.
 SET OF TRANSFERABLE SKILLS
As always, setup can smooth out credibility wrinkles. To gift the
unskilled protagonist with a set of transferable skills, which can be
credibly used in a new context which is entirely different from the one in
which it was originally presented.
MEASURABLE
DEFINITION Clear indicator that your protagonist has succeeded,
failed or most dramas have positive endings where the characters learn
something important about their life and change, whether they get what
they wanted or not that’s how it will be measurable.

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NOTE If goal lacks this indicator, it’s a good sign that it’s not specific
enough the character’s major goal is, he must examine the script’s climax.
The climax is the moment where the protagonist achieves or fails her goal.
ACTIONABLE (AND ADAPTABLE)
DEFINITION Action steps protagonist can take to achieve if your hero’s
goal is too vague, clear action steps won’t be readily apparent.
EXAMPLE
 E.g. What action steps could a protagonist take to redeem himself? I
have no idea. Do you? But if we redefine more specific terms, some
action steps will automatically come to mind. These will be key
incidents in the plot to develop your story.
In our Secret Service example, these action steps might include:
becoming aware of a threat (external influence) to the president,
communicating the threat to the president,
getting reject by the president who doesn’t take the threat seriously,
and arguing with colleagues over how to handle the threat
There’s a clear cause and effect relationship between each action step
that sequences of action steps escalate as your story progresses a
sufficient proportion of them fulfill genre requirements
TIME-BOUND
DEFINITION Smart goals are time-bound; they must be accomplished by
a certain deadline. Your story at the expense of realism you might have to
expand your original time frame
EXAMPLE
 E.g. if he has to go to the bank your thriller can’t take place within 24
hours on a Sunday
 E.g. if person are grown it must say after 20 year
 E.g. he became rich after 10 year
WANT AND NEED
The lead character usually has a clear idea of what they want and little idea
of what they really need One of the most important steps of creating a story,
from the very beginning, is identifying the protagonist overall desire and
need in the story.
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WANT (OUTER DESIRE) (OUTER MOTIVATIONS)
DEFINITION it is came from outer by situation and opportunity
EXAMPLE
 E.g. he wants to have sex with the love interest.
NEED
There is three kind of need
 INNER MOTIVATIONS
 DEEP NEED
 OVERALL DESIRE AND NEED
INNER MOTIVATIONS
DEFINITION It is something underneath surface, the reason why s/he
want, it show how badly does he/she want something, what are the lengths
he/she is willing to go to get it in and that need really driving the character
want.
It answers to the question, why does the character want this (the outer
motivation)?
DEEP NEED
DEFINITION it is character true want, the character will know that s/he
wants that outer desire, but probably have very little idea that what she
really needs is the inner desire.
And in good characters, those inner and outer desires are in conflict.
EXAMPLE
 E.g. George wants to see the world (boring little community can’t wait
to escape), to do big things, design big buildings it is external goals. But
his deep need is to become a good man and community leader like his
father, who does big things and fights big battles
But every choice he actually makes in the story defers his external need
to escape, and ties him closer to the community
It’s a story of how an ordinary man becomes a true hero.
OVERALL DESIRE
When the hero doesn’t know what to do, how to do the need for s/he want
most time overcome the character flow

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EXAMPLE
 E.g. it’s usually true that the external desire will be a selfish want
something the protagonist wants for him or herself, and the inner need
will be unselfish could be said that the arc of a character is almost
always about the character realizing that s/he’s been obsessed with an
outer goal or desire, when what she really needs to be whole, fulfilled,
and lovable is (fill in the blank).
TONE AT LOGLINE
Tone of script it’s a good idea to try to convey that through either in title or
in logline.
EXAMPLE
 E.g. “When the romantic adventures of a southern belle (a beautiful
girl or woman) are interrupted by an icky war PLUS her goody-two-
shoes-BFF steals her boyfriend, Scarlett whips up a fabulous outfit in
order to seduce Mr. Wrong, who in the end doesn’t give a damn.”
UNIQUE SELLING POINT (USP)
DEFINITION Although marketing campaigns may use a films genre to
gain audience interest. But at the same time, a marketing campaign must
also show us how a new film is different to others in the same genre released
at a similar time: this is known as the USP (unique selling point) of the film to set
the product apart from its competitors and appeal to the audience.
LIST OF USP
The innovative use of special effect Historical events
An unusual mix of genres An unusual character in an unusual
place
A popular star An impossible situation
New story idea A specific place
A title Take a familiar story and put it in a
new setting
A brilliantly original character You like a particular genre

ENDING
Logline should be good enough to hold up the end by itself (open-ended
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 because a surprise super cool twist ending should be
question (what will happen?))
a lovely bonus found when reading the script therefore by avoid
conclusion these questions create tension and motivate to read and
to buy
EXAMPLE
 E.g. one may be curious about the “mysterious land” or wonder what
the dangerous journey entails. Perhaps, an executive will be motivated
to know if the lonely farm girl meets “the wizard” and wonder what he
may be like. Hopefully, the executive will want to learn whether or not
the girl finds her way back to Kansas. Conflict is say in the word
“struggle.
 E.g. A disturbed boy seeks the help of a psychologist as he struggles to
free himself of a bizarre affliction – he sees dead people.
 E.g. A music professor comes to terms with his son’s death and, with
the help of a new student, rediscovers his passion for music and for life
DRAMATIC QUESTIONS
Screenplays ask dramatic questions throughout the course of the story.
These questions create tension and motivate the reader to turn to the next
page, a logline does the same
LOGLINE FORMAT
Try to present the logline in a linear fashion even if the screenplay is
presented in a non-linear manner. Linear fashion would introduce the set-
up first, then the protagonist and his goal, and the antagonistic force.
Of course, there can be variations of this
Format
When < (1) flawed (weakness) protagonist at start of story> is forced to by
< (2) antagonistic force call to adventure>, he has to < (3) opportunity for
emotional Growth> or risk <what’s at stake>.

Format 2
An interesting hero must accomplish a goal (x), despite extraordinary
resistance (y), because of emotionally-compelling stakes (z)

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 Format 3
When _____ happens to _____, he/she must _____or face_____.
EXAMPLE
 E.g. When Dorothy Gale gets tornadoes to Oz and accidentally
squashes an unpopular head of state, she must find a wizard to help
her get home to Kansas, or be killed by the ruler's evil sister and some
nasty flying monkeys.
PITCH
DEFINITION a pitch it can also be called an elevator pitch is the most
sales way to express an idea verbally or in writing in is the 25-words-or-
less (most concise, easiest to see, fastest-to-be-able-to-tell version) two sentences at the most,
that hooks the listener’s interest, and sells the screenplay concept to a
producer.
REASON WRITING PITCH
While coming up with a pitch one has to think about two types of target
audience
1. The script reading executive, who first request the scripts to be read in
the first place
2. And the audience of the movie (who go into seeing the movie).
EXAMPLE
 E.g. is granny
 E.g. jaws
 E.g. snakes on a plane
 E.g. legally blonde
 E.g. the 40 year-old virgin
THE SCREENPLAY TITLE
Kept in mind, while writing the pitch is about the title of the movie. The
title should say everything about the movie.
This may very well change over time but coming up with a working title
is a good next step because it makes your screenplay seem a lot more real.
The title should be descriptive and not too long
PITCH FORMAT
It used to test your great story idea, it should sound original, interesting
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and evoke emotion.
(Your story name) is a (genre) about a (description of your hero) who,
after (something big happens to them), wants to (what is the solution the
hero seeks?) by (what is the hero's plan?). This become increasingly
difficult because (what obstacles and complications happen?).

EXAMPLE
 E.g. The Fugitive is a drama about an innocent doctor who after being
wrongly sentenced to be executed for killing his wife manages to
escapes and needs to clear himself by finding the real murderer. This
becomes increasingly difficult because a determined police detective is
hot on his trail.
 E.g. Some like it hot is a comedy about two carefree, single musicians
who, after witnessing a gang murder want to save themselves by
dressing up as women and joining an all-girl band. This becomes
increasingly difficult because they find themselves becoming
romantically involved in awkward ways but don't dare reveal who they
really are or risk death.
WORK SHEET FOR LOGLINE AND PITCH
SETUP

 (WORLD WITH DIFFERENT RULES)

 (PERSONAL OR PSYCHOLOGICAL HISTORY IS CRUCIAL)

PROTAGONIST

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 a. (OCCUPATION)

b. (LIFE STATUS)

c. (HERO’S FLAW)

d. (EMOTIONAL GROWTH)

GOAL

(MAIN GOAL)

 (SPECIFIC)

 (MEASURABLE) (Clear indicator that your protagonist has succeeded or failed)

 ACTIONABLE (AND ADAPTABLE) (action steps)

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  REALISTIC (difficulties with credibility (able to be believed).)(Not easy to accomplish
Not so difficult)

 TIME-BOUND (what time frame)

CHARACTER NEED

 INNER MOTIVATIONS

 DEEP NEED

 OVERALL DESIRE

ANTAGONIST

 (ANTAGONIST)

 (ANTAGONIST FORCE)

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  (ANTAGONISTIC FORCE WITH STAKE)

 (ANTAGONISTIC FORCE WITH STAKE STAKES AND/OR A TICKING

TIME BOMB)

CONFLICT ON LOGLINE

HIGH-STAKES CONFLICT

TONE AT LOGLINE

UNIQUE SELLING POINT (USP)

AN OPEN-ENDED QUESTION

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DRAMATIC QUESTIONS

LOGLINE FORMAT

FORMAT ONE
When < (1) flawed (weakness) protagonist at start of story> is forced to by <
(2) antagonistic force call to adventure>, he has to < (3) opportunity for
emotional Growth> or risk <what’s at stake>.

FORMAT 2
An interesting hero must accomplish a goal (x), despite extraordinary
resistance (y), because of emotionally-compelling stakes (z)

FORMAT 3
When______happens to_____, he/she must _____or face_____.

LOGLINE

PITCH FORMAT
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(Your story name) is a (genre) about a (description of your hero) who,
after (something big happens to them), wants to (what is the solution the
hero seeks?) by (what is the hero's plan?). This become increasingly
difficult because (what obstacles and complications happen?).

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 CHAPTER SEVENTEEN
PREMISE
THE PREMISE
DEFINITION The Premise (sometimes called the Concept) is a simple statement (1-3
sentences) of the main character, and dilemma.

STRUCTURE OF PREMISE
The premise in feature films generally follows this structure:
A certain type of person has a certain goal, and encounters obstacles
that have changed him/her when finally they do (or do not) achieve that
goal.
THE STRUCTURE IS COMPOSED OF
1) The Exposition (or SETUP)
2) The Confrontation (or DEVELOPMENT) and
3) The Resolution (or DENOUEMENT) of the dramatic problem posed by the
story...
THIS FILM’S PREMISE TEMPLATE
____________________________________________________
who (name, age, physical, psychological)

____________________________________________________
____

(DEFINING CHARACTERISTIC)

Wants_________________________________________
_________
(CHARACTER’S GOAL IN THE STORY)

However______________________________________________
_______
(THE CENTRAL CONFLICT/OBSTACLE AND THE TURNING POINT)

Finally,______________________________________
(HOW HAS THE CHARACTER CHANGED?)
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EXAMPLE SYNOPSIS
SYNOPSIS
Dorothy Gale, 16, an attractive, spirited and energetic girl with a great love
for animals, who has a little dog Toto, wants to escape the boredom of her
life at home on her farm in Kansas. However when a tornado sweeps her
away into a strange land called Oz, she encounters strange beings and
situations and makes new friends. Finally, both in spite of and because of
her amazing journey, she realizes there is “no place like home”.

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 CHAPTER EIGHTEEN
SYNOPSIS
A SYNOPSIS
DEFINITION it is essentially a premise expanded on what will happen
to the lead character(plot summary of the screenplay) at each stage of the
story(beginning, middle and end), And how they come to change by the end. It
should show the main reversals and twists and how these impact on the
lead characters (and sometimes the opponent’s motivation)
Note Hooks, loglines and pitches none of the above should be
confused with a synopsis, which is a detailed run-down of the complete
plot (But not too detailed. Lots of submission guidelines ask for a one-page synopsis these days).
Unlike a treatment, which is a narrative of everything that happens in a
screenplay, it includes only the most important or interesting parts of the
story

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 CHAPTER NINETEEN
OUTLINE
OUTLINE
DEFINITION after structure of the story, the next step writing a scene-by-
scene outline of the whole movie. Many writers use an index card for each
scene, because they are easy to arrange and re-arrange on a board.
The Outline (1-3 pages), describing the setup, development and resolution,
and sketching the details of the characters
TYPE OF OUTLINE
There is two type of outline
 A BEAT OUTLINE
 A STEP OUTLINE
A BEAT OUTLINE
DEFINITION it is a short one a series of sentence visual description
what happens (no dialogue except for a few key words concentrate on the motivations, actions
and reactions) in every scene of the story by narrated, it is always written in
the present tense then sequences that flow in a logical and credible
manner
For a feature film 50-60 main scenes at this stage of the development
process and also might need to be broken down into sub-beats describing
the mini scenes
EXAMPLE
 E.g. a family party might need to be broken down into sub-beats
describing the mini scenes taking place throughout the house between
different characters.
 E.g. Johnny’s Birthday Party
JOHNNY’S party starts well, but goes pear shaped when he catches his
sister’s drug addict boyfriend, DOUGIE pocketing his mother’s
valuable because of its age plate.
Johnny throws him out, but his sister notices. She comes to DOUGIE’S
defense. A fight starts and Johnny accidentally breaks Margaret’s nose
EXAMPLE
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BEATING IT OUT
Working out the storyline,
Let’s say that decided that character is a blind juggler, that her world is
Christmas on Islay, and that her problem is that she is lonely.
Beat 1. Introduce the world of Christmas on
Beat 2. Introduce the character of the Blind
Beat 3. Introduce the problem of the Blind Juggler - she is lonely
Beat 4. The character chooses to solve the problem - she invents an
imaginary
Beat 5. The character experiences a major setback - playing with her friend,
she falls and loses her juggling balls in the sea
Beat 6. The character is almost defeated - she is depressed and closes down
to life, ignoring Christmas
Beat 7. The character rejects a solution - Santa is at the door on Christmas
Eve with a present but she sends him away
Beat 8. The character discovers the solution, but in a surprising way - Santa
leaves her a present of brand new juggling balls, and then turns out to be the
handsome stranger who has moved in next door
SAMPLE OF BEATS OUTLINE
THE ACCIDENT
1. Bronxville, NY. NICK WALSH, 18, stands in front of a mirror in his room,
nervous. Two pieces of paper are in his hands as he stares unseeing into the
mirror. He hides the papers before his father enters.
2. ROBERT WALSH, 40s, a soft-spoken musician, reassures Nick that
everything is going to be okay.
3. In the car on the way to the city, the two discuss the upcoming concert
when they are blindsided.
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4. The car flips, leaving the pair in a mess of shattered glass and blood.
Feeling blood on his forehead, Robert checks on Nick only to find that Nick
is dead.
THE FUNERAL
5. MICHELLE WALSH, 40s, normally held together, falls apart in the arms
of her husband during Nick’s funeral.
6. Rain pours down on them, which fades to— Five Years Later
7. New York. Water pelts Robert in the shower, spiraling down the drain.
8. Robert no longer has any zeal. It seems as though he’s just going through
the motions, living in a daze. His lessons go on in a strained voice as if each
word is cutting him on its way out of his mouth.
9. He goes home to an empty house and an empty bed, barely surviving,
depending on antidepressants and the will to not die. Collecting dust in
Robert’s study is a cello and a set of unsigned divorce papers.

A New Student Arrives10. Robert literally runs into a student, ALEXIA

SLOANE, 19, on his way to a r
After their brief and unpleasant interlude, he goes on his way.
11. Partway through the rehearsal, Alexia enters the rehearsal space. Robert
finishes the piece before confronting Alexia and her presence in his
classroom.
12. Alexia explains that Robert’s boss, JONATHAN RAILTON, 50s, cold and
uncaring, sent her to see Robert and schedule lessons with him.
A SUPERIOR REQUEST
13. Robert storms into Jonathan’s office asking why Alexia was sent to him
for lessons.
14. Jonathan explains that Alexia is a unique case, and he believes that
Robert would work well with her because there was something about her
that reminded him of Nick.
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15. Jonathan asks nicely if Robert can find a way to fit Alexia into his lesson
schedule, and Robert obliges him.
DISSONANCE
16. Robert and Alexia have their first lesson. They learn that they clash both
in personality and style.
17. Alexia is set in her ways and doesn’t seem to want to learn the proper
way of doing things.
18. Robert is also set in his ways and refuses to budge on his traditional
sense of teaching and playing.
19. Alexia challenges Robert to show her how it’s done if his way is so much
better than hers, but Robert refuses. Alexia calls him out on the fact that he’s
a music teacher, but he won’t play. Claims that he must not have been very
good.
20. She pushes enough buttons that eventually Robert blows up and they get
in a big fight.
AN ULTIMATUM
21. Yet again, Robert finds himself in Jonathan’s office, though this time it is
with conviction that Robert refuses to work with Alexia.
22. Jonathan presents him with an ultimatum: either work with Alexia or
don’t work at Juilliard. Robert questions Jonathan on what grounds he
would be fired, and Jonathan
..............
Something to Remember Me By
104. Robert seemed mostly okay before stepping onstage. However, once
under the lights, Robert starts getting incredibly anxious.
105. He sits down before they begin playing, but flashes of the night Nick
keep coming to him, and before he knows it he’s stuck in the nightmare of
holding onto his dead son’s bleeding body.
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106. Robert snaps out of it to find himself on the floor in tears and can’t
continue with the performance.
COMING CLEAN
107. Robert puts in his resignation, and Jonathan comes clean about the
performance clause not existing.
108. Cooper reconciles with Robert, making sure that he’s leaving for the
right reasons. Moving On
109. Robert moves out of his house, boxing up Nick’s possessions, taking
only his acceptance letters and his cello.
110. He moves into a modest apartment in New York City.
111. Robert ends up signing the divorce papers and receives a thank you note
from Michelle.
112. He begins teaching lessons again, but privately. Park Performance
113. In the spring, Robert goes out to a park and plays some music. When he
gets to the duet, he starts playing his part, his eyes falling closed as he does
so.
114. Partway through, another cello jumps in, playing the other part.
115. Surprised, Robert opens his eyes to find Alexia is playing with him.
116. They smile at each other and nod in understanding and forgiveness.
A STEP OUTLINE
DEFINITION it is an expanded beat outline (instead of writing scenes in a single
sentence, you expand each beat to give some indication of how it might be shot).

EXAMPLE
IN A BEAT OUTLINE
James goes to the Church to see the priest and beg forgiveness for his sins.
In a STEP Outline this would become
INT HOLY CROSS CHURCH. DAY.
James walks into the Church. He stop sat the door. Crosses Him, and then
inability to stand or walk steadily. On down the passage between rows of
seats. He reaches the table and collapses cry with shame. The young priest
sees him and hurries over. James looks up.

INT. CONFESSIONAL BOX. DAY.

JAMES CONFESSES TO THE MURDER. THE PRIEST LETS OUT AN INVOLUNTARY GROAN OF
SYMPATHY. JAMES BOWS HIS HEAD AND CONTINUES.

STEP OUTLINE
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INT. JOHNNY’S HOUSE - KITCHEN. NIGHT

JOHNNY’ sprit niece AGNES sings a cheesy pop-song song to the assembled
family. JOHNNY smiles at his guest.

Smiles back from family and friends. Johnny change; there’s someone
missing.
INT. JOHNNY’S HOUSE – DINING ROOM. NIGHT

DOUGIE is stuffing an antique (a decorative object or piece of furniture

that is valuable because of its age.) plate into the inside pocket of his
leather jacket. He rushes over. DOUGIEIS caught red handed. Johnny places
the plate on the table, then frog marches DOUGIE to the door.

EXT. JOHNNY’S HOUSE – BACK DOOR. NIGHT

JOHNNY throws DOUGIE out, cursing him as a “polio”. DOUGIE doesn’t like
the insult and starts cursing back. Margaret hears this and wants to know
what the hell’s going on. Johnny tells her he caught DOUGIES stealing.
DOUGIE denies it. Margaret tries to pull them apart. DOUGIE drops another
piece of china Case proven JOHNNY lamps him. DOUGIE’S head snaps back and
breaks Margaret’s nose. Margaret screams

NB. Be aware that sometimes broadcasters or funding bodies will ask you
for an outline for your project when they really mean a treatment, so it is
always worth checking what exactly they are asking for.
THE DIFFERENCE BETWEEN A BEAT OUTLINE AND A STEP
OUTLINE
It is that a beat outline does not include scene headings, whereas a step
outline does

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 CHAPTER TWENTY
TREATMENT
TREATMENT
DEFINITION it is expand the outline into a treatment by splitting into 20-
40 page, each scene in a paragraphs, in three act structure, told in
active and in the third-person present tense that describe important
details of the story (action, and character no dialogue ). If it don't have that many
scenes then it need to add some additional subplots or additional surprise.
Note The outline and treatment are your work documents and are not
intended to be shown to anyone else.
REASON OF WRITING
Writing treatment for two reason
 FOR ORGANIZE THE STORY
 FOR SUBMISSION
ORGANIZE YOUR STORY
DEFINITION A treatment is a narrative summation of your story. It is as
the roadmap of your movie, and will allow you to get a sense of where your
story is going by visualizing and dramatizing the scenes. It is simply a
writing a plot tool, which will make the story clearer for you.
The main purpose of a treatment is to begin plotting your story.
THE PLOT is a series of actions, or events that cause something else to
occur.
FOR SUBMISSION
DEFINITION a Treatment is producers, broadcasters and funding bodies
frequently ask, screen writers to submit a 5-20 page (depending on the funder)
treatment of their idea before reading or commissioning a screenplay.
TREATMENTS IS TRICKY
Treatments are incredibly tricky to write because
 WRITING ACTION ON SCREEN
Some readers want the treatment to show primarily what the audience
will see on screen
If write like this the responses will often be the story reads a little flat
230
 (especially if it is a comedy),
 NOVELISTIC
Some readers want a novelistic impression of the story.
If you write like this the responses often be the structure seems
weak.
This is why most screenwriters will tell you that they hate treatments more
than anything else!
EXAMPLE
ONE-PAGE TREATMENT FOR THE MASK OF ZORRO
The opening sequence is told through the eyes of two young brothers, JOSE
and TOM. It takes place in Alta California, 1822. Mexico is about to win its
independence. The Spanish Viceroy of California, ALEX, realizes his time is
up. He has ordered the execution of all political prisoners. The boys move
into the town Square to watch the hangings.
But ALEX is prevent to success again by ZORRO, who sails in and frees the
prisoners. Completely heroic, a black sudden appearance in the moonlight,
JOSE and TOM watch him in wonderment. But ALEX was counting on
Zorro's arrival; more soldiers wait in surprise attack position. Zorro is
unaware of the trap.
JOSE and TOM give warning. Zorro defeats the soldiers. He thanks the
brothers, and presents them with the medal he wears around his neck, and
then he is gone. JOSE, the eldest, considered the medal over his little
brother's objections. TOM also finds leave permanently sword...
Zorro rides back to his secret cave behind the waterfall. He emerges in his
Spanish stare as DIEGO, a wealthy Spanish gentleman with a wife,
ESPERANZA, and two-year-old daughter, ELENA. He starts to tell Elena
what he did that night, but Esperanza points out that she's not paying
attention. DIEGO says that someday, she will listen to his stories.
And so on....

