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Capitalization in Screenplays

C

Ccolebrook

Hello fellows, are there any steadfast rules about FULL WORD capitalization in screenplays? I know it's usual to introduce your characters with caps, and props or sounds that are imperative to the screenplay, but what else would need caps?
Is it better to capitalize characters the first time in every scene or just the first time in the script?
I've just been doing it by ear, and with a bunch of competitions coming up and my latest screenplay in polishing, I wanna make sure I'm doing something so elementary correctly.
 
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I believe 2001 productions gave me the advice to capitalize for FOCUS of action!

The dog jumps up and bites the girls hand might look like this..


Dog JUMPS
TEETH sink into flesh
Julie screams
 
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No offense to 2001 but that's pretty terrible. My
opinion, of course.

Why not:
Dog JUMPS
TEETH sink into flesh
Julie SCREAMS


When I was covering scripts I read a script by a
writer who believed that caps were used to red
flag important sounds and props that were essential
to the story and to focus action. I kept it because I
was so distracted while reading it that I couldn't
concentrate on the story.


INT. BATHROOM - NIGHT

This is a LARGE bathroom with three SINKS along one
wall and a deep WALK-IN shower lined in FLAT STONES.
The toilet is behind its own DOOR.

Jennifer sees this DOOR is CLOSED. SUDDENLY a LOUD
NOISE draws her ATTENTION to the MIRROR. There is
someone STANDING BEHIND her! She SPINS around but
sees NOTHING. Yet when she LOOKS in the mirror the
TALL MAN is very CLEAR.

Jennefer DROPS to her KNEES as the TALL MAN LUNGES
at her with a WHOOSH. But nothing happens.

An extreme, I know. But this writer truly believed he was
emphasizing important things in the screenplay.
 
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directorik said:
No offense to 2001 but that's pretty terrible. My
opinion, of course.

Why not:
Dog JUMPS
TEETH sink into flesh
Julie SCREAMS


When I was covering scripts I read a script by a
writer who believed that caps were used to red
flag important sounds and props that were essential
to the story and to focus action. I kept it because I
was so distracted while reading it that I couldn't
concentrate on the story.


INT. BATHROOM - NIGHT

This is a LARGE bathroom with three SINKS along one
wall and a deep WALK-IN shower lined in FLAT STONES.
The toilet is behind its own DOOR.

Jennifer sees this DOOR is CLOSED. SUDDENLY a LOUD
NOISE draws her ATTENTION to the MIRROR. There is
someone STANDING BEHIND her! She SPINS around but
sees NOTHING. Yet when she LOOKS in the mirror the
TALL MAN is very CLEAR.

Jennefer DROPS to her KNEES as the TALL MAN LUNGES
at her with a WHOOSH. But nothing happens.

An extreme, I know. But this writer truly believed he was
emphasizing important things in the screenplay.
Click to expand...

Woha don't blame 2001 so fast.. :D that was my regurgitating something from an earlier thread, that I may have mistakenly attributed to him. I do NOT want to lose that connection.. :blush:
 
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Sorry, this should be attributed to filmy

I would even go so far as to use...
Secondary headings to direct the mind's eye...

Maybe something along these lines...

EXT. FARM HOUSE - NIGHT

Jamie rounds the corner -- charges toward the duck coup. A spray of

GRAY AND WHITE FEATHERS

litter the ground -- Jamie FREEZES.

HER FINGER

hovers just outside the trigger guard.

JAMIE

presses the gun tight against her shoulder -- the barrel an extension of her eye.

A TAN BLUR

scurries through the tall grass -- JAMIE follows the blur -- a slow breath -- holds it

SQUEEZES THE TRIGGER

BOOM! Her tiny shoulder jerks from recoil -- she jacks in another round: BOOM!

EMPTY SMOKING SHELLS

fall to the ground -- BOOM! BOOM! BOOM! CLICK. Gun empty, Jamie drops the
shotgun, clambers through the wire fence -- races toward the carnage.

filmy
Click to expand...
 