231
SAMPLE TREATMENT
STAR WARS a science fiction adventure
A long time ago, in a galaxy far away, the evil lord PALPATINE has overthro
wn the galacticRepublic and installed himself as the emperor of his own Ne
w Empire…
Charles Pearson
WGA 12345
Modesto, CA
(209) 5550198
hopefulscreenwriter@[Link]

232
 CHAPTER TWENTY ONE
SCRIPT WRITING
THE SCREENPLAY
Various industry professionals have different opinions regarding to definition
of screenplay, there is three different definition of screenplay.
SCREENPLAY
DEFINITION ONE it is expending Step Outline with the Action expanded
in greater detail to give an impression of the succession of shots, and with the
Dialogue and Reaction Shots added.
DEFINITION TWO it is a document to represent a purely visual and
audible medium (text version of a moving picture) by the existence standards
formatted structure that are all toward the purpose of shaping the text
document into the best, simplest map to the screen.
DEFINITION THREE it is a blueprint for a movie, a story told with
pictures, a technical instruction manual for everyone involved in the process
of creating the film.
NOTE Since movies are told primarily with images, the Dialogue should
only be added after all the other stages have been completed.
SCRIPTS AND SCREENPLAYS
DEFINITION both are interchangeable when it comes to feature films, but
television scripts are always called scripts. (Except when they’re called teleplays, which is only
in certain on-screen credits.)

WRITING SCREENPLAYS
DEFINITION it is the process of storytelling in the format of a screenplay
for represented moving images and sounds. It a story for the screen not
a novel or a short story, therefore write only what the cameraman can film or
the soundman can record. So try to think of a series of events that will be
interesting to watch as well as to listen.
NOTE Proper screenplay formatting must be taken seriously, and although
it is perfectly possible to write and format a screenplay with a word
processor, or screenwriting software like Final Draft will save you so much
time
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EXAMPLE
 E.g. For instance if a man likes a woman, you don’t have to have him
say, “I love you.”
REMEMBER Most of the time a single look will be enough for example
you might write. Alex laughs at Angela’s joke. She catches his eye. He
looks away slightly embarrassed. Then glances back at her again.
PURPOSE WRITING SCRIPT
There is two purpose of script writing
 TO TELL A STORY
The first purpose is to tell a story
 BLUE-PRINT
Secondary purpose unlike a novel, a screenplay is not a finished work
(final look of the movie) but the blue-print onto which other creative people can
continue their creativity job.
Therefore it must contain the information that the Producer, director,
actors, production manager, director of photography, production
designer, sound recorders, costume designer, make-up person and for
all team
FOR CAMER MAN OTHER
SCENE HEADINGS
Which show where the action takes place and at what time
EXAMPLE
 [Link]. THE HALLS OF MOIRA. NIGHT.
Or EXT. MOUNTAIN PASS. DAY.
FOR SOUND RECORDIST, SOUND DESIGNER, ACTOR AND
CAMERMAN
ACTION
It is short sentences describing what the camera is pointing at and what
the actors should be doing in frame
EXAMPLE
 E.g. He jumps from the tailgate of the truck. His feet SLAP down on
the tarmac.
NOTE distinctive sounds are always capitalized to assist the sound
234
 records and sound designer.
FOR PRODUCTION MANAGER, DIRECTOR AND ACTORS
CHARACTER NAMES
That tell the production manager which actors need to be available for
each scene and tell the director and actors what they need to do.
FOR ACTORS
DIALOGUE
That tells the actors the words they will need to learn and speak.
FOR ACTORS
PARENTHETICALS
It is adverbs that tell the actors how they should say their lines. These
should only be used when the way the actor says something goes against
their normal way of speaking or the emotion of the situation; they are
saying something with a particular emphasis; or there is no other way of
writing it.
EXAMPLE FROM SCRIPT

FRODO
(Screws up his courage)
I will take the Ring to
MORDOR!

FOR OTHER ACTORS

REACTION SHOTS
That tell the other actors how they should react to what other characters
do or say. Reaction shots are as important as dialogue and are often left
out by new writers.
EXAMPLE
 E.g. GANDALF beams with delight.
FOR DIRECTOR
TRANSITIONS
It is words that tell the director when to cut from one scene to the next to
235
move the story forward, (e.g. CUT TO, CROSSFADE TO, and FADE OUT)
NOTE Concentrating on what the story is really about and what the
purpose of each scene is more than what people are wearing or what they
say.
SCRIPT FORMATTING
FILM SCRIPT FORMAT
DEFINITION script format was developed in Hollywood, to make
standard the script; therefore it needs standardization script component
These are the unique margin, case, and position attributes that give feature
film script text the format and consistency expected by all participants. Once
you are accustomed to them you'll be able to tell your story the way an
industry reader is accustomed to seeing it.
REASONS FOR SCRIPT FORMATTING
Script formatted for several reasons such that
 TO KNOW LENGTH
When screenplays are formatted correctly, one page translates, on
average, into one minute of screen time. It doesn't matter whether the
script is all action, all dialogue, or any combination of the two
 TO READ EASILY
The margins or using a tighter font not easily read
 TO CHECK AMOUNT OF DIALOGE AND ACTION
Formatting helps readers check whether you are writing too much
dialogue or describing things in too much detail
 PEOPLE PROPER SCREENPLAY KNOW
Who might People finance your film or Experience crew members often
know what a proper screenplay should look like
 TO MAKE A SCHEDULE
A properly formatted screenplay will be helpful when it comes time to
make a schedule
TYPE OF SCRIPT FORMAT
There are two type of script format
 SPEC SCRIPT FORMAT
 SHOOTING SCRIPT FORMAT
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SPEC SCRIPT
DEFINITION It is writing a screenplay on speculation (መገመት, invest in the hope of
gain but with the risk of loss).
it should never contain the elements of shooting script (including camera angles and
editing transitions), Unless writer want to direct script, But if to sell the script,
then stringently stick to the accepted spec screenplay format
SHOOTING SCRIPT
DEFINITION Once a script is purchased, it becomes a shooting script, also
called a production script ready to shooting. They are written with much
more detailed than spec scripts, they are formatted to include any helpful
information that the director may request
SHOOTING SCRIPT TECHNIC
It will include technical instructions, like
 film editing notes,
 camera angles
 editing transitions,
 All the scenes are numbered,
 And revisions are marked with a color-coded system.
SCRIPT COMPONENT
The following are 12script component
1. A SCREENPLAY PAPER,
2. AMOUNT OF PAGE,
3. PAGE MARGIN,
4. PAGE NUMBERS,
5. FONT,
6. TITLE PAGE,
7. ELEMENT OF SCREENPLAY,
7.1. MARGINS FOR ELEMENT OF SCREENPLAY,
7.2. SPACING ELEMENT OF SCREENPLAY,
7.3. SENSE NUMBERING(for shot script),
7.4. TRANSTION(for shot script)
8. HOLDING SCREENPLAY PAPER
A SCREENPLAY PAPER
DEFINITION It has standard size, weight and color printed only on the
237
front side Except for the cover, it is color heavy card front and back of the
script it must be blank
NOTE it can submit an Adobe PDF (electronic copy) via e-mail.

SPECIFICATION
SIZE Letter-sized paper A4 (8.5 x 11 inches)
WEIGHT Screenplays are generally printed on plain
old generic copy paper (20 lb.)
But using heavier weight paper (24 lb.).
Script gets noticeably thicker is not good for
First impressions because script is a quarter
inch thicker than all others scripts on 110
Paper page
COLOR Premium white copy paper with a brightness
rating of 80 or above But Paper with a low
brightness rating can look a bit dingy, dull
and grey and this can subtly create a
negative first impression.
20 lb. copy paper that’s rated 104 in
brightness. That’s perfect.
WEIGHT Get yourself some decent card stock. You
can buy a ream of it at any office supply
store.
COVER You want to get the 60 lb. stock—firm but
not TOO firm. If you use a card stock that’s
too thick, they’ll be hard to bend, which will
make the read annoying.
COLOR You can use any color you want.
AMOUNT OF PAGE
DEFINITION You should not be less than 90 and more than 120,
Comedies tend to be toward the short end of the range, people can only
laugh for so long, and dramas tend to be longer.
One page of a script equals one minute of screen time
PAGE MARGIN
238
Page Margins every page of your script should have
PAGE MARGIN
 Left margin of. 1.5 inches (15 spaces from the left side of
the paper)
 The right margin should be 0.5 -1 inch
 the top margin should be 1 inch
 the bottom should be 0.5-1 inch
EXAMPLE

NOTE In some cases if your script is less than 90 pages you can fudge the
margins to compensate. If you must, make the right and bottom margins 1
inch.
Not recommend doing the opposite. If your script is 124 pages, do not
make the margins smaller than0.5 inch to bring the page count down to
120.
PAGE NUMBERS
DEFINITION Page numbers are usually found in the top middle or
right hand side just inside the blank of the scripted page. They usually have
a period after them except the first page should not have a page number.

239
EXAMPLE

Or

EDIT
DEFINITION If you later decide to insert some material after the script
has been distributed you should insert pages numbered 55A, 55B, and so on
so all the pages don't have to be recopied and confuse everyone
PERSONAL NOTES
DEFINITION Many members of your crew and the actors in particular will
fill their script with personal notes about what has to happen at certain
points or how to play a scene. By not renumbering and reprinting all the
pages they don’t need to throw away or manually renumber the pages with
all their notes
FONT
DEFINITION They're always written in Courier font (Pica is also
accepted in the USA.), 12 point No bold and no italics, and 10 pitch. Gives
you exactly 10 characters per inch measuring horizontally
240
TITLE PAGE
DEFINITION It the first page of the screenplay
ELEMENT OF TITLE PAGE
Keep your title page simple, It contains the
 TITLE,
 AUTHOR NAMES,
 AUTHOR ADDRESS
 IF REGISTER SCRIPT WRITER'S GUILD REGISTRATION NUMBER
DATA
TITLE PAGE TEMPLATE
PAGE ELEMENT OF DESCRIPTION OF FORMAT
TITLE PAGE
3.5 - 4 inches from the top, of the page in
TITLE caps, centered between the margins. Most
often is in quotes (“”) but this is not absolutely
necessary, Sometimes it can be underlined,
but capitalized with quotes is the most
common.
TITLE
BY Double space and centered between the
PAGE
margins
author and the double space centered between the margins
co-writers names
author address At the bottom left hand side or right hand side
of the page

241
EXAMPLE

LIST OF SCREENPLAY ELEMENT

99% of your script will involve just four elements: Slug lines, Action,
Character Names, and Dialogue.
 SCENE HEADINGS
 ACTION (description of what happens)
 CHARACTER NAME
 PARANTHETICAL
 DIALOGUE
 PARENTHETICAL(optional)
 EXTENSIONS
 TRANSITIONS (for shooting script)
 SHOT

242
ELEMENT MARGINS
ELEMENT LEFT MARGIN Right
Margin
SCENE 1.50” 7.50”
HEADINGS (Slug
Lines)
ACTION (description 1.50” 7.50”
of what happens)
CHARACTER 3.50” from the left margin 7.25”
NAME
PARANTHETICAL 3.00” from the left margin and 5.50”
should not exceed 20 characters per
line Before wrapping to the next
line.
DIALOGUE 25 spaces (2.5 inches) from the left 6.00”
margin and should not exceed 35
characters per line before wrapping
to the next line.
TRANSITIONS 5.50”
SPACING BETWEEN SCRIPT ELEMENTS
The general rules of spacing are to read the script more easily
SCRIPT ELEMENTS SPACE
Between master scene headings. Triple space
Between Slug line and Action: double space
Between Action and more Action: double space
Between Action and Character Name: double space
Between Character Name and Dialogue: single space
Between Dialogue and the next Character double space
Name:
Between Dialogue and Action: double space
Between Character Name and Parenthetical: single space
Between Parenthetical and Dialogue: single space
Between Action and Slug line: double space
Between Dialogue and Slug line: double space

243
 NOTE easier to remember Character Name, Dialogue, and possibly a
Parenthetical, there are single spaces between the elements between
everything else, double space.
SCENE NUMBERS (for shot script only)
DEFINITION The scene numbers are usually found in the left margin of
the scripted page and usually do not have a period after them don’t number
the scenes until you get to the preproduction step.
FADE IN
DEFINITION It is direction suggests that an image on the screen should
fade from a view of solid black background (though it can be white, or another color). To
whatever image comprises the next scene’s first shot.
It justified to the left margin.
FADE IN

FADE TO
DEFINITION Is written when a script refers to an editing technique that
transitions one scene to the next
ESTABLISHING SHOT
Used to give an overall perspective of a scene. This is rarely used now but
would be done thus
EXT. ROBIN'S HOUSE - DAY (ESTABLISHING)
0r
MASTER SCENE HEADING (SLUG LINE)
DEFINITION it is the visual representation of setting in the begins of
each new scene
LIST OF MASTER SCENE HEADING ELEMENT
It consists of three parts sometimes four which show where and when
If any of the three elements change, it creates a new scene and a new
heading is required.
 CAMERA LOCATION(PLACE)
 SCENE LOCATION
 TIME OF DAY
 CLARIFICATION Sometimes to show action and to make something
clear to the reader
244
TEMPLATE OF MASTER SCENES HEADING
CAMERA LOCATION. SCENE LOCATION - TIME OF DAY -
[CLARIFICATION]
 The three parts are written on one line and capitalized,
 Items in [ ] are optional.
 If any of the three elements change, it creates a new scene and a
new heading is required.
 There are usually two spaces between INT. or EXT. and
Location, and then space, hyphen, space between Location and
Time.
EXAMPLE
 E.g. INT.( two spaces) BILLIARDS ROOM (space)-( space) NIGHT
 [Link]. BILLIARS ROOM - NIGHT

REASON WRITING LOCATION

By giving the scene a location title it is easier to group scenes that will be
shot at the same place together while making the schedule. Movies are
almost never shot in the order they appear in the screenplay.
It is much more efficient to group all scenes that occur in the same location
together and film them at same time.
NOTE This pattern is only broken when an important actor's schedule
requires them to shoot all their scenes within a certain timeframe.
CAMERA LOCATION (PLACE)
Which are abbreviated EXT and INT also always capitalized.
This tells the production crew whether or not they'll be shooting on a
sound stage or on location.
The camera is placed
 EXTERIOR (OUTDOORS)
 INTERIOR (INSIDE A STRUCTURE)
CAMERA PLACE AND LOCATION DIFFERENT
You may occasionally see EXT/INT or INT/EXT on a script. This occurs
when the camera is in one location and the action is happening in
another.
245
EXAMPLE
 E.g. INT/EXT. HOTEL LOBBY/CITY STREET – DAY
 (The camera or a character is watching the action occurring outside)
 E.g. EXT/INT. CAR/APARTMENT – NIGHT
(The camera or characters are sitting in a car watching something
happening through an apartment's window
SCENE LOCATION
DEFINITION Next is the name of location the scene takes generally to
establish a location as broad as possible
EXAMPLE
 E.g. So, after establishing that we're at the Empire State Building, the
next scene might be
INT. EMPIRE STATE BUILDING, OBSERVATION DECK – DAY
 E.g. AS BROAD AS. At a house, in a building, at a park, etc.
 E.g. EXT KATHLEENS STREET
 E.g. EXT. FOOTBALL STADIUM
REASON USING ESTABLISHED LOCATION (AS BROAD LOCATION)
The key here is the generality is as you reuse these, you want to be
consistent. You want to keep this consistent so the reader can easily know
where you are in general terms.
If your script is in production, you want these to be consistent so the
production manager or Assistant Director can easily find and schedule all
the scenes that take place at that location.
SUB LOCATION
DEFINITION Occasionally, you'll need a Sub location to clarify the
Location. That looks like this, the general description is usually separated
from the specific location description by a comma. Again, rarely, you'll see
something else, like a dash. Don't do this unless the reader expects it
EXAMPLE
 E.g. INT. DONALD'S MANSION(a large, impressive house.),
BILLIARDS ROOM – NIGHT
 E.g. INT. BILLY'S BEDROOM

246
SECONDARY HEADINGS (SCENE SUB-HEADINGS)
DEFINITION a master scene heading establish a location, secondary
headings to move around within the area defined by the master
scene heading by broken into sub units or have sequences that occur in
different places within a basic location the same may require secondary
headings.
It is not necessary to make a master heading for each location. You can leave
out DAY or NIGHT and to use the same camera direction as the
corresponding master scene heading cannot move from EXT. to INT. or vice
versa.
EXAMPLE
 E.g. INT. GALLO RESTAURANT - NIGHT
Tim sips a beer at the bar. He eyes two ladies at a table across the
room. AT THE TABLE
Ann whispers to Jane and they giggle.
 INT. BATHROOM
Mike is still getting sick.
BACK AT THE BAR
Tim flags the bartender for another beer.
Writing DAY or NIGHT is not needed in each scene heading if we are
still in the same location. Just make sure that it is included when a
new scene starts.
 E.g. INT. SAM'S LIVING ROOM – NIGHT
Could be followed by this "slug line" subheading:
BEHIND THE SOFA.
 E.g. INT. HANK’S KITCHEN - LATER could be condensed into a
simple secondary heading LATER, if what happens ‘later’ happens in
the same
WAYS OF BREAKING THESE RULES
If it improves the flow of the scene
BY LOCATIONS SECONDARY SLUGS
It can alternate (occur or do in turn repeatedly.) between INT. and EXT. locations.

247
EXAMPLE
 E.g. KITCHEN - NIGHT
Through the window Jake notices light flickering in the tool shed (simple
roofed structure, and used for storage tool or to shelter animals) across the lawn (area of mown
grass in a garden or park).
He steps into the hallway (በረንዳ).
HALLWAY
He walks to the backdoor. Sweat appears on his forehead. Beside the exit
stands a baseball bat. He takes it. Hesitantly he opens the door.
LAWN (an area of mown grass in a garden or park)
Careful to not cause any noise he walks to the shed. TOOL SHED He
listens at the window. Inside he can hear faint rhythmic sounds. He
sneaks to the entrance, opens the door, enters.
INSIDE THE TOOL SHED
BY NAME SECONDARY SLUGS
Also break the rules by using names as secondary slugs.
EXAMPLE
 E.g. They land hard on the floor covered in broken glass, locked in
grapple (engage in a close fight or struggle without weapons), each
trying to get the best of the other one,
When The Housewife head butts (ቴስታ) The Bride in the nose
 THE HOUSEWIFE
Hops off The Bride, runs into the kitchen, opens a drawer and comes
out with a huge butcher knife.
 THE BRIDE
Rises from the floor, and whips out a knife in a sheath hanging from
her belt.
The Bride backs up into the mess of the now totally demolished living
room.
ACTION DESCRIPTION
You can use a similar technique if the action is moving from one area of a
location to another.
EXAMPLE
 E.g. INT. PARKING STRUCTURE - NIGHT
248
 Sam lunges with his knife but Brad deflects the blade and makes a mad
dash for the parking structure exit. He bolts through the door into a
PARK with Sam in close pursuit.
TIME
DEFINITION Time of sense happening It’s best to write only a general
time day or night (Specific times are not used) because we can see day and night we
can’t see 3am, although it can be as specific as 4:59 A.M if say the bomb is
set to go off at 5:[Link] time might use a general time of day, like sunrise
or evening if that's critical to making the scene work. In some cases writers
put DAWN or DUSK or TWILIGHT... Avoid this. Use it only if it is
absolutely necessary to your story.
EXAMPLE
 [Link]. WASHROOM - DAY
 E.g. EXT. A GRASSY FIELD - NIGHT
 E.g. INT. MIKE’S BEDROOM - DAY
 E.g. EXT. MOUNT EVEREST - DAY
THE REASON OF
Indicating the time of day also helps in scheduling when scenes will be shot.
Daylight scenes can be shot together while night scenes are saved for filming
at night or using special techniques to simulate nighttime.
You can also use CONTINOUS or SAME to indicate that one scene follows
right after a previous one in the same location.
Avoid using MORNING, NOON, TWILIGHT, LATE EVENING or other
precise indicators as they are usually unnecessary and make the job of
scheduling more difficult.
MULTIPLE SUP SCENES CONTINUOUS MANNER
DEFINITION In another situation, with multiple scenes occurring in the
same general location in a continuous manner, you can do two way
1. leave out the timing indicator
2. or use "SAME TIME"
EXAMPLE
 E.g. INT. CLAIRE'S HOUSE, LIVING ROOM - DAY
249
 Claire watches TV with her kids
INT. CLAIRE'S HOUSE, DINING ROOM - SAME TIME
The dog eats scraps under the table.
INT. CLAIRE'S HOUSE, BEDROOM
Dad knits a skirt.
SAME TIME MULTIPLE SCENES
DEFINITION If you have multiple scenes occurring at the same time, use
the timing indicator SIMULTANEOUS or you can also use "SAME TIME"
instead of "SIMULTANEOUS"
EXAMPLE
 E.g. INT. CHEZ STADIUM, KITCHEN - DAY
A bomb ticks its way down from 2 minutes.
EXT. CHEZ STADIUM, PARKING LOT - SIMULTANEOUS
The spy checks his watch as it counts down from 2 minutes.
SPECIAL SCENE HEADINGS
There are several special scene headings to help clarify issues of time and
space, Use of special scene headings is a matter of personal taste and will
distinguish your writing style.
They should make the script easier to read. If the script becomes more
complex, you are using them incorrectly. If in doubt about a heading, do
not use it.
ACTUAL DATE
In some cases it may be necessary to specify an actual date. In that case
write
MONTH YEAR AND SEASON YEAR
Use this heading when the script alternates between several different time
periods. It can be written in a variety of ways, including "season year."
EXAMPLE
 E.g. SPRING 1946
 E.g. INT. RECORD STORE - 1958 – DAY
 E.g. EXT. BATTLEFIELD - AUGUST 5, 1931
Or Year and specific time of day should be in parenthesis, for example:
250
EXT. LONDON (1892) – DAY - ESTABLISHING
or
EXT. PEARL HARBOR (6:15AM) – DAY – ESTABLISHING

A TITLE CARD
DEFINITION Another way of setting a time and place is to write a title
card
EXAMPLE
 E.g. A TITLE CARD READS: HAMBURGER HILL - AUGUST 17,
1945
TO SHOW ACTION
 E.g. INT. POLICE CAR - SPEEDING
TO MAKE SOMETHING CLEAR TO THE READER
It is preferred to add a fourth element to the scene heading if greater
precision is absolutely necessary for a reader to understand the scene.
EXAMPLE
 E.g. INT. HOTEL LOBBY - NIGHT - SAM'S DREAM
 E.g. INT. CLASSROOM - DAY - FLASHBACK
BACK TO
DEFINITION Use this heading when returning to a previous location or
time after a short scene change
EXAMPLE
 E.g. BACK TO THE DON'S LIVING ROOM
Or
BACK TO SPRING 1946
Or
BACK TO THE PRESENT
LATER
DEFINITION Use this to indicate a minor shift in time at the same
location, if the scene remains the same but there is a laps of time then
indicate it with this scene heading:
EXAMPLE
251
  E.g. LATER
Or
LATER THAT DAY
 E.g. INT. NINA’S BEDROOM - LATER
INT. SAM'S LIVING ROOM – LATER
Or simply include a "slug line" subheading:
LATER
FLASHBACK
DEFINITION Use this to indicate an earlier time, an earlier scene
EXAMPLE
 E.g. EXT. ROBIN'S HOUSE - DAY (FLASHBACK)
SCREENPLAY FLASHBACKS, DREAMS
DEFINITION The use of dreams and flashbacks are universally considered
bad writing today. However, if you must, here is how to do it.
EXAMPLE
 E.g. FLASHBACK - SAM AS A YOUNG BOY
A 10-year old Sam sits fishing by a river bank. Sally sits down beside
him and tries to kiss him. Sam screams in terror, drops his fishing pole
into the river, and runs away.
BACK TO PRESENT DAY
MONTAGE/ SERIES OF SHOTS
DEFINITION This A number of different short related scenes showed
one after the other at different locations or times all expressing a similar
idea or a passage of time.
In this case you can use MONTAGE or A SERIES OF SHOTS, and this can
be done a number of ways.
EXAMPLE
EXT. NEW YORK CITY - DAY - MONTAGE

Commuters board a train. Traffic back up on Park Ave. A woman hails a

cab. A vendor wheels his cart.
 E.g. EXT. NEW YORK CITY - DAY A SERIES OF SHOTS
Commuters board a train.
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 Traffic back up on Park Ave.
A woman hails a cab.
A vendor wheels his cart.
MONTAGE - THE LOVERS GET TO KNOW EACH OTHER
-- They have a cup of coffee at a trendy coffee shop
-- They walk down the street holding hands
-- They drive together in a convertible through the countryside
-- They hold hands, then kiss, while walking on a moonlit beach
OR
SERIES OF SHOTS
A) They have a cup of coffee at a trendy coffee shop
B) They walk down the street holding hands
C) They drive together in a convertible through the countryside
D) They hold hands, then kiss, while walking on a moonlit beach
INTERCUT
DEFINITION This indicates that the scene takes place in more than one
location. It is often used with telephone calls

SPECIAL SCENE CONJUNCTION A NORMAL SCENE HEADING

Special scene headings can be used alone or in conjunction with a normal
scene heading. When used in conjunction with a normal heading, it is placed
first also It is acceptable to use a special scene heading on the same line if it
improves the writing flow:
EXAMPLE
 E.g. SPRING 1946
INT. DON'S LIVING ROOM – NIGHT
 E.g. INT. DON'S LIVING ROOM - NIGHT (SPRING 1946)
PUNCTUATION AT TIME INDICATOR
Similarly, the punctuation before the time indicator is most often a space,
a dash and another space.
Sometimes you'll see no spaces, sometimes you'll see two dashes, and
sometimes you'll see no spaces and two dashes, but use the former unless
you know the reader expects something else.

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AMOUNT OF SCENE HEADING
Keep Scene Headings to one line, if possible. If a Scene Heading that takes
two lines, break the natural break points: between the general and specific
locations, because do not want to break a Scene Heading so the time
indicator is the only thing on the second line.
LINE BETWEEN SCENES
Finally, you would like to have 2 or 1 blank lines before each Scene
Heading.
 Two blanks look better and also make the script read faster.
 To keep the script from being too long, use 1.
INSERT
It is used to bring some element of the scene into full frame. Some examples
would be
 a clock face,
 a letter or newspaper article,
 A book or a sign.
EXAMPLE
It can be anything important to story
 E.g. jerry lifts the letter in her trembling hand
INSERT - THE LETTER
"My Dearest jerry, I have left Vienna and count the minutes until we
will be reunited."
BACK TO SCENE
She drops the letter on the floor.
CONTINUOUS
It is a script note that explains the uninterrupted relationship between two
slug lines for the reader. If the action that takes place over the course of
multiple slug lines is without cessation, in lieu of writing “DAY”, “NIGHT”,
etc., the writer will instead opt for “CONTINUOUS” (all capital letters),
illustrating that it takes place in real-time, in addition to whatever the prior
actions were.
On the other end, the writer needs to cut back and forth between the two
locations–using a slug-line each time. To prevent confusion as to the
sequence of these events, the writer simply writes CONTINUOUS to let the
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reader know that these events are happening simultaneously.
NARRATIVE DESCRIPTION
DEFINITION As general rule Short sentences up to 3 - 4 lines at the
maximum(less is always better) that describing during camera is pointing
what audience see and hear in frame for screen which include
ACTION, SEETHING AND CHARACTER DESCRIPTION and SOUND. It
begins directly below the scene heading.
ELEMENT OF NARRATIVE DESCRIPTION
The writing should be visual, focusing ON ACTION that moves the story
forward (descript character doing something, setting with action, sound
with action and cloth with action).
 ACTION (DESCRIPTIONS)
 SETTING DESCRIPTION
 CHARACTER DESCRIPTION
 SOUND DESCRIPTION
 CAMERA DESCRIPTION
 STAGE DESCRIPTION
ACTION (DESCRIPTIONS)
DEFINITION it is the basic unit of screenwriting in script to tell story
Visually that describe what is doing, happening and action, including
physical and psychological (related to the mental and emotional state of a person.) movement
during camera is pointing at character in frame or characters (if any)
or object are involved.
ACTION TELL ABOUT CHARACTER
People are what they do, not what they say, and therefore character is
action! Who attempts the action or endures the action happening to
them, so that action tell story for the audience about
 CHARACTER’S ATTITUDE
EXAMPLE
 E.g. Alex is through the acts of rape and violence; these choices of
actions tell Alex’s attitude to the audience.
 THEIR CHANGE
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EXAMPLE
 E.g. William Wallace undergoes a character change when an English
Commander publicly executes his bride (Catherine McCormack);
provoking William to abandon his life as a family man and sends him
down a warrior’s Path.
 OR GIVES INSIGHT INTO THE CHARACTER’S CORE
EXAMPLE
 E.g. Action demonstrates a character’s core in the case of Luke (Paul
Newman) in Cool Hand Luke showing the audience that no amount of
physical, emotional or psychological action performed against Luke
will break his rebellious foundation.
PATTERN OF ACTION
Intensity and amount of action is 3 type
 STEADY ACTION
DEFINITION It is Maintains the same amount of action throughout
the story
 RISING ACTION
DEFINITION It is builds from begging the story and reaches a peak at
the end.
 RISE AND FALL ACTION
DEFINITION Rising and falling from time to time.
WRITING ACTION
In Action description what you are seeing in your mind's eye suggests to
the producers and director how the film will look when it's shot also for the
camera is the best and most effective way of telling your story.
NOTE dialogue in narrow column become eats screen time in a way
that action does not.
ELEMENT OF GOOD NARRATIVE DESCRIPTION
Only describe
 what absolutely needs
 brief (write only what you can see on screen)
 The present tense
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WHAT ABSOLUTELY NEEDS
DEFINITION Describe only the relevant information. Blocking (describing a
character’s every movement) is it’s the job of the director.

EXAMPLE
Sam stops his truck in front of the old farm house. A dog runs
out to greet him, wagging its tail

REMEMBER if the description is of an old farm house then just call it an old
farm house. Do not precede it with a long detailed adjectives the director
and set designer's jobs are to put together the set that will fit with the
story.

EXAMPLE
It’s fine to say
Bob crouches behind the chair, and then dashes for the door.

As opposed to
Bob moves to the chair and crouches behind it. He looks left and
right. He turns to the left and races out the open door.

BRIEF (write only what you can see on screen)

DEFINITION That means do not write thoughts or anything intangible (not
solid (vague) or real (abstract), only write what you can see on the screen rather
than telling
Unlike a novel, everything in a screenplay must be recorded in terms of
PICTURE and SOUND. Therefore, narrative description should never
include anything that cannot be seen or heard.
LIST OF NOT REPRESENTED ON THE SCREEN
Never write something that can't be represented on the screen
 Hiding
 FEELINGS,
 THOUGHTS, and MEMORIES
 Emotion
 Future
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MAKING REPRESENTABLE FOR SCREEN
Instead making representable by FEELINGS, THOUGHTS, and
MEMORIES they must be externalized in some way. This can be through
ACTION, DIALOGUE or FLASHBACK scenes.

EXAMPLE
Sam's calm (not showing or feeling nervousness, anger, or other
emotions.) expression hides the boiled anger that will soon
explode He silently handle gun hidden in his pocket.

REMEMBER A film can only show what can be seen.

 If Sam's expression is calm then the audience can't know that he is
angry.
 Finally, if the gun is hidden in his pocket how can the film show him
handle everything

EXAMPLE
Sam's calm (not showing or feeling nervousness, anger, or other
emotions.) expression hides the boiled anger that will soon
explode He silently handle gun hidden in his pocket.

REMEMBER If he is about to explode then that needs to be described when

it actually happens, never in a statement about the future.

EXAMPLE
Do not write
Karen is sad.

Or
The wound stung terribly.

REMEMBER Instead write the result of the emotion

Tears swell in Karen’s eyes Karen cries.

Or
Bill yells in agony from the gaping wound

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EXAMPLE
DAVID is suffering inner torment because of his wife's
kidnapping.
REMEMBER Instead show us!
DAVID runs his hands through his hair. Picks up a shot of
bourbon, tastes it and winces. He throws the glass across the
room, hitting the mirror which SHATTERS

LIST OF EMOTION RESULT PHYSICAL ACTION

Emotions, Verbal cues Non-verbal cues
feelings and
motivations
Dislike
curt replies pouting mouth,
wrinkling nose
Boredom uninterested voice rolling eyes, shrugging,
looking away
Happiness that’s great, whoa, light smiling, eyes open wide
laughing
Excitement wow jumping up and down,
arm waving
Sadness we’re sorry, it hurts, hands covering face,
crying quietness, walking away

Confidence certainly, of course good posture, good eye

contact, open chest

Nervousness stuttering, false starts biting lip, avoiding eye

contact, breathes
unevenly
Bewilderment Asking questions, oh, my open mouth, opening
God! hands/arms in a
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 questioning manner
Pain ouch, grunting wincing, holding the
part of the body that
hurts
Anger and loud voice, imperatives, finger wagging,
annoyance swearing ignoring or not
acknowledging the
other person
Superiority imperatives that are raised eyebrows,
demanding (get me that), sneering, raised chin
dominating the
conversation
Love (care my dear, agreeing, using holding hands, hugging,
and kindness) the person’s name you are leaning towards the
addressing other person
Love honey, sweetheart, flirting touching hair, brushing
(attraction) up next to the person,
embracing
Fear low and weak voice, Sniffling. trembling,
screaming heavy breathing,
lowering eyes
Disgust yuk, that’s gross clenched teeth
Politeness Thank you, please, would giving way to others,
you mind… opening doors/pulling
out chairs for others
Doubt are you sure?, really?, scrunching eye brows
questioning
 E.g. Juliet: (Surprised) Wow! They are so beautiful! Thank you
PRESENT TENSE
Write always in the present tense, it gives events and action much more
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nearest time, like they are really happening now, if the action happened in
the past, the Slug line will tell us this. Thanks, Slug line.
CAPITALIZED
1. NAME
The first time a character appears their name should be capitalized and
accompanied by a minimal description of the character. This flags the
new character for the reader.

EXAMPLE
SAM, a weathered cowboy, steps into the bar.

2. DISTINCTIVE SOUNDS
Distinctive Important sounds are always capitalized to assist the
sound records and sound designer.

EXAMPLE ONE
He jumps from the tail gate of the truck. His feet SLAP down on the
tarmac.

EXAMPLE TWO
Ray FIRES his AK47 assault rifle at the enemy. RAT TAT TAT. Sparks shoot
from the nozzle and the weapon recoils rapidly. The weapon empties and he
slaps in another clip. CLANK.

3. IMPORTANT WORDS
Important words can be stressed with capitals, but don’t overdo it.

EXAMPLE
The bomb collides with the camp and DETONATES.

MORE ACTION PARAGRAPHS

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Each action paragraphs should describe one "beat" of the story or one image
Try to keep a single event, shot or sequence within one description.
 Have the sentences that compose your description all related to one
another.
 If the action changes suddenly, start a new paragraph.
FORMAT OF ACTION DESCRIPTION
Action paragraphs (or narrative description) is always LEFT ALIGNED and
DOUBLE SPACE between the paragraphs.
Always need some Action after a Slug line; even it's only a single line.
EXAMPLE

EXT. RITZ-CARLTON - DAY

The stretch limousine bursts into flames

Beatrice picks her way through the ransacked room. Cue sticks,
books, papers everything has been searched. She stoops to pick
up a photo of a young boy

BLOCK PAGE

DEFINITION It refers to a page in a script that is predominantly action

heavy, giving the page a dense, bulky appearance with very little white space
remaining.
Avoid writing these types of pages by inserting dialogue to make the pages
look more spaced
When you watch a film that has long segments without dialogue, you can bet
that there was at least one block page in the screenplay, however, even
films that are more dialogue driven than can still sometimes have lengthy
action sequences that block up the page
EXAMPLE
 E.g. Anyone who has ever seen A SPACE ODYSSEY might suppose
that the vast majority of the script is written with block pages,
resembling a novel more than a screenplay.

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 JOE and APRIL burst through the doors into a clean, well-lit seminar
room.

Descripting to place what it lock with action

April and Joe both look out across the room -- rows of empty chairs and
not a person in sight.

Camera first seeing person searching then see

empty room using action description

Dash indicate not quick lock

Joe catches his breath as he slop against the ማማ at the front of the
room.

Stage direction with action

She takes three deep breaths. Then she looks at her watch and smiles.

Two sentence in one line for indicate one action

complete other action continuous

At her locker, RONNA misdials the combination. Frustrated,

She POUNDS the locker, then re-dials.

Simon approaches RONNA gingerly. Claire gives up on him,

Setting to work opening a box of expired cookies.
New action description in two case one if more
than 3 or two different action not continues

At her locker, RONNA misdials the combination. Frustrated,

She POUNDS the locker, then re-dials.

Coma indicate sequence of action that is not

completed

Joe's grimace (an ugly expression) suggests that he's deep in thought.
Elaborating facial expression

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Suddenly, Joe bolts from behind the podium and runs out into:

INT. DRISKILL HOTEL HALLWAY DAY

Joe glances up and down the hallway, then reaches back to open the door.
Run into: lock up and down then rich Comma indicate one action continues
Two point indicate continue to other action while
running like seeing up and down and continue up
to open door

INT. CAPITOL BUILDING DAY

Joe looking up into the building curve. April examines the ሀውልት of Texas
governors on the nearby walls.

The same line with phlosstop

EXT. AIRPLANE SUNSET

A jet liner cruises East across Texas.

INT. AIRPLANE SUNSET

A customized interior, replete with lounge chairs and sofas. Joe and April
sip margaritas.

TITLE OVER:
October 19, 1999

APRIL (CONTINUING)
You see, a few weeks have passed.

CAMERA DESCRIPTIVE FOR SPEC SCRIPT

There is absolutely no technical direction for camera, sound, music, and
editing. Technical and artistic direction are implied through CREATIVE
writing.
Not mean specific camera angles zoom…, Instead you should write simple
descriptive sentences that convey the crucial elements of the human
interactions which move the story forward.
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  Think how people look at each other;
 how they react to what someone does;
 And how they react to what someone says.

2. Think like a camera - but don’t write the camera. Thus you don’t write
Medium Shot or Long Shot, but describe what you would see if the
camera was placed in that position. Similarly if you write a long sentence
with commas that picks out several things to look at the reader will assume
you are writing a PAN or DOLLY SHOT

1-CAMERA ANGLES
Don’t write camera angles unless the angle is absolutely essential to
understanding the action
EXAMPLE
 E.g. CLOSE ON the Ambassador’s wife’s hand as she slips the key into
James Bond’s pocket; or PULL BACK TO REVEAL the Ambassador
watching from the balcony above, or you have some splendid CRANE
SHOT opening where you absolutely need to indicate how they might
go about achieving the desired visual result.
2-PUNCTUATION USED TO CAMERA VIEW
Use punctuation to create the visual impression you require.
Don’t forget to focus on how the conflict is playing and use your descriptions
to increase the sense of tension or suspense. Think how gunfight scenes are
shot to focus closer and closer in upon the action and to use surreal low
angles to intensify our emotional response
3-QUICK CUTS
Whereas if you write staccato (series of short, detached sounds or words.) sentences they
will assume that you intend to make quick cuts.
 E.g.
4-NEW SHOT
Every time you write a full stop you suggest a new shot
She takes three deep breaths. Then she looks at her watch and smiles.

Two sentence in one line for indicate one action

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 complete other action continuous

5-A NEW CAMERA PLACEMENT

Every time you move the camera from one set-up to another (e.g. from a table in
a restaurant to the door), this needs to be written as a separate paragraph
indicating a new camera position
E.g. At her locker, RONNA misdials the combination. Frustrated,
She POUNDS the locker, then re-dials.

Simon approaches RONNA gingerly. Claire gives up on him,

Setting to work opening a box of expired cookies.
New action description in two case one if more
than 3 or two different action not continues

6-MOVING SHOT
If you wish to describe a moving shot whether it be a steady camera object
in and out or moving camera new object enter farm like CAM SHOT, a
TRACKING SHOT or A PAN, write it as one sentence broken up with
commas every time important new elements come into frame.
EXAMPLE IN SCRIPT

A busy street. A man dodges through the oncoming crowd, ducks left
into a lane, and starts to run.

camera is steady but image are out and in in frame

she is putting, go to room, it boiled, other person come and picked up

CHARACTER DESCRIPTIONS
DEFINATION Character appears for the first time; describe them briefly
so your reader can put a picture of that character in their mind.
It is an excellent opportunity to be creative and make your characters
come alive. It is a place where it is “okay” to describe what you can’t see
on screen.
It is better describe characters through action, or when they are doing
something interesting.
CAPITALIZE THEIR NAME
Whenever a character is seen for the first time, it is customary to capitalize
266
their name Do this ONLY the first time the character appears.
HOW MUCH DETIALED
For main characters provide a detailed description while for small
characters, a brief one line description

267
EXAMPLE IN SCRIPT

BILL enters the cemetery

DEMITRI eyes the photo of his brother’s killer. Sweat trickles

down his striking, unshaven face. His square jaw clenches as
anger fills him. He crushes the photo with his muscular arms and
grabs his gun.

ANGIE is 29 and a tall, leggy blonde. She’s stunningly beautiful

and equally mischievous. Her desire to win no matter what, has
ruined many lives

The nosy waiter walks towards the table and pretends that he’s
adding some water for them.

Capitalization within Action: The very first time a character's name appears
in Action, it appears in ALL CAPS.
Some writers also use ALL CAPS when a sound effect appears in Action.
Others capitalize important props.

MORTIMER groans and pops a handful of aspirin. The tea kettle

WHISTLES. Mortimer pulls out a SUB-PARTICLE SUPER BLASTER and
blows the kettle to smithereens.

Superimposed Script: Think Star Wars opening... SUPER: In a galaxy far, far
away...
INT. DAY ROOM CARE HOME - DAY

LEXY WATES, a 21 year old student, sits around a table with

eight other students. A middle aged woman, CAROL MILLS, a
professional career is talking to the students. The residents
are watching television and faint sounds of snoring can be heard
behind them.

CAROL
Has everyone got a sheet of
questions?
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 Carol fiddles around, flustered, with some papers in her hand.

CAROL
Oh... I forgot what I was
going to say myself. I’ve
written a little list
somewhere...

LEXY
How long do we have to talk
to them for?

CAROL
Well that all depends Lexy.
You might ask someone if they
have children and they might
reply, oh yes, 5! You might
even find that you have
something in Common with some
of them

KEEN STUDENT
(Raising her hand)
Do some of them suffer from
dementia?

DIALOGUE BLOCKS
Dialogue blocks, also called "speeches," are composed of three parts:
character name, optional Actor's parenthetical (actor instructions (Direction)),
and dialogue
CHARACTER NAME
DEFINITION This always in all caps appears above Dialogue and tells
us which character is speaking, it tells the production manager which actors
need to be available for each scene and also tell the director and actors what
they need to do
EXAMPLE
 E.g. Characters: restaurant sense two young lovers: ROMEO, JULIET
and A WAITER
MINOR CHARACTERS NAME
Sometimes you'll have minor characters that you won't want to name, it
is okay to just call them, clerk, monkey warrior. If there are several of the
269
same types of character, add a number
EXAMPLE

COP #1

BODY BUILDER #2

EFFECTIVE NAME
1. EASY PRONOUNCE
2. APPROPRIATE NAMES FOR THAT TIME PERIOD
3. MEANING OF THE NAMES
EASY PRONOUNCE
DEFINITION Can you pronounce the name? Especially for fantasies,
beware of invented names which no one can pronounce. Remember how
hard and frustrating it is to read all the begat of the Bible and don’t do that
to your reader.
APPROPRIATE NAMES FOR THAT TIME PERIOD
DEFINITION Appropriate for the story. If you’re writing a contemporary
or a modern history story, use appropriate names for that time period. Try
looking at the Social Security Administration’s list of popular baby names by
year.
MEANING OF THE NAMES
DEFINITION Think about the meaning of the names. Look for Quran
name books that explain the meaning behind a name. Often when in the
early stages of writing to represent something about the character.
PARENTHETICALS (actor instructions)
DEFINITION Adverbs that tell the actors how they should say it is
optional annoy actors, who don't like being told how to say their lines; try to
only use parenthetical where if not using them would lead to confusion and
information is important to the story.
Limit PARENTHETICALS to no more than four lines. Also, you would never
add a PARENTHETICAL at the end of a line of dialogue.
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IN PARENTHETICALS WRITE THINGS
 EMTOTION
 DURING SPEAK, SIMULTANEOUSLY DOING
 WHO TALKING TO
 OTHER LANGUAGE
EMTOTION
DEFINITION The actor says something goes against their normal
way of speaking because the emotion of the situation; they are saying
something with a particular emphasis usually signals an emotional action.
Only it use when it isn't obvious

EXAMPLE
JULIET
(Shocked & embarrassed)
Oh… dear… Please stand up;
many people are looking at
you

EXAMPLE
(Sadly)

DURING SPEAK, SIMULTANEOUSLY DOING

DEFINITION an action the speaker is performing while speaking
EXAMPLE

ROMEO
(Kneels down and takes
out a diamond Ring)
Dear, will you marry me?

JULIET
(Reading newspaper)
What you say I don’t hear
you?

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WHO TALKING TO
DEFINITION If you want to indicate whom the speaker is addressing such
as addressing a new character in mid-DIALOGUE also possible
EXAMPLE IN SCRIPT

SECRETARY
Yes, she’s expecting you.

(To Tyler)
Hello Tyler

SHELBY
(To Mary in the next
room)

TYMON
(Disappointed)
Gentleman, excuse me one
moment

(Toward other room)

Johnson

JOHNON (O.S.)
Yes, Mr.