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I've taken your advice on this subject Directorik. Makes the screenplay nice and tight, more uniform, less chance of confusion.

I had always capitalized things that will either come back later, or figure into the story in a way that isn't readily obvious. Words that would need to be read on screen, for example if the main character was reading a ransom note or suicide note or something. It occurred to me after reading your post that I could just leave it lower case like anything else and introduce it instead.
Julie picks up the ransom note, reads: Blah blah blah can't take it anymore, love blah.

Or a small but important detail that might be read over and ignored. But heck, if it's important, I now think writing it prominently works better than using capslock as a crutch.
 
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directorik said:
No offense to 2001 but that's pretty terrible.
Click to expand...

:lol: Agreed. T'weren't me.

How many angels dance on the head of a pin? There's much ado here about something that most of us agree is strictly a matter of personal taste and ultimately inconsequential.

For anyone interested, here are the first pages of two screenplays for major H'wood productions shot recently in Oregon with which I was involved in one way or another. Interesting to compare the differences, many of which have been discussed at length in this and other recent posts.

First, THE ROAD (Cormac McCarthy story starring Viggo Mortensen):

EXT. RIDGE - PRE-DAWN

A MAN of about forty and a BOY of eight are asleep, camped on a
tarp under a rock ledge, the blackened chasm of a burnt valley
spread out below. They are both emaciated and exhausted, their
faces and hands coated in grime and soot from the burned,
blackened landscape around them. Their hair is greasy and
straggly and the MAN has a scraggly beard. Dirty black rain
falls with a CLATTER on the tarp, which is bright blue, the only
color in sight. The MAN is woken by something, he instinctively
reaches out to touch the BOY, his hand rests on his chest and
rises and falls with each of the sleeping BOY’s breaths.

There is a low RUMBLE, the ground starts to TREMBLE and the BOY
wakes.

BOY.
Papa? (NO REPLY.) Papa?

MAN.
Shh. It’s okay.

BOY.
What is it, Papa?

They listen as it grows NEARER and LOUDER, everything SHAKING,
tree roots GROANING and SPLITTING, until it passes between them
with a ROAR like a subway train right beneath them. The BOY is
now clinging to the MAN and crying, his head buried against his
chest in fear.

MAN.
Shh. It’s all right. It’s all right.
It’s gone

BOY.
What was it, Papa?

MAN.
It was an earthquake.
Click to expand...

Next, UNTRACEABLE (with Diane Lane):

FADE IN:

INT. SUBURBAN BASEMENT -- RAINY NIGHT.

VIDEO CAMERA POV: held at hip level, jerking with each step,
we move in dim light past boxes of junk...a dormant furnace
...a rusty bicycle...shelves of Christmas decorations...and
bundles of Ethernet cable, running beside flashing state-of-the-
art computers...around a corner into--

A WOOD-PANELED ROOM. Rain rattles the ground-level windows,
whose panes are covered with black soundproofing panels. A
folded-up Ping-Pong table leans against a wall. Ugly shag
carpeting has been stripped back from the cement floor.

A small, muted TV set, sitting on a cardboard box, plays a
prime-time hour-long drama. Thunder rumbles outside.

The CAMERA shakes as it is screwed into a tripod and pointed
to the cement floor. At the top corner of the frame, the TV
is visible.

Footsteps. Liquid pours. A MALE HAND, long and slender,
lowers a saucer of milk to the floor.

More footsteps. A package is torn open. A glue rat-trap is
slapped to the floor a few feet from the milk.

A canvas bag is unzipped. A tiny meow, then the tinkling of
a little bell. A man’s torso passes by, momentarily blotting
out our view.

A moment later, the CAMERA zooms tighter on the milk and the
trap. More meowing, as a KITTEN enters the frame, bounding
clumsily, adorably. It wears a handcrafted pink collar with
a bell.