(Throws his hand in air

toward the entrance of
door)
Get in her with my coffee

DIALOGUE
DEFINITION It is what characters say for audience, for himself and
conversation between two or more people for expressing idea although it is
better to show, but if the information cannot be shown visually in
character’s body language or actions then using interesting dialogue is must.
NOTE TV is more talk than film, usually because of lower budgets, and
because as a medium, television is more explicit, whereas film is more
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implicit.
FUNCTION OF DIALOG
Dialog can simultaneously serve many functions
7) Advance the plot (moves the story forward)
8)Communicate facts and information to the audience
9) Reveal and deepen character
10) Establish relationships between characters
11) Comment on the action
12) Connect scenes
EFFECTIVE DIALOGUE
There are some rule to wright effective dialogue
4. KEEP DIALOGUE CONCISE
5. ASSIGN A DIALOGUE STYLE
5.1. DIALOG CATCHPHRASE
5.2. VISUALL AND AUDITORY WORDS SPEAK
5.3. EMOTIONAL WORDS SPEAK
5.4. SWEAR SPEAK
5.5. IMPERATIVES
5.6. POINT OF VIEW
5.7. SPEAD OF SPEAKING
5.8. ACCENT
6. REAL DIALOG
6.1. BEHAVIOR MODIFICATION
6.2. BAD GRAMMAR
6.3. SIMPLICITY
[Link] THE DIALOG
[Link] SAYING EXACTLY WHAT YOU MEAN
KEEP DIALOGUE CONCISE
DEFINITION Giving a lot of information clearly in few words for Economy
of dialog
LIST OF AVOID ELEMENT TO MAKE CONCISE
 any words that are not necessary,
 Avoid big blocks of dialogue(big conversation)
 And long speech (one character).
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ASSIGN A DIALOGUE STYLE
DEFINITION Look for new and unique ways to say things with good
dialogue you should be able to tell who is speaking without looking at the
character’s name.
 DIALOG CATCHPHRASE
DEFINITION Give your character a vocabulary that something they
say a lot. All of us have certain words or phrases that we say habitually
EXAMPLE
 E.g. No worries
 E.g. Whoa.
 E.g. Cool
 VISUALL AND AUDITORY WORDS SPEAK
DEFINITION Some people speak visually and some speak with
auditory words
EXAMPLE
 E.g. see this,
 E.g. picture this
 E.g. can you hear that?
 E.g. Does it ring a bell?
 EMOTIONAL WORDS SPEAK
DEFINITION Talk about how they feel.
EXAMPLE
 E.g. Wow
 E.g. cool
 SWEAR SPEAK
DEFINITION Some people swear a lot and some don’t
 IMPERATIVES
DEFINITION Dominant characters speak in imperatives
EXAMPLE
 E.g. Do it now,
 E.g. I insist.
 UNIQUE POINT OF VIEW
DEFINITION Give your character a unique point of view. By giving
your character a unique point of view, a unique way of seeing things,
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 what they say will be different from other characters
 SPEAD OF SPEAKING
DEFINITION Some people speak slowly, some fast.
 ACCENT
DEFINITION Give your character an accent. Depending on your
story, your character may have a New York accent or a Southern drawl.
It’s okay to write dialogue phonetically, as long as it is easy to
understand
 USE PUNCTUATION
DEFINITION To emphasize style, illustrate a speaking style with
punctuation. (Some people... speak... slowly.)
REAL DIALOG
DEFINITION Should never be literary unless a literature professor is
talking, it must always sound like real unless purposely stylized
 BEHAVIOR MODIFICATION
DEFINITION Remember behavior modification (We speak differently in front of
the boss!).
 BAD GRAMMAR
DEFINITION Use bad grammar to “keep it real” - half-phrased
thoughts, sentences without verbs, and word-association.
 VERNACULAR SPEECH
DEFINITION The language spoken by the ordinary people of a country or
region
 WEAVE THE DIALOG
DEFINITION Weaves the dialog and don't exhaust your topic
EXAMPLE
 E.g. ABCDEFG is bad, ADBEACFEG is go
 PAUSES AND (BEAT)
DEFINITION it is the writer’s way of illustrating to the reader when a
character takes a brief pause between delivering parts of dialogue.
The (beat) is written as a Parenthetical, separates different segments of a
character’s dialogue, and is written in lower-case.
Use pauses and (beat) as SILENCE has great dramatic effect in a
cinema. Audiences can imply a lot into a character’s meaningful silence
because Cinema is implicit, longer pauses can be written as "two beats",
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 "three beats", etc.
EXAMPLE
 E.g. Upon listening to John’s anecdote about his sudden dismissal of
his long-time passion for tropical fish; explaining how quickly he is
capable of switching from obsession to apathy for any given subject,
Susan becomes puzzled. The writer calls attention to her pause and
suggests that Susan would take a (beat) in order to process John’s
statement before coming up with a response.
 BEAT IN SPEC SCRIPT
DEFINITION beat don’t use them in spec script they are distracting if
you need to insert a pause or beat do this
 Cheryl hesitates at the edge of the cliff...
 Bob holds his breath... waiting.
 The killer raises the knife... and plunges it into the pumpkin.
 Deer the bed, Tim sees the killer’s feet.
 UN BEAT
DEFINITION From beat to UN BEAT a pause written into a
character's speech or action
 AVOID SAYING EXACTLY WHAT YOU MEAN (SUBTEXT)
DEFINITION Most people don’t come out and say exactly how they
feel, they lie, they avoid.
TEXT AND SUBTEXT(NOSE)
TEXT (NOSE)
DEFINITION is what the character says exactly what's happening in a
scene or what he thinks or feels or what he'll do.
EXAMPLE
 E.g. look! a car while we see a car coming it is beautiful
 E.g. or I'm bored while the character (and probably the reader too) is yawning
already.
SUBTEXT
DEFINITION is what is unsaid (what a character thinks but does not say), it show what
is really going on (what a character is really saying) thoughts, feelings, judgments,
Conflict, anger, happiness, guilt, envy, pride, any emotion expressing
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reversal by a character's actions and reactions but not in the words, the
word is other thing say
NOTE Actions do speak louder than words.
SUBTEXT is when you're dating; TEXT is when you're married…
EXAMPLE

A husband comes home late after a long day and night at the
office. He’s drunk, with girl hair, a lipstick, walk in
exhausted and enters the kitchen, where his wife washes dishes
like they were bongo drums.

HUSBAND
You okay, honey.

WIFE
(Coldly)
Fine!

And without giving him even the slightest glance, she punctuates
her reply by slamming the cupboard door... Hard! She then
promptly exits the room, leaving her husband standing there We
walks into the dining room, where two places are set, cold but
untouched food on one place setting and empty bottle of wine at
the other. Between is a present and card. The card reads: “Happy
Anniversary”.

 REMEMBER She said she was “fine”, but clearly the subtext illustrates
she is anything but. She’s angry, feeling taken for granted, and for
good reason we love it because of the subtext. The writer gives us two
plus two, but lets us do the math, and we feel smart when solve the
equation
REASON USING USE NOSE
3. Screenwriters use on the nose movie dialogue when it's dramatically
more efficient to say what's happening exactly the way it is. But they
mix it skillfully with subtext.
4. In real life, sometimes emotions are running so high that people do
actually say what they are really thinking. They blurt out their love,
their fear, their hope. But even then, there is almost always a subtext
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 beneath their directness. Even as your character says, “I love you”
there’s still something that’s not being said.

REASON USING SUB TEXT

4. On the nose movie dialogues have a tendency to be flat and lacking
depth therefore reader/audience being actively engaged in the story by
filling in the gaps of what is expressed but not said.
5. Mostly when saying things straight would bring the character face the
consequences of what he says, and may lose something (including his face).
6. Subtext is often connected to strong emotions like love, hatred,
jealousy, desire, anger, frustration. In such cases hiding one's true
feelings and thoughts is more the rule than the exception. Things get
implied rather than being said explicitly.
STEPS OF WRITHING SUBTEXT
To write movie dialogues with subtext there is two steps:
3. First write your movie dialogue using on the nose dialogue.
4. Then look at ways to say the same thing differently, using subtext,
taking into account your characters, and what we know about them

EXAMPLE ONE
NOISE
She starts to walk away.

MIKE
I don’t want you to go just
yet.

CLAIRE
I can stay a little longer.

MIKE
Let’s talk.

SUB TEXT

She starts to walk away.

MIKE
Claire?
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 CLAIRE
Hmm…

MIKE
(Holds up crossword)
You wouldn’t happen to know
what language they speak in
India, do you

EXAMPLE TWO
NOISE

Mary toys with her food. She looks up at Frank.

MARY
Do you love me?

FRANK
I have to admit that I don’t
really love you very much.

MARY
That makes me feel very
unhappy, but I’ll just have
to get on with it, even
though my heart is breaking.

SUB TEXT

REMEMBER It’s fascinating how much can be revealed by a question that is

left hanging after you’ve cut the answer. Or an answer given to a question
that’s not been asked. Find creative ways for your characters to change the
subject, or the reverse: return to an old subject.

Mary toys with her food. She looks up at Frank.

MARY
Do you love me?

Frank says nothing but stares at his plate.

MARY
I’ll get the dessert, then.
It’s trifle. You’re
favorites.
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EXAMPLE THREE

First with subtext, then on the nose

West and Joanne about a possible code violation but west wants
to investigate the case alone

WEST
Joanne, why don't you get
yourself a cup of coffee?

JO
Thank you, sir, I'm fine.

WEST
Joanne, I'd like you to leave
the room so we can talk about
you behind your back.

EXAMPLE THREE

JON
Don't worry. I'll terrorize
this guy and have him wake up
next to the severed head of
his six hundred thousand
dollars horse. This should
help him out reconsidering
his decision and giving you
the role.

REMEMBER Apart from the fact that this movie dialogue line is weak - it
explains too much and is unnatural, it could actually put the character in
jeopardy if someone was to hear it.
SUB TEXT
So Jon says instead:

JON
I'm going to make him an
offer he can't refuse.

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REMEMBER as we saw the Jon in action before, we know that this line
means trouble
And we are left wondering what will happen.
EXAMPLE FIVE
This is a story of a divorced father, George, who has a few months to live.
When he gets fired from his job, he decides to tear down his shack and build
a house with Sam, his estranged son.
The first example of subtext regards the relationship of Sam with his father:
This is what Sam says to his father at the beginning of the story:
SAM
Why don't you just beg some
money off my dad and move
into something decent with a
real kitchen and a real
bathroom?

In itself this line has some truth in it. George's shack is shabby. So Sam does
not get into trouble when he says that.
However, the subtext is clearly "You're such a loser!”
Sam conveys the subtext by using the put down movie dialogue technique
with the intention to hurt George's feelings - especially when he says
"my dad" while referring to his stepfather.
Later on Sam says the following to his father:
SAM
You can't promise me
anything! You don't have
anything to promise! You
live in a garage! You don't
have cable! You're not
hooked up to the internet
because you don't even own a
computer! You don't have a
job!

Again a brilliant line - the subtext is "you're nobody, you've got nothing to
say."
And Sam uses this time the movie dialogue technique known as "list" to
really make his point.
Fast forward: This is a few months later. George and Sam are different
human beings and they have completely transformed their relationship.
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George is dying in the hospital. Sam wants to get into his room.
NURSE
Excuse me. I'm afraid no
one's allowed in there now.

And Sam responds

This time - the movie dialogue technique used is "telling it like it is". George
is effectively Sam's biological father.
But this is the first time Sam refers to his father as such in the whole script.
And when he does, what he expresses with subtext is that he loves his father
and is proud to be his son.
SECRETS AND GOSSIP, LAUGHTER AND TEARS
SECRETS AND GOSSIP
DEFINITION Everyone loves learning secrets and hearing gossip. Reveal
important secrets from time to time. Include occasional bits of shocking
gossip about one of the characters.
LAUGHTER
DEFINITION Even the most serious drama must have lighter moments.
Humor in a story is not about telling jokes. It's about observing our fellow
humans in novel, silly and embarrassing situations that we have experienced
ourselves.
CRY
DEFINITION Everyone loves to cry for some strange reason. Even men
love to cry although not necessarily over the same things as women. Tears of
joy when the hero finally gets his/her reward after much suffering are the
best kind of
Tears.
VOICE OVER (V.O.)
DEFINITION it is used when a speaking character has no physical
presence in the scene (voice on phone, TV, narration, etc.) or for the
character's inner monologue (speaking alone).
(V.O.) is put next to the character’s name that is speaking
When a character or narrator can be heard talking from some unknown
place outside of the scenes (the future, heaven, inside our head it looks like this)

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NOTE Voice-over can sometimes be a simple and efficient way to
articulate important information to the audience, it is generally considered
to be a method of telling the audience rather than the more-desirable
method of showing the audience.
EXAMPLE
John dresses as the sun rises.

JOHN (V.O.)
I woke up early that day and
dressed while thoughts of
what was about to happen
flooded my mind.

TYMON (V.O)
(Inner thoughts)

This better be the best damn coffee ever or he’s fired

GAINES
(On phone)

OFF-CAMERA DIALOGUE AND OFF SCREEN

DEFINITION Off camera (O.C.) and off screen (O.S.) are identical, which
one you use is really a personal preference. They indicate that a speaking
character does not appear in the frame, but is physically present in the scene
such as in another room.
It looks like this (O.S.) is put next to the character’s name
EXAMPLE FROM SCRIPT

INT. BEDROOM - NIGHT

John undresses as the sun sets.

Amy yells from the kitchen.

AMY (O.S.)
Have you seen the salt?

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PHONE CONVERSATIONS
DEFINITION There are several ways that a phone conversation can be
written. One way is by using (O.S.) in the first example we stay on the main
character John.
EXAMPLE FROM SCRIPT

INT. BEDROOM - NIGHT

Amy answers the ringing phone.

AMY
Hello?

EXT. PHONE BOOTH

John grips the receiver tightly.

JOHN
It’s me.

AMY (O.S.)
I told you not to call.
JOHN
I couldn’t stay away.
AMY (O.S.)
Well you should.

INTERCUT
DEFINITION In some cases you may want to show both characters as they
speak. In this situation you use INTERCUT.
EXAMPLE FROM SCRIPT

INT. BEDROOM – NIGHT

Amy answers the ringing phone.

AMY
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 Hello?

EXT. PHONE BOOTH

John grips the receiver tightly. INTERCUT

JOHN
It’s me.

AMY
I told you not to call.

JOHN
I couldn’t stay away.

AMY
Well you should.

INTERUPPTED DIALOGUE
DEFINITION If a speaking character is interrupted by ACTION or a page
break, but continues to speak after the ACTION line, you could add
(CONT'D, MORE’S) after the character name. However, modern
screenwriting standards have eliminated this practice except in writing for
half-hour television sitcoms.
EXAMPLE FROM SCRIPT

JON
Tom, you’re being promoted

Tom looked stunned.

JON (CONTD)
I’d like you to meet the man
you’ll be training as your
replacement

CLAIRE (V.O., CONT’D)

PAGE BREAKS
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(CONTINUED) should be used with parenthesis at the bottom right of the
page if a scene continues on the next page. On the subsequent page, at the
top left should have no parenthesis, but a colon - CONTINUED:
MEMORABLE DIALOG FROM FILMS
SCREENPLAY ENDING
On the last page of your screenplay you can do either one of the following or
both THE END or and FADE OUT
THE END
DEFINITION It is used to show in screen the film is over, THE END
Triple space down the page and center

THE END

FADE OUT
DEFINITION It is typical for the image on the screen to literally fade from
the audience’s view to a solid black background though it can be white, or
another color.
It place at the right margin.

FADE OUT

BOUND (BIND)

DEFINITION it is industry standard to bind a script Pages with Solid Brass

fasteners ACCO NO 5 ROUND-HEAD, These are the ones with two flat legs
coming out of the head, 1 1/4" long sometime longer No. 6 or No. 7, with
3hole drilled (punched) on the left page but bound together Only use two
fasteners in the first and third of the three-hole punches.

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ACCO NO 5 ROUND-HEAD BRASS FASTENERS
THE REASON USING FASTENERS
For Producers, financiers and agents like to be able to COPY SCRIPTS and
pass them around, this type of binding makes it easy hold your script
together
CREW MEMBER FOR SCREENPLAY WRITING
If writer write only script but not story it receive credit of screenplay by but
Usually, one writer handles both “story” and “screenplay,” he/she receives a
more general “written by” credit.
But you are still writing a story when you write a screenplay someone wrote
a story in novel, short story, treatment, or other form that was not the actual
screenplay used to create the movie.

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 CHAPTER TWENTY TWO
REWRITING YOUR SCRIPT
SCRIPT EDITING QUESTIONS
PREMISE
 Is there a clear and strong premise, concept, or idea?
CHARACTER
 Whose story is it? Who do we `root’ for?
 Do we care about the people in the story, and what happens to them?
 Are the characters interesting and big enough? Do they have clear
wants?
 How does the lead character change through the script?
 Are there roles in this script for which actors would kill to portray?
STORY
 What is the story?
 Is the story `big’ enough for cinema?
 Are there enough visual elements?
 Does the story contain a strong protagonist/antagonist conflict?
 Are there enough twists, surprises, reversals?
 What is at stake?
STRUCTURE
 Where does the story start? Is it too long/late in starting?
 Do the plot points work?
 Are the scenes sequenced well?
 Does each scene push the story forward?
 Are any scenes too long?
 Is all the `juice' wrung out from the scenes?
 Is everything that is `set up’ in the first act, later `paid off’ in the third?
DIALOG
 Is there too much dialog, and not enough visual action?
 Is it dialog- rather than character-driven?
 Is the dialog well differentiated for each character?
 Is the dialog too obvious?
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  Is the tone consistent with the genre? (drama, thriller, comedy)
 Is the script layout okay?
THEME
 What is this story `really’ about?
 Are there thematic visual metaphors?
 Guide to Writing Feature Films 88
SCRIPT EDITING THE SCENE-BY-SCENE ANALYSIS
1 - What is the mood of this scene, and how is it indicated? What role does
the setting play in creating this mood or ambience? Or does it counterpoint
it? Is it ironic?

2 - What in this scene, is revealed (if any) of the back story?

3 - What is the subtext of the scene? How is it evidenced by dialog, action

and/or mood?
What are the characters really saying to each other? That is, what are the
emotions and strategies underlying the dialog?

4 - What do the characters bring to the scene from the previous action in the
story?

5 - Summarize the character relationship.

6 - Whose scene is it? Do any character changes take place? What is the logic
of the scene? – Are the actions and events are consistent and believable,
composed of incidents that could reasonably happen?

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7 - What does each character want - and why is it hard to get it – i.e. What is
the nature of the conflict in the scene?

8 - What story point is made in the scene? What is the basic action?

9 - What is the scene's 'red dot'; (i.e. when the scene actually makes its story
point.)

10 - Are there `twists’ in the scene? Twist is like a plot point, when the scene
gets new energy, or bounces off in a new direction.

11 – Could this scene be cut?

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 CHAPTER TWENTY THREE
DOCUMENTS
FROM PREMISE TO SCREENPLAY
The usual steps and documents involved in writing a feature screenplay
THE PREMISE
DEFINITION (1-3 sentences) The Premise (sometimes called the Concept) is a
simple statement of the main character/s, and their dilemma.
THE SYNOPSIS
DEFINITION (3 paragraphs) the synopsis is about 3 paragraphs long, and
reflects the beginning, middle and end of the story.
THE OUTLINE
DEFINITION (1-3 pages) One or Three pages, describing the setup,
development and resolution, and sketching the details of the characters.
CHARACTER NOTES
DEFINITION (1-3 pages for each major character) Outlines the different
characters, and their Back stories.
PITCH’ DOCUMENT
DEFINITION (10 pages) contains all of the above documents.
SCENE BREAKDOWN
DEFINITION (2-3 pages) A `beat sheet’ or list of points, outlining the key
event/s of each scene. Can also be done on approx. 60 index cards (one for
each scene).
THE TREATMENT
DEFINITION (20-40 pages) Twenty to forty pages, a short story virtually,
which is simply an expanded version of the Outline, but with more character
detail, and various dramatic `moments’ and key scenes fleshed out in more
detail. Usually each scene is a paragraph. Contains no direct dialog, and is
written in the third-person present tense.
SAMPLE DIALOG
DEFINITION (1 page for each major character) `Test scenes’ or
monologues, so that each of your characters speaks in their own distinctive
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voice.
THE SCRIPTMENT
DEFINITION (Say 80 pages) A hybrid of Treatment-and-Script. Famously,
James Cameron wrote one of these for Spider-Man.
SAMPLE DIALOG
DEFINITION (Say, 1 page for each major character) `Test scenes‟ or
monologues, so That each of your characters speaks in their own distinctive
voice.
THE SCREENPLAY
DEFINITION (120 pages) 105-120 A4 pages, in standard Screenplay
format, in Courier 12-point font, and with black card front & back, 3 hole
drilled & 2 brads in the top & bottom holes. Has scene headings, stage
directions and dialog.
HOW TO SUBMIT A SCREENPLAY TO AGENTS
A submission package may consist of some or all of the following
 A covering letter
 A tagline of the script
 A synopsis of the film
 A film treatment
 A list detailing the main characters
 Sometimes a personal statement
 The screenplay
 Checklist for Writing a
SCRIPT ANALYSIS (BY SCRIPT ASSESSORS OR READERS)
When a screenplay is submitted to a studio, it is read by a Script Analyst,
who does ‘coverage’ on it. The main reason for coverage is a filtration
process, so that busy executives do not have time to read.
COVERAGE
COVERAGE is a 3-page document which includes
1. a STORY SYNOPSIS (of 1 - 2 pages),
2. and a page of one-paragraph COMMENTS on the following areas:
2.1. STRUCTURE,
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 2.2. PREMISE,
2.3. PLOT,
2.4. CHARACTER,
2.5. DIALOG,
2.6. THEME
3. as well as a paragraph on a few other issues, such as
3.1. GENRE,
3.2. COMMERCIAL POTENTIAL and BUDGET,
3.3. TARGET AUDIENCE,
3.4. POSSIBLE CAST and VISUAL STYLE.
On coverage’s there is usually a grid such as the following
EXCELLENT GOOD FAIR POOR

PREMISE X
STRUCTURE X
PLOT X
CHARACTER X
DIALOG X
GRADES THE SCRIPT
The coverage done by the reader results in one of three outcomes: the reader
grades the script with either
 PASS - which tells a studio executive not to waste their precious time
reading a poor script
 CONSIDER - which means read or give the script to another reader
for a second
 RECOMMEND - which means read the script ASAP, with an eye to
purchasing it. This is the rating all writers hope for.
FINANCING THE MOVIE
This is by far the most frustrating and painfully part of being an
independent filmmaker, but movie making even so-called no-budget movie
making costs money and somebody needs to pay those bills.
Securing movie financing is so unpleasant, so that many movie makers
simply blow their own money on making their project instead of waiting a
few decades to secure the financing and who can blame them?
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NON-DISCLOSURE AGREEMENT
This is an example of a (American) Non-Disclosure Agreement. Note- It is
not advised that you use this exact form in Australia, it is simply an example
of one. However you, as a screenwriter, may wish to have anyone to whom
you give your script to, sign an NDA.
NDA
In connection with the presentation to me of certain facts and information
by
_________________ (hereafter referred to as “________________”),
regarding its various business activities and relating to my possible
involvement with or connection to the above, I agree to abide by the
following terms and conditions:
1. In consideration for being provided with certain facts, information, plans,
products, customer lists and records, technology and technical information,
methods, processes, products, inventions, product design information, cost
and pricing information, computer programs and listings, source code,
object code, marketing techniques, trade secrets, copyrights, other
intellectual property, creative ideas and/or proprietary information
(hereafter collectively referred to as “Confidential Information”), and having
the opportunity to consider participation in the business activities of
_______________________, I hereby agree to refrain from disclosing
in any manner, to anyone, any and all Confidential Information that is
provided to me, except with the express written consent of
_______________________.
2. All Confidential Information and other items furnished to me by
_______________________ will be considered confidential and
proprietary. I shall not duplicate or copy any Confidential Information,
written materials, artwork, designs, prototypes, equipment, audio materials,
or video materials that have been given to me by
_______________________. Upon the request of

294
_______________________, I agree to immediately return any
Confidential Information, written materials, artwork, designs, prototypes,
equipment, audio materials or video materials that have been given to me,
or that are otherwise in my possession or control, as a result of my
involvement and communication with
_______________________.
3. I acknowledge that _______________________ or its designee is
the owner and copyright holder of all Confidential Information, written
materials, artwork, audio materials and video materials given to me. I
understand that any use in any manner of such Confidential Information or
other materials by me without the express written consent of
_______________________ is a violation of federal copyright law, and
will subject me to applicable penalties and legal remedies.
4. If it appears that I have disclosed (or have threatened to disclose) any
Confidential Information, _______________________ shall be entitled
to an injunction to restrain me from disclosing, in any manner, any
Confidential Information. _______________________ shall also have
the right to pursue any and all other legal remedies available in this
Agreement or otherwise by law, in the case of any violation of any provision
of this Agreement by me. Guide to Writing Feature Films 106
5. I acknowledge that should I violate any of the terms of this Agreement,
_______________________ may commence legal action against me for
breach of contract and/or copyright infringement. Along with monetary
damages, _______________________ shall be entitled to injunctive
relief or the specific enforcement of this agreement, in addition to any other
legal remedies available at law. I agree to pay all of
_______________________’s court costs, expenses and attorney’s fees
incurred in pursuing any legal action against me.
6. I agree that all of my employees and agents shall be bound by all of the
terms of this Agreement. I shall not disclose any information covered by this
Agreement to any of my employees or agents without the prior written
consent of _______________________, and unless such employee or
agent has first signed a copy of this Agreement.
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7. I acknowledge that neither I nor _______________________ have
any obligation under this Agreement to use any Confidential Information in
any manner, or to purchase any service or product or item from each other,
or to offer third parties any services, products or items which incorporate
any Confidential Information. I further acknowledge that this Agreement
does not create any agency, partnership or joint venture between
_______________________ and myself, or
_______________________ and any other person, firm or entity.
8. The interpretation and enforcement of this Agreement shall be governed
by the laws of the state of Washington. The venue for any legal proceedings
involving this Agreement shall be in the courts of Snohomish County,
Washington. I hereby agree to be subject to the jurisdiction of the courts of
Snohomish County, Washington, for the purposes of any legal proceedings
involving this Agreement.
9. This Agreement shall not be assignable by me. I shall not be permitted to
delegate any of my duties, responsibilities or obligations under this
Agreement, except with the prior written consent of
_______________________. This Agreement shall remain in full force
and effect until revoked in writing by
_______________________.Signed this ________ day of
______________, 20____.
Company:
By______________________________
[Your signature]
Signature:
Print Name:
Address:
RELEASE FORM
This is an example of a (American) release form. Some producers ask that
you send a signed release form along with your script.

296
NOTE- It is not advised that you use this exact form in Australia.
Writers' Script Network suggests that you ensure your attorney looks over
the release form and that you have fully read and understand it before
signing and using it.
RELEASE FORM
Date: _____________________________
Writers' Name: _____________________
TO:______________________________
Following your request, I am submitting to you the following Script/s
(referred to as "The
Material") for your consideration:
TITLE:
___________________________________________________
Registration/copyright #: ________________________________
PRINCIPAL CHARACTERS:
____________________________________________________
_
BRIEF SUMMARY OF PLOT: (Log
line)_____________________________________
____________________________________________________
____________________
____________________________________________________
____________________
____________________________________________________
____________________
I realize that you (and your staff) are in the production and/or management
297
of material for motion picture, television and/or other media and, as such,
are likewise engaged in the search for material and literary properties and
the development of ideas, stories and suggestions for exploitation in any and
all entertainment media which said production or management necessitates.
Such material, ideas or suggestions may relate to format, theme,
characterizations, treatments and/or means of exploiting a production
based on such ideas and suggestions once completed. As a result, I recognize
that you will not discuss, consider or read ideas, scripts, treatments, formats
or the like submitted to you by persons not in your employ without first
obtaining the agreement of the person submitting same to the provisions of
this letter.
I hereby acknowledge and agree as follows:
Guide to Writing Feature Films 104
I warrant that I am the sole owner and author of the above described
material and that I have the full right and authorization to submit the
material to you. I agree that any part of the submitted material which is not
novel or original and not legally protected may be used by you without any
liability on your part to me and that nothing herein shall place you in any
different position with respect to such non-novel or non-original material by
reason hereof.
You shall not be under any obligation to me with respect to the submitted
material except as may later be set forth in a fully executed written
agreement between us. I realize that you may have had access to and/or may
have independently created or have had created
ideas, themes, formats and/or other materials which may be similar to the
theme, plot, idea, format or other element of the material now being
submitted by me and I agree that
I will not be entitled to any compensation by reason of the use by you of
such similar material.
Sincerely, Signature:
____________________________________________
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Print Name:
____________________________________________
Your Street Address: _____________________________________
Town/City: ____________________________________________
State:
_________________________________________________
Postal/Zip Code: _________________
Country: ______________________________________________
Telephone: ____________________________________________
Fax #:
________________________________________________
Your Email Address: ____________________________________
THE QUERY LETTER
DEFINITION A Query Letter is an invitation for producer/agent/director
/actor to read your script. It should be no more than a page.
SAMPLE
Dear Mr. Jon
Michael Eisner suggested I contact you about my new screenplay, LIFE IS
BEAUTIFUL. It's a bittersweet drama about a Jewish man in 1943 Italy who
tries to hide the horrors of the Nazi occupation from his young son by
pretending it's all a big game. Although the historical events are sorrowful,
the story is uplifting and even comedic.
My grandfather survived the Holocaust himself, and I wanted to bring to
life some of the almost unbelievable stories he told me.
If you are interested in taking a look at the screenplay, please let me know.
An SASE is enclosed for your reply. Thank you for your consideration.
Very truly yours
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 CHAPTER TWENTY FOUR
PR PRODUCTION
PRE-PRODUCTION
DEFINITION Pre-production involves all the work necessary to plan the
film it tack Another six-month to a year is spent to gathering the resources,
people and money, required to make the film.
You begin pre-production when you know that you can definitely pay the
movies bills, which means that the money is in the bank and ready to be
spent. Anything else is a pipe dream.
This is done so that the production assistants and director can then
arrange the order in which the scenes will be shot for the most efficient use
of stage, cast, and location resources
CASTING
Casting is taken care of by Casting Directors, who are very good at finding
actors who match the directors specifications. Obviously the director makes
the final choices, but the preliminary selection which is the most time-
consuming and tedious part is done by casting directors, who are, frankly,
worth every penny they charge. They know literally thousands of actors and
can quickly find the right actor for a role.
PRE-PRODUCTION ACTIVITIES
Pre-production involves the following activities again, they are not always
executed in the same order, and they frequently overlap:
 Shot listing
 Scheduling,
 Budgeting
 Location
LOCATIONS
Finding appropriate locations can be a real pain.
Depending on your budget, location scouts just like casting directors are
worth every penny, if you can afford them. They do precisely what their
name suggests: they go out with your specifications and find candidates for
your locations (and in any case they have extensive libraries of locations
they already know).

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SHOT LIST
This is simply a numbered list of shots, with a description of the framing
and other details such as focal length, camera movement, things to bear in
mind and other issues. Sometimes storyboards are included. It is a very
personal document and every director has his/her own way of shot listing.
Here is my own Shot List Template (free download).
TECH SCOUT
The tech scout is very enjoyable. Having locked all locations and produced
the shot list, the director, cinematographer, production designer, line
producer and 1st AD go on the tech scout. On TV commercials the producer
sometimes also attends. The purpose of the tech scout is for the director to
visit each and every location with the heads of department and explain
precisely what each shot will entail: where the camera will be, details of
camera movement, what the actors will be doing, what the look of the scene
must be, and so on. The 1st AD makes a careful note of anything the director
says that has important implications for the shoot. A good 1st AD will also
warn the director and other heads of department of any problems that may
arise, such as background noise that may compromise good location sound
recording. The tech scout is one reason for which when a film crew is setting
up, it looks like the director is just sitting back and letting the crew get on
with it: it is because they were already briefed in great detail during the tech
scout well in advance.
SCHEDULING BY THE 1ST AD
After the tech scout the 1st AD uses the directors shot list to draw up a
schedule for each day of the shoot. This is one of the main roles of 1st ADs,
and a new director, no matter how brilliant, should always hire an
experienced 1st AD and trust his/her schedule. A common practice is to
schedule shots in the order of lighting or camera setups (whichever is the
most time-consuming), not in chronological order, so don’t argue with your
1st AD if the schedule is not in chronological order: it almost never is. I love
1st ADs!
PRODUCTION DESIGN
After the scout the production designer designs and oversees the production
of set pieces, and arranges the procurement of anything that needs to be
purchased: plants, furniture, etc. The costume designer does the same.
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SCRIPT BREAKDOWN
The script breakdown is the process in which every single item needed for
the movies shoot is identified. This includes locations, props, effects
absolutely everything. You need a real movie producer to do this. Learn this
lesson the hard way!
Scene Breakdown (2-3 pages) A `beat sheet’ or list of points, outlining the
key event/s of each scene. Can also be done on approx. 60 index cards (one
for each scene).

A SAMPLE FEATURE FILM BUDGET

Title: Sample Feature Film
Production company: AIP
ABOVE-THE-LINE
100 Screenplay $ 32,000
200 Producer $ 34,000
300 Director $ 25,000
400 Cast $110,000
$201,000
BELOW-THE-LINE
Production
500 Production staff $ 41,400
600 Extras $ 12,000
700 Set operations $ 69,600
800 Sets $ 34,000
900 Props $ 21,200

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1000 Costumes $ 33,000
1100 Makeup and hairdressing $ 14,000
1200 Production Equipment $ 42,000
1300 Locations/studio $ 25,600
1400 Laboratory & film $ 78,000
1500 Tests $ 500
1600 Production misc. $ 13,800
$385,600
Postproduction
1700 Editing $ 92
1800 Sound $ 29
1900 Music $ 52
2000 Titles & opticals $ 10
2100 Laboratory $ 26
2200 Sound mix $ 23
$232,200
Other costs
2300 Insurance $ 40
2400 Miscellaneous $ 50
$ 90,200
Total $909,000

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10% Contingency $ 90,900
Grand total $999,900

100 Screenplay
101 Story rights
102 Writer, screenplay $ 31,000
103 Research and Travel $ 280
104 Script copying
105 AWG registration $ 20
106 Script timing $ 700
$ 32,000
200 Producer
201 Executive producer
202 Producer $ 30,000
203 Associate producer
204 Secretary $ 4,000
205 Assistants
$ 34,000
300 Director
301 Director $ 25,000
302 Dance director

304
303 Secretary
$ 25,000
400 Cast
401 Lead players $ 70,000
402 Supporting players $ 30,000
403 Stunt persons $ 6,000
404 Looping allowance $ 4,000
$110,000
500 Production staff
501 Production manager $ 17,000
502 First assistant director $ 8,000
503 2nd assistant director $ 4,000
504 Script Supervisor $ 5,600
505 Technical advisors
506 Production assistants $ 2,400
507 Secretary $ 4,000
$ 41,400
600 Extras
601 Extras $ 10,000
602 Stand-ins
603 Stunt persons $ 2,000

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$ 12,000
700 Set Operations
701 Director of photography $ 9,600
702 Camera operator
703 1st camera assistant $ 6,000
704 2nd camera assistant $ 4,000
705 Sound mixer $ 8,000
706 Boom operator $ 6,000
707 Gaffer $ 6,000
708 Best boy $ 4,000
709 Generator operator
Guide to Writing Feature Films 98
710 Electrician $ 4,000
711 Key grip $ 6,000
712 Set grips $ 12,000
713 Dolly grip
714 Wranglers
715 Still photographer $ 2,000
716 Special effects person $ 2,000
717 Welfare worker
718 Guards

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$ 69,600
800 Sets
801 Art director $ 8,000
802 Construction crew $ 16,000
803 Construction costs $ 10,000
$ 34,000
900 Props
901 Property master $ 5,000
902 Assistant $ 3,200
903 Props purchase $ 4,000
904 Props rental $ 6,000
905 Props truck $ 3,000
$ 21,200
1000 Costumes
1001 Wardrobe supervisor $ 5,000
1002 Assistant $ 3,200
1003 Wardrobe purchase $ 3,000
1004 Wardrobe rental $ 1,000
1005 Cleaning $ 1,400
1006 Misc. supplies $ 200
$ 13,800

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1100 Makeup and hairdressing
1101 Makeup person $ 8,000
1102 Hair stylist $ 6,000
1103 Assistants
1104 Body makeup
1105 Supplies purchase
1106 Supplies rental
$ 14,000
1200 Production Equipment
1201 Camera package $ 22,000
1202 Sound package $ 4,000
1203 Lighting package $ 6,000
1204 Grip package $ 6,000
1205 Generator
1206 Vehicles $ 4,000
1207 Miscellaneous
$ 42,000
1300 Locations/studios
1301 Location manager $ 8,000
1302 Location rental $ 11,000
1303 Permits $ 1,200

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1304 Police and firemen $ 400
Guide to Writing Feature Films 99
1305 Studio rental $ 2,000
1306 Studio personnel $ 1,600
1307 Dressing rooms
1308 Portable rest rooms $ 2,000
$ 25,600
1400 Laboratory and film
1401 Negative film stock $ 30,000
1402 Developing negative $ 16,000
1403 Daily printing $ 30,000
1404 Still film and printing $ 2,000
$ 78,000
1500 Tests
1501 Makeup tests $ 1,000
1502 Screen tests
$ 1,000
1600 Production miscellaneous
1601 Animals
1602 Telephone $ 4,000
1603 Catering $ 14,000

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1604 Mileage $ 12,000
1605 Shipping $ 3,000
$ 33,000
1700 Editing
1701 Editor $ 36,000
1702 Assistant editor $ 18,000
1703 Apprentice editor $ 8,000
1704 Editing facility rental $ 14,000
1705 Editing equip. rental $ 8,000
1706 Supplies purchase $ 1,600
1707 Coding $ 6,000
1708 Preview screenings $ 400
$ 92,000
1800 Postproduction Sound
1801 Sound transfer $ 8,000
1802 Dialogue editing $ 6,000
1803 Looping costs $ 4,000
1804 Sound effects editor $ 6,000
1805 Sound effects costs $ 4,000
1806 Foley recording $ 1,000
$ 29,000

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1900 Music
1901 Composer $ 20,000
1902 Conductor
1903 Musicians and singers $
21,000
1904 Arranger
1905 Copyist $ 2,000
1906 Recording facility $ 5,000
1907 Instrument rental $ 1,000
1908 Misc. supplies $ 1,000
1909 Music rights
1910 Music editor $ 2,000
$ 52,000
Guide to Writing Feature Films 100
2000 Titles and opticals
2001 Main & end titles $ 8,000
2002 Optical effects $ 2,000
$ 10,000
2100 Laboratory
2101 Black and white dupes $ 2,000
2102 Reprints
2103 Stock footage
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2104 Optical sound track $ 600
2105 Answer print $ 16,000
2106 Misc. lab costs $ 2,000
2107 Negative cutting $ 5,000
$ 25,600
2200 Sound mix
2201 Mixing facility $ 20,000
2202 3-stripe magnetic stock $
1,600
2203 Optical transfer $ 1,000
2204 1/4" protection copy $ 400
2205 Special equipment rental $
600
$ 23,600
2300 Insurance
2301 Negative insurance
2302 Errors and omissions
2303 Workman's compensation
2304 Cast insurance
2305 Other allow
$ 40,000
2400 Miscellaneous

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2401 Business license $ 1,200
2402 Accounting $ 6,000
2403 Legal $ 20,000
2404 Misc. supplies $ 5,000
2405 Office and phone $ 12,000
2406 Postage $ 1,000
2407 Promo $ 5,000
$ 50,200
Subtotal $909,000
10% Contingency $ 91,000
Completion bond
Grand total $999,900

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 PCHAPTER TWENTY FIVE
PRODUCTION
RODUCTION
DEFINITION Production is the work completed “on the set.” It is the
actual filming of the movie. the exciting production phase of filmmaking,
when the motion picture actually gets made using video cameras or other
film equipment to do the cinematography, often lasts less than two-
months. Actuality that exciting phase is about 5% of the time spent.
REHEARSAL
While the crew unloads the trucks and sets up, I like to walk the actors
through the shot and determine what they do in relation to the camera. This
is known as blocking the shot.
SETTING UP SHOTS
Having chosen the focal length, camera placement, the actors marks and
other details such as camera movement, the director tells the
cinematographer where to put the camera, which lens to use and the details
of any camera movement. Different directors get involved with camerawork
to different extents
CHECKING THE TAKE
After a take, the director reviews the take on the video monitor and decides
what needs to be tweaked. The process is repeated until the director is
satisfied.
Reviewing takes in the editing room is the opposite: you have the time,
mental clarity and perspective to notice every single little thing in a take that
could have been done better
PRINCIPAL PHOTOGRAPHY SETTING UP
Each days schedule begins with the call time, which is the time at which the
crew must report to the location. The 1st AD immediately begins to oversee
the crew, and the director need not be around at this stage, although you
would be wise to be there and start thinking about the shots (see how to
direct).

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 CHAPTER TWENTY SIX
POST PRODUCTION
POST-PRODUCTION
DEFINITION Post-production is the work completed “in the studio.” Once
filming ends, a movie must still be assembled, in much the same way as
jigsaw puzzle pieces fit together to create a single image. First the picture is
assembled, and then sound is added.
NOTE The post-production phase of filmmaking goes on for six-months
to a year of editing and assembling the most effective presentation of the
story.
EDITING
Movie editing is a sublime art. best movie makers have an impeccable
understanding of movie editing. Every serious movie maker must read
Grammar of the Film Language and absorb its contents fully.
SOUND MIXING
Sound mixing involves adding any necessary sound effects, setting the level
of each soundtrack and making the soundtrack as seamless as possible
MUSIC
Do not be shy about directing the composer on the following aspects: when a
music cue must start and stop; what instruments you want to hear; whether
it should be happy or sad; its speed; and anything else you want. A movie
composer once told me that their job is to finish the film, and he was
absolutely right. Tell the composer what you want and a good composer will
be delighted to make you happy. Listen to the demo tracks and suggest
changes. It is just like directing actors or cinematographers.
COMPOSITING
Compositing is the combining of visual elements from separate sources into
single images, often to create the illusion that all those elements are parts of
the same scene.
DIFFERENCE BETWEEN A FILM EDITOR’S JOB, A SOUND
EDITOR’S AND MUSIC COMPOSER’S TASKS
the difference between a film editor’s job and a sound editor’s job. The film
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editor assembles the visual images into a logical sequence so that the story
flows smoothly from one scene to another. The sound editor assembles the
elements of the sound track, dovetailing it neatly with the images on the
screen. Finally, explain the music composer’s tasks. These include creating
music to reflect the mood and action and to motivate or suggest to an
audience what will happen in certain scenes
TEST SCREENINGS
When you have your first cut of the movie including music it is always a
good idea to have a test screening with a small number of people you trust.

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 CHAPTER TWENTY SEVEN
MOVIE DISTRIBUTION
MOVIE DISTRIBUTION
When the movie is complete, the independent movie maker broke and
exhausted, Finally another six-month to a year may be spent traveling the
film festivals circuit and meeting with distributors while you search for a
good deal selling the film.

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 CHAPTER TWENTY ONE EIGHT
AUDIENCE
AUDIENCE
DEFINITION The Audience is anyone who reads the screenplay or
watches the film. Every decision relating to the work is made with the
audience’s total enjoyment of the finished product in mind.
THE INTENDED AUDIENCE
This is as good a time as any to talk a bit about your intended audience.
It is conventional wisdom at the studios to divide the audience into four
"quadrants":
 males older then 25,
 females older than 25,
 males younger than 25
 and females younger than 25.
A film that can appeal to all audiences is known as a four-quadrant movie
and is the "holy grail" of studio filmmaking. This kind of thinking has lead to
much of the bland moviemaking that happens today but the concept
is useful. Think about what is the age, sex and general interest patterns of
people you are trying to talk to and really concentrate on a message that will
be interesting to that audience.
MPAA FILM RATINGS
Another way to think about your audience is by using the MPAA film
ratings. If you make a feature film that sell it will need to be rated and a
particular rating will draw a certain audience. Therefore it is useful to know
what constitutes the various ratings.
G:"GENERAL AUDIENCES ALL AGES ADMITTED."
This MPAA film rating is for a film which contains nothing in theme,
language, nudity and sex, violence, etc. which would, in the view of the
Rating Board, be offensive to parents whose younger children view the film.
The G rating is not a "certificate of approval," nor does it signify a children's
film.
Some snippets of language may go beyond polite conversation but they are
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common everyday expressions. No stronger words are present in G-rated
films. The violence is at a minimum. Nudity and sex scenes are not present;
nor is there any drug use content.
PG:"PARENTAL GUIDANCE SUGGESTED SOME MATERIAL
MAY NOT BE SUITABLE FOR CHILDREN."
This MPAA film rating is for a is a film that clearly needs to be examined or
inquired into by parents before they let their children attend. The label PG
plainly states that parents may consider some material unsuitable for their
children, but the parent must make the decision.
Parents are warned against sending their children, unseen and without
inquiry, to PG-rated movies. The theme ofa PG-rated film may itself call for
parental guidance. There may be some profanity in these films. There may
be some violence or brief nudity. But these elements are not deemed so
intense as to require that parents be strongly cautioned beyond the
suggestion of parental guidance.
There is no drug use content in a PG-rated film. The PG rating, suggesting
parental guidance, is thus an alert for examination of a film by parents
before deciding on its viewing by their children. Obviously such a line is
difficult to draw. In our pluralistic society it is not easy to make judgments
without incurring some disagreement. So long as parents know they must
exercise parental responsibility, the rating serves as a meaningful guide and
as awarding
PG-13: "PARENTS STRONGLY CAUTIONED. SOME MATERIAL
MAY BE INAPPROPRIATE FOR CHILDREN UNDER 13."
PG-13 is a sterner warning to parents to determine for themselves the
attendance in particular of their younger children as they might consider
some material not suited for them. Parents, by the rating, are alerted to be
very careful about the attendance of their under-teenage children.
A PG-13 film is one which, in the view of the Rating Board, leaps beyond the
boundaries of the PG rating in theme, violence, nudity, sensuality, language,
or other contents, but does not quite fit within the restricted Category. Any
drug use content will initially require at least a PG-13 rating. In effect, the
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PG-13 cautions parents with more stringency than usual to give special
attention to this film before they allow their 12-year-olds and younger to
attend.
If nudity is sexually oriented, the film will generally not be found in the PG-
13 category. If violence is too rough or persistent, the film goes into the R
(restricted) rating. A film's single use of one of the harsher sexually-derived
words, though only as an expletive, shall initially require the Rating Board
to issue that film at least a PG-13rating. More than one such expletive must
lead the Rating Board to issue a film an R rating, as must even one of these
words used in a sexual context.
These films can be rated less severely, however, if by a special vote, the
Rating Board feels that a lesser rating would more responsibly reflect the
opinion of American parents. PG-13 places larger responsibilities on parents
for their children's movie going. The voluntary rating system is not a
surrogate parent, nor should it be. It cannot, and should not, insert itself in
family decisions that only parents can, and should, make. Its purpose is to
give prescreening advance informational warnings, so that parents can form
their own judgments. PG-13 is designed to make these parental decisions
easier for films between PG and R.
R:"RESTRICTED, UNDER 17 REQUIRES ACCOMPANYING
PARENT OR ADULT GUARDIAN."
In the opinion of the Rating Board, this film definitely contains some adult
material. Parents are strongly urged to find out more about this film before
they allow their children to accompany them.
An R-rated film may include hard language, tough violence, nudity within
sensual scenes, drug abuse or other elements or a combination of some of
the above, so that parents are counseled, in advance, to take this advisory
rating very seriously. Parents must find out more about an R-rated movie
before they allow their teenagers to view it.
NC-17:"NO ONE 17 AND UNDER ADMITTED."
This rating declares that the Rating Board believes that this is a film that
most parents will consider patently too adult for their youngsters under 17.
No children will be admitted.
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NC-17 does not necessarily mean "obscene or pornographic" in the oft-
accepted or legal meaning of those words.
The Board does not and cannot mark films with those words.
These are legal terms and for courts to decide. The reasons for the
application of an NC-17 rating can be violence, sex, aberrational behavior,
drug abuse or any other elements which, when present, most parents would
consider too strong and therefore off-limits for viewing by their children.
AUDIENCE APPEAL
The story must be of interest to a large enough segment of the population
that you will get an audience. Although most human conflict is of interest to
nearly everyone, if your subject matter is so offbeat and specialized that only
a few people care you will not be able to find an audience. The audience
must care about the characters.
If you are trying to appeal to a broad audience then you need to have
elements that appeal to all ages and sexes. This might include offbeat humor
for adults and physical slapstick for kids, action and adventure for the guys
and romance and drama for the women. Creating a story that is equally
appealing to everyone is very difficult.
ENTERTAINMENT VALUES IN STORYTELLING
Audiences want the emotional experience of observing the conflict of the
story and at the same time they want to be entertained. Certain story
elements will give the audience the entertainment aspect they want. Look at
your story idea and see if you can incorporate some of these.
 Does the story transport the audience to an unfamiliar world?
 Does the story have luxury?
 Does the story have things you can't have, or that don't happen in their
lives?
 Does the story have fantasy?
 Does the story have elements of another interesting time period?
 Does the story have war or other extreme violence?
 Does the story have large crowds/armies?
 Does the story have exotic foreign locations?
 Does the story have sex/romance?
 Does the story have booze/drugs?