It steps into the trap. It freezes, pulls and pulls, the bell
tinkling urgently, but it cannot free its paw.

Klieg lights flash on.

The kitty freezes, blinded.
Click to expand...

btw, these examples were copied/pasted directly from .pdf files of the shooting scripts. I did no editing on them.
 
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I wasn’t blaming anyone. We are all fellow filmmakers and writers
and I respect everyone's opinion. We often disagree with each
other but reading each others opinions without rancor or blame is
what makes this place unique.

It is my opinion that writing a script using capitalization in
that way is distracting - and terrible. I have often felt the need
to remind people that I am only offering my personal opinion. That
I have never and will never tell a fellow writer they are wrong.
But I will express my opinion when I feel the writing is terrible.
In my opinion. To clarify I don’t mean the writing is terrible - I
mean in my opinion that format is terrible.

The scene you post by filmy I also find terrible. Formatting, not
the writing or the person. I find that style, made popular by Syd
field in the 1970’s, distracting. As he says, he is directing the
minds eye. He is directing the scene - each shot is indicated by a
separate, capitalized line. As a reader I dislike this, as a
director I dislike this. As a writer I can’t justify this format
to myself. As I have said often, I believe the screenplay is where
the writer tells the story, not where the writer indicated the
shots in the final movie.

And posting excerpts from scripts written by professionals doesn’t
mean anything to me. I am only discussion spec scripts written by
unproduced writers who are looking to make their first sale. The
standards are very different.

But if any unproduced writer wants to include camera shots and use
capitalization I want to be very clear that I am not saying it’s
wrong to do so. I’m saying that the current standard of spec
scripts has changed in the last 10/15 years. It can’t hurt a new
writer to keep up with the current standards.

Ccolebrook,

I can only suggest you understand that important details will not
be overlooked. A well written story will be understood by all who
read the script. Even without capitalizing things that will come
back later or figure into the story in a way that isn’t readily
obvious. I hope you can see that your statement can be considered
insulting to the reader. The assumption that the reader of your
script can only understand certain things if they are in caps is a
poor assumption. As you point out, if Julie picking up the ransom
note isn’t readily obvious the first time, but becomes obvious
later, writing RANSOM NOTE won’t make it any more clear later. I
submit that if the story is good and the writing clear, any reader
will remember the ransom note she picked up on page 5 when it
becomes important on page 50. Even if it’s in lower case.

A little ironic side note:

2001, you post excerpts from two scripts and you mention the actor
in the movie but you don’t even mention the writer of the script...
 
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directorik said:
No offense to 2001 but that's pretty terrible. My
opinion, of course.

Why not:
Dog JUMPS
TEETH sink into flesh
Julie SCREAMS


When I was covering scripts I read a script by a
writer who believed that caps were used to red
flag important sounds and props that were essential
to the story and to focus action. I kept it because I
was so distracted while reading it that I couldn't
concentrate on the story.


INT. BATHROOM - NIGHT

This is a LARGE bathroom with three SINKS along one
wall and a deep WALK-IN shower lined in FLAT STONES.
The toilet is behind its own DOOR.

Jennifer sees this DOOR is CLOSED. SUDDENLY a LOUD
NOISE draws her ATTENTION to the MIRROR. There is
someone STANDING BEHIND her! She SPINS around but
sees NOTHING. Yet when she LOOKS in the mirror the
TALL MAN is very CLEAR.

Jennefer DROPS to her KNEES as the TALL MAN LUNGES
at her with a WHOOSH. But nothing happens.

An extreme, I know. But this writer truly believed he was
emphasizing important things in the screenplay.
Click to expand...

Wow. I find that overly distracting, too. With thanks to modern mental conditioning that all caps is "yelling".
 