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 Does the story have guns?
 Does the story have murder?
 Does the story have other crime?
 Does the story have juicy gossip/scandal?
 Does the story have toe tapping, involving music and rhythm?
 Does the story have dance?
 Does the story have fun, involving skits?
 Does the story have humor?
 Does the story move fast?

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 CHAPTER TWENTY ONE NINE
ORGANIZATION CREW
KEY CREATIVE TEAM
PRODUCER
is involved throughout all phases of the filmmaking process from
development to completion of a project the person or group INITIATES,
MANAGING the production from start to finish FINANCING arrangement
SUPERVISES, COORDINATES the filmmaking process to ensure that
everyone involved in the project is working on schedule and on budget. And
CONTROLS matters such AS fundraising, personal, and arranging for
distributors
DIRECTOR
the director is the one person, who is in control of all creative aspects of the
film. And responsible for the storytelling, creative decisions and acting of
the film who has the greatest understanding of how all film parts fit together
to make a whole film, By linked with dozens of other people to get the
job done
EXAMPLE
 E.g. WITH CINEMATOGRAPHER during pre-production,
planning how to photograph each scene. The director may or may not
use storyboards to communicate his ideas to the cinematographer. In
this pre-production phase,
 E.g. PRODUCTION DESIGNER the director also shapes his vision
for the film by working with to create the sets and costumes
 E.g. BEHIND EVERY ACTOR is a director guiding his or her
performance?
SCREENWRITER
Screenwriters or scriptwriters are responsible for researching the story,
developing the narrative, writing the screenplay only what the cameraman
can film or the soundman can record, and delivering it, in the required
format, to the Producers. They are almost always freelancers who either
pitch original ideas to Producers in the hope that they will be optioned or
sold, or who are commissioned by a Producer to create a screenplay from a
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concept, true story, existing screen work or literary work, such as a novel or
short story.
PRODUCTION
Production is generally not considered a department as such, but rather as a
series of functional groups that concerns about business
EXECUTIVE PRODUCER
is usually an investor in the project or someone who has facilitated the
funding of the project. There may be multiple executive producers on a
project, depending on the financing arrangements
release for use of locations
PRODUCTION OFFICE
LINE PRODUCER
The line producer is the liaison between the studio or producer and the
production manager, responsible for managing the production budget. The
title is associated with the idea that they are the person who is "on the line"
on a day-to-day basis, and responsible for lining up the resources needed.
PRODUCTION ASSISTANT
Production assistants, referred to as PAs, assist in the production office or in
various departments with general tasks, such as assisting the first assistant
director with set operations.
PRODUCTION MANAGEMENTS
PRODUCTION MANAGER
The production manager supervises the physical aspects of the production
(not the creative aspects) including personnel, technology, budget, and
scheduling. It is the production manager's responsibility to make sure the
filming stays on schedule and within its budget. The PM also helps manage
the day-to-day budget by managing operating costs such as salaries,
production costs, and everyday equipment rental costs. The PM often works
under the supervision of a line producer and directly supervises the
production coordinator.
ASSISTANT PRODUCTION MANAGER
The assistant production manager is the assistant to the production
manager (PM) and carries out various jobs for the PM. Normally only big
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budget Hollywood feature films have an assistant PM.
UNIT MANAGER
The unit manager fulfils the same role as the production manager but for
secondary "unit" shooting. In some functional structures, the unit manager
subsumes the role of the transport coordinator.
PRODUCTION ACCOUNTANTS
are responsible for managing finances and maintaining financial records
responsible for organizing all the logistics from hiring crew, renting
equipment, and booking talent during film production. they work closely
with the producer and the production office to manage the day-to-day
accounting office functions, and report on the project’s financial progress
against the budgets (cost reporting).
ASSISTANT DIRECTORS (AD)
1ST ASSISTANT DIRECTOR
The 1st Assistant Director is in charge of basically running the set. As an
assistant to the director, they organize the crew, prepare shooting schedules
and organize the entire flow of all production activity
DURING PREPRODUCTION
the 1st AD works in conjunction with the UPM in organizing the crew,
securing equipment, script break down, And shooting schedule.
DURING PRODUCTION
he/she assists the director with coordinates and supervises crew And
cast activities and facilitates an organized flow of production activity. Check
weather reports Prepare day-out-of-day schedules for talent employment
and determine the cast and crew calls Supervise the preparation of the call
sheet for cast and crew Direct background action and supervise crowd
control Supervise the functioning of the shooting set and crew
2ND ASSISTANT DIRECTOR
The 2nd Assistant Director distributes documents such as scripts and
call sheets to the cast and crew. They also help supervise the set with the 1st
AD. And is the chief assistant to the 1st AD in conducting the business of the
set or the location site.
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  Specific duties will include: as required by the UPM, 1st AD
 Prepare the call sheet, in conjunction with the 1st AD
 Prepare the daily production report, in conjunction with the UPM
 Distribute scripts, sides, changes, and call sheets to cast and crew
 Communicate advance scheduling to cast and crew
 Aid in location managing as required by the UPM, 1st AD, or Location
Manager
 Facilitate transportation of equipment and personnel, under the
supervision of the UPM
 Schedule food, lodging, and other facilities
 Supervise set and location wrap
 Assist in the direction of background action and the supervision of
crowd control
OTHER ASSISTANT DIRECTORS
Sometimes other assistant directors are needed such as in Canadian and
British functional structures the 3rd assistant director (3rd AD) and even
trainee assistant directors (trainee AD). In the American system there are
2nd 2nd assistant director (2nd 2nd AD). Normally control big crowd extras
and make sure if shooting on location none of the public get into shots.
ACCOUNTING
PRODUCTION ACCOUNTANT
Production accountants manage the money and ensure the production
comes in on budget and everyone gets paid. The industry is notorious for
unusual accounting methods which are collectively labelled Hollywood
accounting. Production accountants are often assisted by assistant
accountants, sometimes called clerks, responsible for accounts receivable,
accounts payable and payroll.
LOCATIONS
LOCATION MANAGER
Oversees the locations department and its staff, typically reporting directly
to the production manager or assistant director (or even director or
executive producer). Location manager is responsible for final clearing (or
guaranteeing permission to use) a location for filming and must often assist
production and finance departments in maintaining budget management
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regarding actual location/permit fees as well as labor costs to production for
himself and the locations department at large.
ASSISTANT LOCATION MANAGER
Works with the location manager and the various departments in arranging
technical scouts for the essential staff (grips, electric, camera, etc.) to see
options which the location manager has selected for filming. The assistant
location manager will be onset during the filming process to oversee the
operation, whereas the location manager continues pre-production from
elsewhere (generally an office) on the upcoming locations. (Note: On most
location-based television shows, there will be two assistant location
managers that alternate episodes, allowing one to prep an upcoming episode
while the other is on-set with the current one.)
LOCATION SCOUT
Does much of the actual research, footwork and photography to document
location possibilities. Often the location manager will do some scouting
himself, as well as the assistant location manager.
LOCATION ASSISTANT
Hired by the location manager to be on-set before, during, and after the
filming process. General responsibilities include arriving first at the location
to allow the set dressers into the set for preparation; maintaining the
cleanliness of the location areas during filming; fielding complaints from
neighbors; and ultimately, at the end of the filming, making sure it seems as
though the film crew was never there. There is generally one to three
assistants on a shoot at any given time.
LOCATION PRODUCTION ASSISTANT
This position exists generally on larger budget productions. The locations
PA is the assistant who is almost never on-set, but instead is always
prepping a location or "wrapping" a location; that is, when a location
requires several days of setup and breakdown preceding and following the
day(s) of filming. A location production assistant is what a set production
assistant is in Canada.
ADDITIONAL PRODUCTION CREDITS
Since the turn of the 21st century, several additional professionals are now
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routinely listed in the production credits on most major motion pictures.
UNIT PUBLICIST
The publicist liaises between the film production and the media. They create
press releases, in collaboration with the producers, and work with the stills
photographer.
PUBLICITY DESIGNER
Working under the supervision of the director and in coordination
with the art director and the publicist, the publicist works to publicize
and promote the film during all phases of production by develops,
coordinates, facilitates, and oversees the design and implementation of
publicity materials including posters, promo shots, flyers and the
website DVD and Supervising the generation and distribution of press
releases
 Maintaining a liaison with the press
 Assisting in fundraising activities
LEGAL COUNSEL
Entertainment lawyers negotiate contracts, clear licensing rights for any
intellectual property used in the film, obtain tax credits from local
governments, and take care of immigration paperwork when cast or crew
cross international borders to shoot on location.
SYSTEM ADMINISTRATOR
A system administrator or sysadmin, is a person employed to maintain and
operate a computer system or network. This role is increasingly important
for digital monitors on set, digital intermediate editing and post production,
digital effects, digital sound, and sometimes for full digital production.
CONTINUITY
SCRIPT SUPERVISOR
The script supervisor maintains a daily log sheet of the shots covered and
their relation to the Script during the course of a production, acts as chief
continuity person(what changes has been made and how to prevent any
continuity errors going forward), and acts as an on-set liaison to the post-
production staff.
 Maintain of log of all shots, including the following information:
 shot number(s) as seen on script,
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  actual slated shot number(s), comments by director or DP,
 Continuity information including digital stills references, tape/reel#,
camera settings, date, time, production statistics, etc.
 Maintain liaison with 2nd AD, provide information for daily production
reports
 Provide editor, other postproduction staff with log of footage.
CASTING
CASTING DIRECTOR
The casting director chooses the actors for the characters of the film. This
usually involves inviting potential actors to read an excerpt from the script
for an audition.
CAST PA
The cast PA assists the actors of the film. This usually involves personal and
technical requests, that might be highly sensible and private or common
domain or knowledge.
CAMERA & LIGHTING
A Camera operator filming a scene from the 1950 Hollywood film Julius
Caesar starring Charlton Heston
The production was for the TV movie Sherlock Holmes and the Case of the
Silk Stocking at Somerset House in London.
CINEMATOGRAPHER
After the production designer, art director and costume designer have
finished their work on the films physical elements, The person who makes
the chief lighting, framing, and composition decisions is the
Cinematographer, often referred to as the Director Of Photography
(or DP).the director of photography, or DP, is responsible for capturing
their handiwork on film or video. The DP is an expert in photographic
processes, lighting and the cameras technical capabilities. When the
director wants a shot to achieve certain visual or atmospheric qualities, the
DP achieves it through his or her choice of lighting, film stock and careful
manipulation of the camera. During shooting, the director and
cinematographer work closely to shape each shot, using the storyboards
created by the production designer as a guide. This craft is referred to
as cinematography. A cinematographer creating the perfect light and film
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exposure
Specific duties will include:
 Operation of cameras
 Coordination of lighting, angle, motion control, media, settings, etc.
CAMERA
CAMERA OPERATOR
The camera operator uses the camera at the direction of the
cinematographer, director of photography, or the film director to capture
the scenes on film or video. Generally, a cinematographer or director of
photography does not operate the camera, but sometimes these jobs may be
combined.
FIRST ASSISTANT CAMERA
The first assistant camera, 1st AC or focus puller, is responsible for keeping
the camera in focus as it is shooting, as well as building the camera at the
beginning of the day and taking it apart at the end. They also thread the film
when a new magazine is loaded.
SECOND ASSISTANT CAMERA
The second assistant camera, 2nd AC or Clapper loader, operates the
clapperboard commonly referred to in the United States as a "Slate" at the
beginning of each take and loads the raw film stock or blank videocassette
into the camera magazines between takes, if there is no additional
specifically designated film loader. The 2nd AC is also in charge of
overseeing the meticulously kept notebooks that record when the film stock
is received, used, and sent to the lab for processing. Additionally, the 2nd AC
oversees organization of camera equipment and transport of the equipment
from one shooting location to another.
FILM LOADER
The loader transfers motion picture film from the manufacturer's light-tight
canisters to the camera magazines for attachment to the camera by the 2nd
AC. After exposure during filming, the loader then removes the film from
the magazines and places it back into the light-tight cans for transport to the
laboratory. It is the responsibility of the loader to manage the inventory of
film and communicate with the 1st AC on the film usage and remaining
stock throughout the day. On small production crews, this job is often
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combined with the 2nd AC. With the prevalence of digital photography, this
role is taken on by the digital imaging technician.
CAMERA PRODUCTION ASSISTANT
The camera PA, camera intern or camera trainee, assists the crew while
learning the trade of the camera assistant, operator or cinematographer.
Digital imaging technician
On digital photography productions the digital imaging technician, or DIT,
is responsible for the coordination of the internal workings of the digital
camera. Under the direction of the cinematographer or director of
photography, the DIT will make adjustments to the multitude of variables
available in most professional digital cameras to creatively or technically
manipulate the resulting image. It may also be the responsibility of the DIT
to archive and manage the digital data, create compressed dailies from raw
footage and prepare all digital images for post-production.
STEADICAM OPERATOR
A steadicam operator is someone who is skilled at operating a Steadicam
(trademark for a camera stabilization rig). This person is usually one of the
camera operators on the production.
MOTION CONTROL TECHNICIAN/OPERATOR
This technician operates a motion control rig, which essentially is a 'camera
robot' able to consistently repeat camera moves for special effects uses.
Motion control rigs are typically rented with an experienced operator.
LIGHTING(ELECTRICAL DEPARTMENT)
GAFFER
Also sometimes called the lighting designer, the gaffer is the chief
electrician who supervises set lighting in accordance with the
requirements of the DP.
 Lighting of sets and locations
 Maintenance and management of lights and lighting equipment
 Specialized electrical work such as generator operation
BEST BOY (LIGHTING)
The best boy is the chief assistant to the gaffer. They are not usually on set,
but dealing with the electric truck, rentals, manpower, and other logistics.
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ELECTRICIAN(LIGHTING TECHNICIAN)
The electrician works under the direction of the Gaffer in the lighting of sets
and the operation of electrical systems.
 Lighting of sets and locations
 involved with setting up and controlling lighting equipment.
 Running electrical cabling and distributing all electrical power
 Maintenance and management of lights and lighting equipment
 Specialized electrical work such as generator operation
GRIP DEPARTMENT
Grips are trained lighting and rigging technicians. Their main responsibility
is to work closely with the electrical department to put in the non-electrical
components of lighting set-ups required for a shot, such as flags, overheads,
and bounces. On the sound stage, they move and adjust major set pieces.
KEY GRIP
The key grip is the chief grip on a set, and is the head of the set operations
department. The key grip works with the director of photography to help set
up the set and to achieve correct lighting and blocking.
The key grip works with the gaffer in setting and cutting lights to creating
shadow effects for the set lighting and supervises camera cranes, dollies,
platforms, and “wild wall” movements according to the DP.
Specific duties will include:
 Creating shadow, reflection, reduction, and diffusion effects
 Supervising dollie, crane, and other camera movement
 Maintenance and management of grip equipment
BEST BOY (GRIP)
The best boy is chief assistant to the key grip. They are also responsible for
organizing the grip truck throughout the day.
DOLLY GRIP
The grip in charge of operating the camera dollies and camera cranes is
called the dolly grip. They place, level, and move the dolly track, then push
and pull the dolly, and usually a camera operator and camera assistant as
riders.
GRIPS
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Grips report to the key grip and are responsible for lifting heavy things and
setting rigging points for lights.
SOUND GRIP
Similar to grips, in regards to the kinds of role they play on set; however,
sound grips will also report to the production sound mixer and serve as a
critical link between these departments.
PRODUCTION SOUND DEPARTMENT
PRODUCTION SOUND MIXER (SOUND RECORDIST)
the production sound mixer is head of the sound department on set,
responsible for recording all sound during filming. this involves the choice
of microphones, operation of a sound recording device, and sometimes the
mixing of audio signals in real time(on-set sound mixing and playback)
Specific duties will include:
 Supervising capture of audio onto various devices from various sources
 Maintenance and management of on-set sound equipment
 Assist in the recording of ADR, Foley, & music during postproduction
SOUND ASSISTANT
The sound assistant acts mainly as a liaison between the mixer/recordist
and the script supervisor, managing and logging media assets. Specific
duties include:
 Labeling, Maintenance and management of tapes and media.
 Report of tape/shot info to script supervisor for log
 Maintenance of tape logging forms
BOOM OPERATOR (BOOM SWINGER)
The boom operator is responsible for microphone placement and movement
during filming. The boom operator uses a boom pole(lightweight telescopic
poles made of aluminum, or more commonly, carbon fiber) to position the
microphone above or below the actors, just out of the camera's frame
ART DEPARTMENT
The art department in a major feature film can often number hundreds of
people. Usually it is considered to include several sub-departments: the art
department proper, with its art director, set designers and draftsmen; set
decoration, under the set decorator; props, under the props master;
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construction, headed by the construction coordinator; scenic, headed by the
key scenic artist; and special effects.
ACTORS
For the audience, actors are the most visible and tangible part of the
production.
PRODUCTION DESIGNER
The production designer is responsible for creating the visual appearance of
the film - settings, costumes, character makeup, all taken as a unit. The
production designer works closely with the director and the director of
photography to achieve the look of the film.i.e. anything that will appear in
front of the camera.
 A STORYBOARD
is a series of sketches, paintings to show the visual progression of the
story from one scene to the next. Creating this sketch of the film on
storyboards also ensures the visual continuity of the film from start to
finish. Storyboards serve as the director’s visual guide throughout the
production.
ART (SETS AND GRAPHIC ART)
Within the overall art department is a sub-department, also called the art
department—which can be confusing. This consists of the people who design
the sets and create the graphic art.
ART DIRECTOR
Working under the supervision of the director and in coordination
with the Production Designer Art Director, is responsible for
everything you see on screen
The art director is responsible for the films settings
 the buildings,
 landscapes
 And interiors that provide the physical context for the characters.
ART DIRECTION AND PRODUCTION DESIGN
They are often and easily confused. While the production designer
determines the big picture the overall appearance, color palette and basic
visual composition of the film the art director provides the individual
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pieces within this framework, which includes everything but the actors
themselves. An art director designing the physical environment
The Art Director develops, coordinates, facilitates, and oversees the design
of the sets (settings) (physical environment), whether on stage or
practical locations
STANDBY ART DIRECTOR
In the organizational system used in the UK and Ireland, the standby art
director monitors the art department's work on set during filming on behalf
of the production designer. They work closely with the standby painters and
standby carpenters, and co-ordinate any changes to the set during filming.
In the North American system, this work is shared between the props
master and the on-set dresser.
ASSISTANT ART DIRECTOR
The first, second and third assistant art directors carry out the instructions
of the art director. Their work often involves measuring locations and
collecting other pertinent information for the production designer.
Sometimes a set designer is also the first assistant art director. In this
capacity, they manage the workflow and act as the foreman of the drawing
office.
SET DESIGNER
The set designer is the draftsman, often an architect, who realizes the
structures or interior spaces called for by the production designer.
ILLUSTRATOR
The illustrator draws or paints visual representations of the designs to
communicate the ideas imagined by the production designer. Illustrators are
sometimes credited as concept artists.
GRAPHIC ARTIST
The graphic artist is responsible for the design and creation of all graphic
elements, including: signs, billboards, posters, logos, nameplates, and
automotive-wrapping — that are created specifically for the film. They will
often create several versions of a design, the preferred of which then being
chosen by the production designer. On certain productions, they may also be
employed, under the direction of the props master, in the creation of small,
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printed items, such as fliers, receipts, bills of sale, etc.
SETS
SET DECORATOR
The set decorator is in charge of the decorating of a film set, which includes
the furnishings and all the other objects that will be seen in the film. They
work closely with the production designer and coordinate with the art
director. In recognition of the set decorator's importance, the Academy
Award for art direction is given jointly to both the production designer and
the set decorator.
BUYER
The buyer works with, and reports to, the set decorator. The buyer locates,
and then purchases or rents the set dressing.
LEAD MAN
The lead man (or leadsman) is the foreman of the set dressing crew, often
referred to as the swing gang. They also assist the set decorator.
SET DRESSER
The set dressers apply and remove the "dressing"; i.e., furniture, drapery,
carpets, wall signs, vinyl decals—everything one would find in a location,
(even doorknobs and wall sockets, when such items do not fall under the
purview of construction.) Most of the swing gang's work occurs before and
after the shooting crew arrives, but one set dresser remains with the
shooting crew and is known as the on-set dresser. In some countries, such as
Ireland or the United Kingdom, the set dressing department is referred to as
dressing props department. Informally, in the U.S., the department is often
referred to simply as set dec.
GREENSMAN
The greensman is a specialized set dresser dealing with the artistic
arrangement or landscape design of plant material, sometimes real and
sometimes artificial, and usually a combination of both. Depending on the
scope of the greens work in a film, the greensman may report to the art
director or may report directly to the production designer. If a significant
amount of greens work is required in a film, then the greens may be an
identifiable sub-department, with its own team - often of a size numbering
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double figures - and hierarchy (e.g., Greensmaster, greens supervisor,
foreperson, leading hand, laborers). Specialists from other areas of the art
dept. (e.g., Fabricators, sculptors, painters/Scenics) may also be drafted to
work exclusively on greens.
CONSTRUCTION
CONSTRUCTION COORDINATOR
The construction coordinator oversees the construction of all the sets. The
coordinator orders materials, schedules the work, and supervises the often
sizeable construction crew of carpenters, painters and laborers. In some
jurisdictions the construction coordinator is called the construction
manager.
HEAD CARPENTER
The head carpenter is the foreman of a gang of carpenters and laborers.
PROPMAKER
The prop maker, as the name implies, builds the props that are used for the
film. In US jurisdictions, prop makers are carpenters who build props and
sets, and are often technicians skilled in wood and metalwork.
SCENIC
KEY SCENIC
The key scenic artist is responsible for the surface treatments of the sets.
This includes special paint treatments such as aging and gilding, as well as
simulating the appearance of wood, stone, brick, metal, stained glass--
anything called for by the production designer. The key scenic artist
supervises the crew of painters, and is often a master craftsperson. In the
UK, the above responsibilities would normally be those of the head painter,
and the scenic artist is responsible for producing artist painted backings. In
the US a key scenic is called the charge scenic .
PROPERTY
PROPMASTER
The property master is in charge of finding and managing all the props that
appear in the film. These include any item handled by an actor that is not
part of the scenery or costumes, and all consumable food items that appear
on screen. Job responsibilities include purchasing, renting, and
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manufacturing anything an actor handles or touches. In period works, it is
the property master's job to ensure that all the props provided are accurate
to the time period. The prop master usually has several assistants. The
Assistant Prop master generally is the person running the set and in charge
of working directly with the actors, director and on set crew.
WEAPONS MASTER
The weapons master, or armorer, is a specialized prop technician who deals
with firearms. In most jurisdictions this requires special training and
licenses.
COSTUME DEPARTMENT
COSTUME DESIGNER
The costume designer is responsible for all the clothing and costumes worn
by all the actors that appear on screen. They are also responsible for
designing, planning, and organizing the construction of the garments down
to the fabric, colors, and sizes. The costume designer works closely with the
director to understand and interpret "character", and counsels with the
production designer to achieve an overall tone of the film. In large
productions, the costume designer will usually have one or more assistant
costume designers.
COSTUME SUPERVISOR
The costume supervisor works closely with the designer. In addition to
helping with the design of the costumes, they manage the wardrobe
workspace. They supervise construction or sourcing of garments, hiring and
firing of support staff, budget, paperwork, and department logistics. Also
called the wardrobe supervisor, although this term is used less and less.
KEY COSTUMER
The key costumer is employed on larger productions to manage the set
costumers, and to handle the star's wardrobe needs.
COSTUME STANDBY
The costume standby is present on set at all times. It is his/her
responsibility to monitor the quality and continuity of the actors and
actresses costumes before and during takes. (S)he will also assist the actors
and actresses with dressing.
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BREAKDOWN ARTIST
A breakdown artist may be employed during the pre-production period to
break down garments. This specialized job includes making new clothing
appear dirty, faded and worn.
COSTUME BUYER
On large productions a buyer may be employed to source and purchase
fabrics and garments. A buyer might also be referred to as a shopper. This
distinction is often made when the lead actor in a production has control
over their wardrobe, and they may personally hire this person.
CUTTER
A costume technician who fits or tailors costumes, usually on-set. They
might also be called fitter, seamstress or tailor. Some celebrity actors have
favorite cutters, and larger productions may hire several and have them on
set at the same time, particularly in period film projects that might have
complicated or expensive extras wardrobe.
HAIR AND MAKE-UP
Some actors or actresses have personal makeup artists or hair stylists.
KEY MAKE-UP ARTIST
The key makeup artist is the department head that answers directly to the
director and production designer. They are responsible for planning makeup
designs for all leading and supporting cast. Their department includes all
cosmetic makeup, body makeup and if special effects are involved, the key
make-up artist will consult with a special effects makeup team to create all
prosthetics and SFX makeup in a production. It is common that the key
makeup artist performs makeup applications on lead cast, with assistance,
and allows other crew members to work with supporting and minor roles.
The key makeup artist will normally execute especially complicated or
important makeup processes that are to be featured on camera.
SPECIAL MAKE-UP EFFECTS ARTIST (SFX MAKEUP)
A special effects make-up artist works with live models or structures in the
entertainment industry, applying make-up effects or prosthetics. May be an
own department that answers directly to the director and production
designer or reports to the Key make-up artist.