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No rancor detected, or intended.. :)

That expert was my first action scene. Filmy made some suggestions to help.. I like it! But then, i have personal investment.. :) For me, as a 1 man band, that style is a real help. It does exactly what you say, it DIRECTS the minds eye.. which, based on what Iv learned here, means that it is NOT a spec script..

but it is perfect for what Im need.. which is a way to capture ALL the vision I can.. so I don't LOSE it..
 
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Caps are only used in Narratives when:
We see a character on screen for the first time, and
when you DARE to give the camera operator explicit instructions.

Caps are only used in Dialogue when:
An actor is to SHOUT a line, and
when an actor is to SING lyrics

Got this info from this ebook: http://www.miadeals.com/tools

Hope this helps
 
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directorik said:
I wasn’t blaming anyone. We are all fellow filmmakers and writers
and I respect everyone's opinion. We often disagree with each
other but reading each others opinions without rancor or blame is
what makes this place unique.
Click to expand...

I think I missed something...did someone accuse you of placing blame for something? If it's directed at me, please be assured that I'm not arguing with you. You're right, filmy's right...my point was there is no right or wrong here...same thing you're saying, I think.

(If it wasn't directed at me, just ignore the above.)

directorik said:
And posting excerpts from scripts written by professionals doesn’t
mean anything to me.
Click to expand...

Well, I didn't post them for you. I'm well aware that you're already intimately familiar with professional screenplays, but I thought beginners here might find the differences between the two styles interesting. If it was inappropriate, I apologize.

directorik said:
2001, you post excerpts from two scripts and you mention the actor
in the movie but you don’t even mention the writer of the script...
Click to expand...

You're right! Shame on me! :blush:

THE ROAD, screenplay by Joe Penhall, based on the novel by Cormac McCarthy.

UNTRACEABLE, written by Robert Fyvolent & Mark R. Brinker, with revisions by Allison Burnett.
 
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CAPS

CAPITALISE

A character with future dialogue when they appear on page for the first time.

If they reappear older/younger and portrayed by a different actor do it again for the first time we meet "Old Bob" but again only once.

SOUND EFFECTS (not including breath, footsteps, farts etc) and THE SOURCE OF THEM

O.S SOUNDS

The word CAMERA and it's MOVEMENTS

I think these are essentials although MANY writers use CAPS AN AWFUL LOT to highlight direction i.e. PROPS, PROMINENT VISUALS and even in dialogue "SHOUTING" and even the word SILENCE.

That last one is pushing it silence is silent so NO CAPS!

Underlining is much less fashionable but my preferred way of highlighting elements of importance that are not capitalised by absolute necessity -

NEVER GO BOLD
 
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kwrx8 said:
Caps are only used in Narratives when:
We see a character on screen for the first time, and
when you DARE to give the camera operator explicit instructions. <-- Don't. Ever! Unless you're the director

Caps are only used in Dialogue when:
An actor is to SHOUT a line, and
when an actor is to SING lyrics
Again, just don't. The delivery is decided by the actor and director, whether shouted or sung. In fact, most sung lyrics are put in italics these days in a script if included. Often there is just a reference to the song.

Got this info from this ebook: http://www.miadeals.com/tools

Hope this helps
Click to expand...
Caps are hard to read. As an actor, I would ignore it. Seriously. As a writer, your job ends as soon as the director hands me a copy of the script to mark up. The director marks up his/her copy. If you think putting it in CAPS means a damn, you're wrong. If I can't tell that I'm yelling at someone from the rest of the action in the scene, the screenwriter has done a lousy job. As writer/actor/director I'm just laying it on the line. If you need to emphasize something in a dialogue, it's better to use an underline. In helping to write a musical, I was given examples where the lyrics were placed in italics.
Code: 
            TOM
    So you did it?

versus

            TOM
    So [U]you[/U] did it?   <-- Notice how emphasis changes the meaning.