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MAKE-UP SUPERVISOR
The make-up supervisor is a supporting position that normally reports to
the key makeup artist to assist in running the makeup department. Make-up
supervisors typically handle production matters and generally serve the
needs of senior artists. Makeup supervisors rarely do makeup themselves.
Their duties can include keeping a record of makeup continuity, handing the
scheduling of makeup teams and providing for the general needs of the
makeup department. They are expected to be a connection between the
makeup department and the rest of the production departments, making
sure that makeup supplies, production assistants or electricians are on hand
when needed.
MAKE-UP ARTIST
Make-up artists work with makeup, hair and special effects to create the
characters look for anyone appearing on screen. They assist and report to
the key make-up artist.
KEY HAIR
The key hair is the department head that answers directly to the director
and production designer. The key hair will normally design and style the
hair of lead actors.
HAIR STYLIST
The hair stylist, is responsible for maintaining and styling the hair, including
wigs and extensions, of anyone appearing on screen. They assist and report
to the key hair.
SPECIAL EFFECTS DEPARTMENT
This department oversees the mechanical effects also called practical or
physical effects at create optical illusions during live action shooting. It is
not to be confused with the Visual effects department, which adds
photographic effects during filming to be altered later during video editing
in the post-production process.
SPECIAL EFFECTS SUPERVISOR
The special effects supervisor instructs the Special effects crew on how to
design moving set elements and props that will safely break, explode, burn,
collapse and implode without destroying the film set. S/he is also
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responsible for reproducing weather conditions and other on-camera magic.
SPECIAL EFFECTS ASSISTANT
The SFX assistants carry out the instructions of the special effects
supervisor, building set pieces like breakaway furniture and cities in
miniature, lighting pyrotechnics, and setting up rigging equipment for
stunts.
STUNTS
STUNT COORDINATOR
Where the film requires a stunt, and involves the use of stunt performers,
the stunt coordinator will arrange the casting and performance of the stunt,
working closely with the director and the 1st AD.
POST-PRODUCTION
POST-PRODUCTION SUPERVISOR
Post-production supervisors are responsible for the post-production
process, during which they maintain clarity of information and good
channels of communication between the producer, editor, supervising sound
editor, the facilities companies (such as film labs, CGI studios and negative
cutters) and the production accountant. Although this is not a creative role,
it is pivotal in ensuring that the film's post-production budget is manageable
and achievable, and that all deadlines are met. Because large amounts of
money are involved, and most of a film's budget is spent during production,
the post-production period can often be difficult and challenging.
EDITORIAL
FILM EDITOR
Shortly after shooting begins, the editor begins to organize the footage
known as the daily rushes and arranges individual shots into one
continuous sequence. Even in a single scene, dozens of different shots have
to be chosen and assembled from hundreds of feet of film, the editor’s
choices about which shots to use, and the order in which to place them,
have a profound effect on the appearance of the final film. Supervise by the
director and executive producer to assemble the film
 ASSEMBLY
Editor Assembly of the footage into successive cuts until a final cut is
reached
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  POST-PRODUCTION EFFECTS
Also work with DP to color correction and other post-production
effects
 FORMATS
The output of the final cut to several formats
ASSISTANT EDITOR
The assistant editor works as an assistant to the editor, helping him/her
with by logging and capturing footage, organizing and managing median
coordination with the script supervisor’s log. Specific duties will include:
 Logging and capture media
 Preparing offline edit timelines for the director
 Managing media in coordination with the script supervisor’s log
 SYSTEM BACKUPS
Maintaining a system of backups
 FORMAT OUTPUT
Assisting with compression and multi-format output
NEGATIVE CUTTER
The negative cutter cuts and splices the negatives as directed by the film
editor, and then provides the assembled negative reels to the lab in order for
prints (positives for projection) to be made.
COLORIST
With a photochemical process, the color timer adjusts the color of the film
via printer lights for greater consistency in the film's colors. With a digital
intermediate process, the colorist can use digital tools in manipulating the
image and has greater creative freedom in changing the aesthetic of a film.
TELECINE COLORIST
A Telecine colorist is responsible for a grade that is a look that has been
created with a grading system, which adjusts brightness, contrast and color.
VISUAL EFFECTS
Visual effects commonly refers to post-production alterations of the film's
images. The onset VFX crew works to prepare shots and plates for future
visual effects. This may include adding tracking markers, taking and asking
for reference plates and helping the Director understand the limitations and
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ease of certain shots that will affect the future post production. A VFX crew
can also work alongside the Special effects department for any on-set optical
effects that need physical representation during filming (on camera.)
VISUAL EFFECTS PRODUCER
The visual effects producer works with the visual effects supervisor to break
down the script into storyboards, and advises the director as to how s/he
should approach the scenes. Together they determine which sequences are
to be shot as live action elements, which would work well in miniature, and
which (if any) should be computer generated.
VISUAL EFFECTS CREATIVE DIRECTOR
VFX creative directors are very much like production designers, except they
direct and supervise the creative side of the film's visual effects. The position
is particularly in demand for films with massive amounts of computer
generated imagery and scenes.
VISUAL EFFECTS SUPERVISOR
The visual effects supervisor is in charge of the VFX crew, working with
production and the film's director to achieve the desired in-camera optical
effects of the film.
VISUAL EFFECTS EDITOR
The visual effects editor incorporates visual effects into the current cuts of
live action sequences, producing multiple versions of each shot. Altered
scenes are then evaluated by the visual effects supervisor and creative
director for aesthetic and technical direction, and by the producers for
review and final editing.
COMPOSITING
Combining of visual elements from separate sources into single
images, often to create the illusion that all those elements are parts of the
same scene
 BLUE SCREEN
Live-action shooting for compositing is variously called chrome key,
blue screen, green screen and other names.
 DIGITAL IMAGE
Today, most, though not all, compositing is achieved through digital
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 image manipulation. Pre-digital compositing techniques such as
video, film, computer generated 3-D imagery, 2-D animations, matte
paintings and text.
 SUPERVISION
of all compositing work
 ASSIST
the art director and DP in the creative and technical design of
composite shots, Implementation of composite shots, implement
compositing effects.
ROTOSCOPE ARTISTS/ PAINT ARTISTS
Rotoscope & painters artists may rotoscope the footage, manually creating
mattes for use in compositing. They may also paint visual information into
or out of a scene, such removing wires and rigs, logos, dust busting, scratch
removal, etc.[3]
MATTE PAINTER
Matte painters draw/paint entire sets or extend portions of an existing set.
POSTPRODUCTION SOUND & MUSIC
SOUND DESIGNER
The sound designer, working in conjunction with the director, is responsible
for the ideation and creation of the overall sound track(for everything
the audience hears (providing the sound for screen action)) of the film and
supervises the mix of music, dialogue, ADR, Foley, and sound effects.
IDENTIFY STEP
The first task for Sound Designers is to identify the three main kinds of
sound effects needed.
 SPOT EFFECTS
gunshots, clocks, doors closing, dog barking
 ATMOSPHERE EFFECTS
rain, wind, traffic, birdsong.
 SPECIALIST SOUND DESIGN EFFECTS
such as dinosaurs, aliens, spaceships or computers.
EXAMPLE
 E.g. they might use a slowed down voice in reverse with added
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 reverb to create the roar of a dinosaur.
CREATING
Sound Designers source these different sounds and often create and
record original new material.
The spend time manipulating the original recordings using synthesizers,
samplers and audio plug-ins, This is a highly creative, experimental part
of the job.
MIXING
When they have all the desired sound effects, Sound Designers lay them all
onto a computer using the latest software. The next step is called the
Premix, when the Sound Designer works with the Re-Recording Mixer to
smooth out all the effects tracks.
This is followed by the Final Mix. This is when
 dialogues,
 ADR (Automated Dialogue Replacement),
 Foley,
 atmosphere,
 music and special effects tracks are blended together
 Creating more subtle sounds to enhance mood and feeling
DIALOGUE EDITOR
The dialogue editor is responsible for assembling and editing all the dialog
in the soundtrack.
SOUND EDITOR
The sound editor is responsible for assembling and editing all the sound
effects in the soundtrack.
RE-RECORDING MIXER
The re-recording mixer balances all of the sounds prepared by the dialogue,
music and effects editors, and finalizes the films audio track.
MUSIC SUPERVISOR
The music supervisor works with the composer, mixers and editors to create
and integrate the film's music. In Hollywood a music supervisor's primary
responsibility is to act as liaison between the film production and the
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recording industry, negotiating the use rights for all source music used in a
film.
COMPOSER
Is a person who responsible for Writes original music to be heard in
the film, as demanded in both pre and postproduction And supervising
the recording of the music
CONDUCTOR/ ORCHESTRATOR
A conductor is supposed to be knowledgably of special synchronization
procedures to conduct the score to an orchestra. An orchestrator is someone
who furthers the composer's notes and symbols and fills out the intended
notation for the film score.
SCORE RECORDER/ MIXER
A score's recorder is someone who recordes the film score and a score's
mixer is someone who mixes the film score.
MUSIC PREPARATION
A music preparer is someone who prepares out the score for orchestra
performers and who copies out the music.
MUSIC EDITOR
A music editor is someone who edits the film score and works with the
composer to make sure it goes with the film.
(additional orchestration)
Additional Orchestration people work with the conductor/ orchestrator and
edit the film score.
MUSIC
Music has been an integral part of movies since a piano or organ player
accompanied even the simplest silent films when sound was integrated
into the filmmaking process,
FOLEY ARTIST
DEFINITION Foley is the reproduction of everyday sound effects These
sounds are caused by human interaction that are added to film mostly body
movements, footsteps or object manipulations. The most common reason
for recording these effects live to picture is the fact that such sounds are lost
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when the dialogue is removed to be replaced by a foreign language version.
in post-production to enhance audio quality. These reproduced sounds can
be anything from the swishing of clothing and footsteps to squeaky doors
and breaking glass
SOME LIST OF SOUND EFFECTS
 Creates sound effects to accompany, sound sources generating
And recording sounds to accompany specific on-screen sound
sources.
 footsteps character
 cloth pass (including specifics/props like jackets, sweaters, etc.)
 all prop pickups/putdowns/hand-offs/handling (books, guns, glasses,
plates, etc.)
 hands (touching skin, hands slide on surface, rubs, etc.)
 human interaction (kissing, sucking, etc.)
 grabs and pats (cloth and flesh, objects like doors, etc.)
 stirring coffee with a spoon
EXAMPLE
 E.g. footsteps or punches
MIXING ENGINEER
The mixing engineer, under the supervision of the sound designer
Mixes the overall sound tracking to its final mixes for a variety of
output formats, Mastering audio
EXAMPLE
 E.g. Mixing sound in stereo and/or multi-channel formats, for home
system
ANIMATION
Animation film crews have many of the same roles and departments as live-
action films (including directing, production, editing, camera, sound, and so
on), since the turn of the 21st century, modern 3D computer graphics and
computer animation have made possible a level of rich detail never seen
before. Many animated films now have specialized artists and animators
who act as the virtual equivalent of lighting technicians, grips, costume
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designers, props masters, set decorators, set dressers, and
cinematographers. They make artistic decisions strongly similar to those of
their live-action counterparts, but implement them in a virtual space that
exists only in software rather than on a physical set.

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 INDEX
SCRIPT TERMINOLOGY
ABOVE-THE-LINE
In film, those costs that occur before filming, this includes salaries of the
talent and creative team (director, producer, screenwriter), plus any rights
required for adapted scripts. Sometimes, above-the-line can also refer to the
people included in the above-the-line payment category.
ACT
A large division of a full-length play, separated from the other act or acts by
an intermission.
ACT/SCENE HEADING
Centered, all CAPS heading at the start of an act or scene. Act numbers are
written in Roman numerals, scene numbers in ordinals.
ACTING EDITION
A published play script, typically for use in productions in the amateur
market or as reading copies. Often has a list of prop list or set design
sketches.
ACTION
The moving pictures we see on screen. Also, the direction given by a director
indicating that filming begins.
AD LIB
Dialogue in which the characters or actors make up what they say in real
time on the movie set or on stage. From the Latin ad libitum, "in accordance
with desire."
AGAINST
A term describing the ultimate potential payday for a writer in a film deal.
$400,000 against $800,000 means that the writer is paid $400,000 when
the script is finished (through rewrite and polish); when and if the movie
goes into production, the writer gets an additional $400,000.
AGENT SUBMISSION
A method of play submission, in which a theater requires that a script be
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submitted by a recognized literary agent.
ALAN SMITHEE
A fictional name taken by a writer or director who doesn't want their real
name credited on a film.
ANGLE
A particular camera placement.
APPROVED WRITER
A writer whom a television network trusts to deliver a good script once
hired.
ARBITRATION
Binding adjudication by members of a Writers Guild of America committee
regarding proper onscreen writer credit of a movie; arbitration is available
only to WGA members or potential WGA members.
ARTISTIC DIRECTOR
A theater company's chief artistic officer and usually the last stop before a
play is selected for production.
ASSOCIATE ARTISTIC DIRECTOR
An artistic officer of a theater company, frequently a director and often
second to the Artistic Director, integrally involved with its artistic decisions.
AT RISE DESCRIPTION
A stage direction at the beginning of an act or a scene that describes what is
on stage literally "at rise" of the curtain, or more commonly in contemporary
theater, as the lights come up.
ATTACHED
Agreement by name actors and/or a director to be a part of the making of a
movie.
AUDIO/VISUAL SCRIPT
A dual column screenplay with video description on the left and audio and
dialogue on the right, used in advertising, corporate videos, documentaries
and training films.

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B.G.
Abbreviation for "background" (i.e. In the b.g., kids are fighting).
BACK DOOR PILOT
A two-hour TV movie that is a setup for a TV series if ratings warrant further
production.
BACK END
Payment on a movie project when profits are realized.
BACK STORY
Experiences of a main character taking place prior to the main action, which
contribute to character motivations and reactions.
BANKABLE
A person who can get a project financed solely by having their name is
attached.
BEAT
A parenthetically noted pause interrupting dialogue, denoted by (beat), for
the purpose of indicating a significant shift in the direction of a scene, much
in the way that a hinge connects a series of doors.
BEAT SHEET
An abbreviated description of the main events in a screenplay or story.
BILL
The play or plays that together constitute what the audience is seeing at any
one sitting. Short for "playbill."
BINDING
What literally holds the script together. As a writer submitting your
manuscript, you might use either brads with cardstock covers or one of a
number of other pre-made folders (all available from The Writers Store).
BLACK BOX
A flexible theater space named for its appearance.
BLACKOUT
A common stage direction at the end of a scene or an act.
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BOOK
The story and the non-musical portion (dialogue, stage directions) of a
theatrical musical.
BRADS
Brass fasteners used to bind a screenplay printed on three-hole paper, with
Acco #5 solid brass brads generally accepted as having the highest quality.
BUMP
A troublesome element in a script that negatively deflects the reader's
attention away from the story.
BUTTON
A TV writing term referring to a witty line that "tops off" a scene.
CABLE
A cable television network such as HBO, or cable television in general.
CAST
The characters who are physically present in the play or film. These are the
roles for which actors will be needed. When we talk about a role in a
stageplay as being double-cast with another, it means that the same actor is
expected to play both roles. This happens in film as well (e.g. Eddie
Murphy), but only rarely.
CAST PAGE
A page that typically follows the Title Page of a play, listing the characters,
with very brief descriptions of each.
CENTER (STAGE)
The center of the performance space, used for placement of the actors and
the set.
CGI
Computer Generated Image; a term denoting that computers will be used to
generate the full imagery.
CHARACTER
Any personified entity appearing in a film or a play.

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CHARACTER ARC
The emotional progress of the characters during the story.
CHARACTER NAME
When any character speaks, his or her name appears on the line preceding
the dialogue. In screenplays, the name is tabbed to a location that is roughly
in the center of the line. In playwriting, typically the name is centered, but
with the advent of screenwriting software that automatically positions the
character name correctly, it has become acceptable to use a similar format
for character names in stage plays.
CHEAT A SCRIPT
Fudging the margins and spacing of a screenplay on a page (usually with a
software program) in an attempt to fool the reader into thinking the script is
shorter than it really is.
CLOSE UP
A very close camera angle on a character or object.
COMMISSION
A play for which a theater company gives a playwright money to write,
typically with the understanding that the theater will have the right of first
refusal to premiere it.
COMPLICATION
The second act of a three-act dramatic structure, in which "the plot
thickens," peaking at its end.
CONFLICT
The heart of drama; someone wants something and people and things keep
getting in the way of them achieving the goal. At times, the obstacles can be
common to both the hero and villain, and the ultimate goal a laudable one
for both parties.
CONTINUING DIALOGUE
Dialogue spoken by the same character that continues uninterrupted onto
the next page, marked with a (cont'd) in a stage play.
CONTINUOUS ACTION
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Included in the scene heading when moving from one scene to the next, as
the action continues.
COPYRIGHT
Proof of ownership of an artistic property that comes with registering your
script through the United States Register of Copyrights.
COPYRIGHT NOTICE
Placing © Your Name on the Title Page of a script.
COURIER 12 PITCH
The main font in use in the U.S. by both publishers and the Hollywood film
industry.
COVERAGE
The notes prepared by script readers at literary agency, film production
company, theater company or script competition. Coverage is typically
divided into three sections: plot synopsis, evaluation / discussion of the
quality of the writing, and a recommendation that either passes on the script
or kicks it on to the next level. Typically, coverage is for internal use and
almost never shared with the writer.
DESIGNER
Theater professional whose job it is to envision any of the following
elements in a play: costumes, sets, lights, sound or properties.
DEVELOPMENT
The process of preparing a script for production.
DEVELOPMENT HELL
The dreaded creative death malaise that occurs when the development
process lasts too long.
DIALOGUE
The speeches between characters in a film or a play.
DIRECT SOLICITATION
When a theater contacts a playwright or his agent about submitting a script.
Theaters that use this method typically do not want the playwright to initiate
the contact.
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DIRECTION, STAGE DIRECTION
(See Stage Directions in Revised above.)
DIRECTOR
In a stage play, the individual responsible for staging (i.e. placing in the
space or "blocking") the actors, sculpting and coordinating their
performances, and making sure they fit with the design elements into a
coherent vision of the play. In a musical, there will typically be a separate
musical director responsible for the musical elements of the show. In a
Dramatists Guild contract, the playwright has approval over the choice of
director (and the cast and designers). In film, the director carries out the
duties of a stage director and then some (e.g. choosing the shot list), with
considerably more say-so over the final product.
DOWNSTAGE
The part of the stage closest to the audience, so named because when stages
were raked (slanted), an actor walking toward the audience was literally
walking down. Called "Down" for short.
DRAFT
A version of a play. Each draft of rewrites/revisions should be numbered
differently.
DRAMATISTS GUILD OF AMERICA
The professional organization of playwrights, composers and lyricists, based
in New York.
DUAL DIALOG
When two characters speak simultaneously
EMPHASIZED DIALOGUE
Dialogue that the playwright wants stressed, usually identified with italics.
ESTABLISHING SHOT
A cinematic shot that establishes a certain location or area.
EVENING-LENGTH PLAY
A play that constitutes a full evening of theater on its own (a.k.a. Full-Length
Play).
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EVENT
What precipitates a play. For example, Big Daddy's birthday is the event in
Cat on a Hot Tin Roof.
EXPOSITION
The first act of a dramatic structure, in which the main conflict and
characters are "exposed" or revealed. Also, any information about the
characters, conflict or world of the play.
EXT.
Outdoors.
EXTENSION
A technical note placed directly to the right of the Character name that
denotes HOW the character's voice is heard. For example, O.S. is an
extension that stands for Off-Screen.
F.G.
Abbreviation for "foreground" (i.e. In the f.g., kids are fighting).
FEATURE FILM
A movie made primarily for distribution in theaters.
FILM FESTIVAL
A festival of short and/or feature-length films shown over the course of
between a few days to a few weeks. Festivals are places for films and
filmmakers – particularly in the case of independent films – to gain
exposure and critical buzz and, in many cases, distribution. Perhaps the two
best-known festivals in the world are Sundance and Cannes.
FLASHBACK
A scene from the past that interrupts the action to explain motivation or
reaction of a character to the immediate scene.
FONT
The look of the printed text on the page. For screenplays, Courier 12 point is
the standard (a fixed font which in practical terms means that an l or an m,
although the m being wider, occupy the same width of space). For stage
plays, while Courier 12 point is often used, Times Roman and other
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proportional spaced, clearly readable fonts are also acceptable.
(Proportional spaced fonts make adjustments for skinnier letters; text
usually takes less space.) – this has been edited.
FORMULA
More commonly used in the world of film than for describing the stage, it
usually refers to a "sure-fire" method of structuring a script (i.e. it must
include certain elements and arrive at a certain ending). For example, there
have been a slew of movies where a group of misfits are thrown together and
ultimately become the David that slays Goliath on the athletic field (e.g. The
Bad News Bears).
FREEZE FRAME
The image on the screen stops, freezes and becomes a still shot.
FULL-LENGTH PLAY
Also known as an Evening Length Play, a play that constitutes a full evening
of theater.
GENRE
The category a story or script falls into - such as: thriller, romantic comedy,
action, screwball comedy
GREEN LIGHT
A project OKed for production.
HEADER
An element of a Production Script occupying the same line as the page
number, which is on the right and .5" from the top. Printed on every script
page, header information includes the date of a revision and the color of the
page.
HEAT
Positive gossip about a project on the Hollywood grapevine.
HIGH CONCEPT
A brief statement of a movie's basic idea that is felt to have tremendous
public appeal.
HIP POCKET
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A casual relationship with an established agent in lieu of a signed, formal
agreement of representation.
HOOK
A term borrowed from songwriting that describes that thing that catches the
public's attention and keeps them interested in the flow of a story.
IN THE ROUND
A type of theater space in which the audience is, usually in a circular
configuration, on all sides of the playing area.
INDIE
A production company independent of major film studio financing.
INT.
Indoors.
INTERCUT
A script instruction denoting that the action moves back and forth between
two or more scenes.
INTERMISSION
A break between acts or scenes of the play to allow for set changes, and for
the audience to go to the bathroom, stretch and buy concessions.
INTERRUPT
When one character cuts off another character's dialogue, sometimes
marked with an ... but better marked with an em dash (--).
LEFT
On stage, the actors' left, assuming they are facing the audience. Short for
Stage Left.
LIGHTS FADE
A common stage direction to end a scene or an act.
LINE READING
When a director or playwright gives an actor a specific way to perform a line
of dialogue.

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LITERARY MANAGER
The artistic officer of a theater in charge of at least the first stages of
reviewing scripts for possible production. She may have dramaturg
responsibilities as well.
LITERARY OFFICE
Usually headed by the literary manager and often staffed with interns and
in-house or freelance readers. Typically the place to direct script
submissions and inquiries.
LOCKED PAGES
A software term for finalized screenplay pages that are handed out to the
department heads and talent in preparation for production.
LOGLINE
A "25 words or less" description of a screenplay.
LYRICS
The words that are sung by characters in a musical.
M.O.S.
Without sound, so described because a German-born director wanting a
scene with no sound told the crew to shoot "mit out sound."
MANUSCRIPT
A script before it has been published.
MANUSCRIPT FORMAT
The ideal submission format in the United States and in a number of other
countries, with character names centered and CAPS before their dialogue,
and indented stage directions.
MASTER SCENE SCRIPT
A script formatted without scene numbering (the usual format for a spec
screenplay).
MATCH CUT
A transition in which something in the scene that follows in some way
directly matches a character or object in the previous scene.

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MINISERIES
A long-form movie of three hours or more shown on successive nights or
weeks on U.S. television networks.
MONTAGE
A cinematic device used to show a series of scenes, all related and building
to some conclusion.
MOVIE OF THE WEEK
Also known as an "MOW," a movie made primarily for broadcast on a
television or cable network.
MULTIMEDIA
Writing and filmmaking encompassing more than one medium at a time
which, script-wise, usually refers to CD-ROM games or Internet-based
programming.
MULTIPLE CASTING
When an actor plays more than one character.
MUSICAL
A play in which songs and music are an integral part of the dramatic
structure.
MUSICAL NUMBERS PAGE
A page in a musical script, usually following the Cast Page, that lists the
musical numbers, divided by act, and the characters that sing in them.
NOTES
Ideas about a screenplay shared with a screenwriter by someone responsible
for moving the script forward into production, which the screenwriter is
generally expected to use to revise the screenplay. A similar paradigm exists
on stage, with notes coming most often from the dramaturgy or director. A
key difference between stage and film is that the playwright still owns his
script and has final say on revisions. Writer can hire consultants to receive
feedback (notes) to help improve the script, prior to submitting it to an
agency, production company or theater.
NUMBERED SCENES
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Numbers that appear to the right and left of the scene heading to aid the
Assistant Director in breaking down the scenes for scheduling and
production.
O.C.
Abbreviation for Off Camera, denoting that the speaker is resident within
the scene but not seen by the camera.
O.S.
Abbreviation for Off Screen, denoting that the speaker is not resident within
the scene.
OFF
Short for offstage. Typically written as (off) next to a character name when a
character speaking dialogue is offstage while she speaks.
ONE-ACT PLAY
Technically, a play that has only one act, but in more common usage, a play
that is not an evening unto itself but instead usually runs no more than an
hour. A common arrangement is to produce three half-hour long one-acts
on the same bill.
ONE-HOUR EPISODIC
A screenplay for a television show whose episodes fill a one-hour time slot,
week to week.
OPENING CREDITS
Onscreen text describing the most important people involved in the making
of a movie.
OPTION
The securing of the rights to a screenplay for a given length of time.
PACKAGE
The assembly of the basic elements necessary to secure financing for a film.
PAN
A camera direction indicating a stationary camera that pivots back and forth
or up and down.

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PARENTHETICAL
Also known as a "wryly" because of the propensity of amateur screenwriters
to try to accent a character's speech -- as in BOB (wryly) -- an inflection to a
speech noted by a writer. Of course, in stage plays, all stage directions (at
least in Manuscript Format) are in parentheses, but "directing off the page,"
as it's often called, is equally frowned upon.
PASS
A rejection of a property by a potential producer or an agent.
PITCH
To verbally describe a property to a potential buyer in the hope it will be
bought.
PLAY
Sometimes known as a stage play, it's a production which is meant to be
performed on stage in front of a live audience.
PLAYWRIGHT
A person who writes stage plays.
PLAYWRITING
The craft or act of writing scripts for the stage (i.e. the live theater).
POINTS
Percentage participation in the profits of a film.
POLISH
In theory, to rewrite a few scenes in a script to improve them. In practice, a
screenwriter is often expected to do a complete rewrite of a script for the
price of a polish.
POV
Point of View; a camera angle placed so as to seem the camera is the eyes of
a character.
PRODUCER
The person or entity financially responsible for a stage or film production.
PRODUCTION SCRIPT
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A script in which no more major changes or rewrites is anticipated to occur,
which is used day by day for filming on a movie set.
PROFESSIONAL RECOMMENDATION
A method of submission in which a writer may submit a full script if it's
accompanied by a theater professional (typically a literary manager or
artistic director, though sometimes a director is acceptable as well).
PROPERTY
Any intellectual property in any form (including a play or screenplay) that
might form the basis of a movie. In theater, usually called a "prop," an item
(e.g. a gun, spoon, hairbrush, etc.) that can held by one of the characters.
PROSCENIUM
A type of stage in which the actors play opposite the audience, from which
they are separated. Most high school auditoriums are prosceniums.
PUBLISHED PLAY FORMAT
The format typically found in an Acting Edition, meant to save space, in
which the character names are on the left and stage directions occur on the
same lines as dialogue.
QUERY
A method of submission in which a writer approaches a theater with a brief
letter, accompanied by a synopsis and sample pages.
RAKE
A stage that is slanted so that as an actor moves away from the audience, he
gets higher. Few contemporary theaters have raked stages. It's more likely
that the house (i.e. where the audience sits) will be raked.
READER (AKA SCRIPT READER)
A person who reads screenplays for a production company or stageplays for
a theater company and writes a report about them, often being paid per
report.
READING
A "performance" of a play in which the actors are script-in-hand. It could
either take place around a table (called a "table reading") or with some
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blocking or staging (a "staged reading").
REGISTER OF COPYRIGHTS
The US government office that registers intellectual property (e.g. scripts),
necessary prior to filing a claim for copyright infringement in court.
RELEASE
A legal document given to unrepresented writers for signing by agents,
producers or production companies, absolving said entities of legal liability.
RESOLUTION
The third act of a dramatic structure, in which the conflict comes to some
kind of conclusion: the protagonist either gets it or doesn't.
REVERSAL
A place in the plot where a character achieves the opposite of his aim,
resulting in a change from good fortune to bad fortune.
REVISED PAGES
Changes are made to the script after the initial circulation of the Production
Script, which are different in color and incorporated into the script without
displacing or rearranging the original, unrevised pages.
RIGHT
On stage, the actors' right, assuming they are facing the audience. Short for
Stage Right.
ROMANTIC COMEDY
Also known as a "romcom," a comedic movie in which the main story
revolves around a romance.
SCENE
Action taking place in one location and in a distinct time that (hopefully)
moves the story to the next element of the story.
SCENE HEADING
A short description of the location and time of day of a scene, also known as
a "slug line." For example: EXT. MOUNTAIN CABIN - DAY would denote
that the action takes place outside a mountain cabin during daylight hours.

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SCREENING
The showing of a film for test audiences and/or people involved in the
making of the movie.
SCREENPLAY CONTEST
A submission opportunity for screenwriters in which a group of readers
(judges) select one or more winners from the entered scripts. Typically,
contests require entry fees that may be as high as $40-$50, but can often
result in prizes as high as $20,000 or more for the winner(s), as well as
important exposure to agents and production companies. Some “fellowship”
opportunities effectively function as contests (e.g. Nichol), choosing a
handful of fellows (i.e. winners) from the pool of entrants.
SCREENWRITER
The most important and most abused person in Hollywood. The
screenwriter writes the script that provides the foundation for the film,
though it may go through any number of changes, both in the rewriting
process before production, during production, and in the editing process
afterward. While in the world of theater, there is usually only one playwright
on any given play (or one collaborative team), in film there may be many
screenwriters throughout the life of a project.
SCREENWRITING
The art of writing scripts for a visual medium.
SCRIPT
The blueprint or roadmap that outlines a movie story through visual
descriptions, actions of characters and their dialogue. The term "script" also
applies to stage plays as well.
SCRIPT COVER
What protects the script on its travels between the writer and its many
potential readers. The Writers Store carries a number of acceptable covers.
SCRIPT READER
(See above as Reader.)
SCRIPT WRITING SOFTWARE
Computer software designed specifically to format and aid in the writing of
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screenplays and teleplays.
SECURELY BOUND SCRIPT
Typically, a stage play contest's request that a script be more firmly bound
than brads will do. Either it is literally bound, or it is securely held in a
folder.
SET
The physical elements that are constructed or arranged to create a sense of
place.
SETTING
The time and place of a play or screenplay.
SFX
Abbreviation for Sound Effects.
SHOOTING SCRIPT
A script that has been prepared to be put into production.
SHOT
What the camera sees. For example, TRACKING SHOT would mean that the
camera is following a character or character as he walks in a scene. WIDE
SHOT would mean that we see every character that appears in the scene, all
at once.
SHOW RUNNER
A writer/producer ultimately responsible for the production of a TV series,
week to week.
SIMULTANEOUS DIALOGUE
When two characters speak at the same time, written in two columns side by
side.
SITUATION COMEDY
Also known as a "sitcom," a normally 30-minute (in the United States)
comedic television show revolving around funny situations the main
characters repeatedly fall into.
SLUG LINE
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Another name for the SCENE HEADING
SMASH CUT
A quick or sudden cut from one scene to another.
SOAP OPERA
Daytime dramas so named because they were originally sponsored by the
makers of laundry detergent in the early days of television.
SPEC SCRIPT
A script written without being commissioned on the speculative hope that it
will be sold.
SPFX
Abbreviation for Special Effects.
SPLIT SCREEN
A screen with different scenes taking place in two or more sections; the
scenes are usually interactive, as in the depiction of two sides of a phone
conversation.
STAGE CENTER
More commonly known as Center Stage, it is the center of the performance
space, used for placement of the actors and the set.
STAGE DIRECTIONS
In a stage play, the instructions in the text for the actors (e.g. entrances, exit,
significant actions or business) and stage crew (e.g. lights fade). Also, in a
musical, the person who directed the non-musical elements of the show may
be credited with "Stage Direction" to distinguish him from the Music
Director, who will be credited with "Music Direction."
STAGE LEFT
On stage, the actors' left, assuming they are facing the audience. "Left" for
short.
STAGE RIGHT
On stage, the actors' right, assuming they are facing the audience. "Right"
for short.

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STOCK SHOT
A sequence of film previously shot and available for purchase and use from a
film library.
SUBMISSION
Name for a script once it is submitted to producers or agents.
SUGGESTED SETTING
A setting on stage in which a few set pieces or lighting or other technical
elements take the place of elaborate set construction.
SUPER
Abbreviation for "superimpose" meaning the laying one image on top of
another, usually words over a filmed scene (i.e. Berlin, 1945).
SYNOPSIS
A two to three page, double-spaced description of a screenplay.
TAG
A short scene at the end of a movie that usually provides some upbeat
addition to the climax.
TECHNICAL DEMANDS
The extent to which a play requires specific lighting, sound, sets, etc. Plays
with minimal technical demands are easier and less expensive to produce.
TEN-MINUTE PLAY
A complete play, with a beginning, middle and end, designed to play in ten
minutes.
THE BUSINESS
Show business in general; more specifically, Hollywood moviemaking and
television business.
THRILLER
A fast-paced, high stakes crime story in which the protagonist is generally in
danger at every turn, with the most danger coming in the final confrontation
with the antagonist.
THRUST
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A stage configuration in which the playing area protrudes into the audience;
the actors have audience on three sides of them.
TICKING CLOCK
A dramatic device in which some event looming in the near future requires
that the conflict reach a speedy resolution (hence, the ticking clock).
TITLE
Text that appears onscreen denoting a key element of the movie, a change of
location or date, or person involved in the making of the movie.
TITLE PAGE
A page of the script that contains the title and the author's contact
information.
TOURING PLAY
A play with minimal technical demands that is meant to be easily packed up
and moved from one performance space to another.
TRANSITION
A script notation denoting an editing transition within the telling of a story.
For example, DISSOLVE TO: means the action seems to blur and refocus
into another scene, and is generally used to denote a passage of time.
TREATMENT
A scene by scene description of a screenplay, minus all or most of the
dialogue.
TWEAK
A minor change made in a scene or portion of a screenplay or a stage play.
UNSOLICITED SCRIPT
A method of script submission in which the writer sends the script, without
prior contact, to the theater or production company. Some theaters allow
this, most don't-and very few film production companies, for liability
reasons, can read unsolicited materials.
UPSTAGE
It the part of the stage farthest from the audience, so named because when
stages were raked (slanted), an actor walking away from the audience was
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literally walking up. Called "Up" for short.
WGA SIGNATORY
An agent, producer or production company that has signed an agreement to
abide by established agreements with the Writers Guild of America.
WORKSHOP
It is A developmental "production" of a play, with a significant amount of
rehearsal (a trial performance of a play or other work for later public
performance.), but with less fully realized production values (e.g. set) than a
full production.
WRITERS GUILD OF AMERICA
It is Writer guild of America ("the WGA."), the main union for screenwriters
in the United States, with chapters in Los Angeles (WGAw) and New York
(WGAe).

RECOMMENDED TEXTS HORROR FILM

All pre-screen texts selected are certificate where a text serves to illustrate
more than one category or sub-genre, it has been listed under both.
SUPERNATURAL VISITATIONS:
 Poltergeist (1982)
 The Haunting (1963)
 The Blair Witch Project (1999)
 Dead of Night (1946)
 The Innkeepers (2013)
BODY HORROR:
 The Bay (2012)
 Cabin Fever (2002)
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GOTHIC HORROR:
 Bride of Frankenstein (1935)
 Dracula (1958)
 Masque of the Red Death (1964)
REVENGE OF NATURE:
 The Birds (1963)
SLASHER FILMS:
 Sorority Row (2009)
 The Hole (2009)
ZOMBIE FILMS:
 Land of the Dead (2005)
 Warm Bodies (2012)
RECOMMENDED TEXTS WESTERNS FILM
All pre-screen texts selected are certificate where a text serves to illustrate
more than one category or sub-genre, it has been listed under both.
OUTLAWS
 Stagecoach (1939)
 The Assassination of Jesse James by the Coward Robert Ford (2007)
LAWMEN
 My Darling Clementine (1946)
 Tombstone (1994)
 High Noon (1952)
NATIVE AMERICANS
 Dances with Wolves (1990)
 Little Big Man (1970)
GERONIMO
 An American Legend (1993)
 The Lone Ranger (2013)
JOURNEYS & QUESTS:
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  The Searchers (1955)
 The Lone Ranger (2013)
 Meek’s Cut-Off (2010)
GUNSLINGERS:
 Unforgiving (1992)
 The Quick & The Dead (1995)
 Shane (1953)
 Once Upon a Time in the West (1968)
 The Shootist (1976)
TAMING OF THE WEST:
 The Man Who Shot Liberty Valance (1962)
 Once Upon a Time in The West (1968)
DISPLACED WESTERNS:
 The Good, The Bad & The Weird (2009)
 A Fistful of Dynamite (1972)
CAVALRY WESTERNS:
 Geronimo: An American Legend (1993)
 Fort Apache (19480
ACTION/ADVENTURE RECOMMENDED TEXTS
All pre-screen texts selected are certificate where a text serves to illustrate
more than one category or sub-genre, it has been listed under both.
ACTION COMEDIES:
 Hot Fuzz (2007)
 Shaolin Soccer (2001)
 The Blues Brothers (1980)
COP MOVIES:
 Hot Fuzz (2007)
 Police Story (1985)
 Assault on Precinct 13 (1977)
 Speed (1994)
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QUESTS
 Raiders of the Lost Ark (1981)
 The Good, The Bad and the Weird (2008)
ESPIONAGE ACTION:
 The Bourne Identity (2002)
 North by Northwest (1959)
 True Lies (1994)
RELUCTANT WARRIORS:
 Seven Samurai (1954)
 Shane (1953)
VEHICULAR CARNAGE:
 The General (1926)
 Speed (1994)
 The Blues Brothers (1980)
SCI-FI ACTION:
 The Matrix (1999)
ROMANTIC COMEDY RECOMMENDED TEXTS
All pre-screen texts selected are certificate where a text serves to illustrate
more than one category or sub-genre, it has been listed under both.
 It Happened One Night (1934)
 The Lady Eve (1941)
 Populaire (2012)
 Annie Hall (1977)
 500 Days of Summer (2009)
 The Shop Around the Corner (1940)
 Sleepless in Seattle (1993)
 Say Anything (1989)
 When Harry met Sally (1989)
 It Happened One Night (1934)
 Four Weddings and a Funeral (1994)
SCIENCE FICTIONRECOMMENDED TEXTS
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All pre-screen texts selected are certificate where a text serves to illustrate
more than one category or sub-genre, it has been listed under both.
ALIEN ENCOUNTERS:
 2001: A Space Odyssey (1968)
 Close Encounters of the Third Kind (1977)
 E.T.: The Extra-Terrestrial (1982)
ALIEN INVASION:
 Independence Day (1996)
 War of the Worlds (2005)
ARTIFICIAL INTELLIGENCE:
 The Matrix (1999)
 Robot and Frank (2012)
 2001: A Space Odyssey (1968)
 Wall-E (2008)
DYSTOPIAN FUTURE:
 The Hunger Games (2012)
 Children of Men (2006)
 Brazil (1985)
 Blade Runner (1982)
SPACE TRAVEL/ADVENTURE:
 Star Wars (1977)
 Star Trek (2009)
TIME TRAVEL:
 Twelve Monkeys (1995)
 Back to the Future (1985)
 The Terminator (1984)
 Looper (2012)
POST-APOCALYPTIC:
 Mad Max: Beyond Thunder dome (1985)
 Water world (1995)
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  Wall-E (2008)
 I Am Legend (2007)
CRIME RECOMMENDED TEXTS
All pre-screen texts selected are certificate where a text serves to illustrate
more than one category or sub-genre, it has been listed under both.
FUGITIVES:
 Gun Crazy (1939)
 Dark Passage (1049)
 Police procedurals:
 Panic in the Streets (1950)
 Heat (1995)
HEIST MOVIES:
 Ocean’s Eleven (2001)
 Heat (1995)
 The Italian Job (1969)
 Rififi (1954)
DETECTIVE FILMS:
 Chinatown (1974)
 The Maltese Falcon (1941)
GANGSTER FILMS:
 Miller’s Crossing (1990)
 The Roaring Twenties (1939)
NEO-NOIR
 Collateral (2004)
 Blade Runner (1982)
 The Driver (1978
ONLINE SOURCES FOR FILM SCREENPLAYS
These script databases offer free downloads of produced screenplays for
educational purposes.
NB Note the difference between scripts (original drafts) and transcripts
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(documents transcribed from the completed film).

DREW'S SCRIPT-O-RAMA
The first - and still one of the most comprehensive - film script databases.
([Link]
SCRIPT CRAWLER
The largest online database of scripts from produced movies. Many have
several versions of the scripts.
([Link]
SIMPLY SCRIPTS
This great site offers scripts in several formats: movie, television, anime,
radio and even some unproduced scripts.
([Link]
SCREENPLAY 451
This Danish site provides frequent updates of recent releases.
([Link]
THE MOVIE MONOLOGUE PAGE
 EXCELLENT FOR BEING INSPIRED TO WRITE GREAT DIALOG.
([Link]
 SCENES & MONOLOGUE RESOURCES
For actors (classical & modern, stage & screenplay)
([Link]
 A MASTER LINKS LIST OF ALL SCRIPT SITES
[Link]
FREE SCRIPT WARE TO DOWNLOAD:
Screenplay software is expensive. Here are some FREEWARE script writing
programs you can download:
 Script Buddy ([Link] )
 Story Mind ([Link] )
 Dependent Film ([Link]

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