Also

INT.  JILL'S APARTMENT - NIGHT

Joan sits on the sofa as Jill paces about.
[Lyrics to "Why won't he call" in italics]

                JILL
        (to Joan)
   I don't know.[I]
   I wish he'd call
   I try to phone,
   He doesn't answer.[/I]

OR

INT.  JILL'S APARTMENT - NIGHT

Joan sits on the sofa as Jill paces about.

                JILL
        (to Joan)
   I don't know.

Jill breaks into "Why won't he call?" joined by Joan.
Directorik has given very solid advice. Using caps to mark props and sound is very passe. As a writer/director, I may use it to mark something of production value to me. In a spec script, it's out of place. Now there may be VERY RARE occasions to use it but it's like extremely spicy. There is seldom a reason to use CAPS in a spec script outside of dictated usage (Character intro, Slugline, Dialogue Character and Transitions). If you're hired to write a shooting script, they are much more handy. As an AD or line producer, it helps to mark significant props. However, I will use CeltX or other production software to create my master inventory. It gets marked in various colors in the script.

If you are writing a script to shoot yourself, you're welcome to break the rules. Many scripts that "break the rules" you find online are: (1) by writer/directors, (2) shooting scripts not the spec scripts or (3) transcripts. First, there are no rigid "rules". You are free to experiment but remember that CAPS are harder to read. Marking sounds and props are aimed at production which is not the responsibility of the writer but that of the director and the creative talent s/he works with. They contribute very little and come across as a writer trying to "direct inside the script" which can come across as arrogant if you're not the actual director or at least out-of-date. The harder you make it for a reader to read your script, the easier you make it for them to decide to pass. Not every creak or knock or bang needs caps. I'm not saying you can't use them, but just go lightly and be judicious.

If you're not shooting it yourself, let the AD, Art and Sound Directors do their jobs. Let the actors and director do theirs. Like Directorik, nothing pulls me out of a story faster than seemingly random capitalized words. Good luck.
 
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This is what I understand is TECHNICALLY supposed to be the situation on capitals...

1. SLUGLINES AND CAMERA SHOTS (if there are any)
2. Characters when they first appear with speaking lines OR are critical (eg the guy in the gun store in DAWN OF THE DEAD is a critical character yet never speaks a line as he is too far away.
3. SOUNDS and SOUND EFFECTS
4. CAMERA and CAMERA associated (eg DOLLY would be so) in those rare instances, so, for instance where the CAMERA goes through the window of the dining room in that Mel Brooks film, the mention of the DOLLY moves too fast would have the DOLLY in caps. Likewise, the boy throws the ball at CAMERA has CAMERA in capitals.
5. Text or signs within INSERTS so, for instance is someone has written GO TO HELL! like that on a letter that goes in an insert then that is in capitals as it is supposed to look on the screen.
6. Medals or distinctions following names, so "The Queen gives James Bond an OBE", the OBE medal (award) is in its normal capitals.
7. All changes to characters on set, ie. entrances and exits.
8. Transitions - on the rare use of transitions, they need to be in capitals.

NOT IN CAPS

1. Shouting. Emphasis and words being shouted as NOT in caps but should be UNDERLINED. Only put into caps shouting if they are balling so loudly that they can be heard all the way to Baffin Island in Canada. In effect, caps in speech is as a last resort booster to an existing stress underline.
2. Props should not be in caps - However, the scene description MUST contain, in effect, an inventory of all props used in the scene or any scene that follows in that location, so if a cigarette box is used in the kitchen on page 93, any scene in the kitchen on page 4 should ALSO have the cigarette box in the opening description to avoid a continuity breakdown.
 
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directorik said:
Thanks filmy.

......
To me, as a reader, I am slightly insulted that the writer thinks
a sound needs to be red flagged......
Click to expand...

I actually feel the opposite way. There are two Oscars for sound mixing as the Oscars began just months before the advent of sound in movies. in those days it was understood that it is absolutely critical, a factor that still is yet is so overlooked by everyone today, possibly apart, thank goodness, by the Academy of Motion Pictures.

I feel it is insulting to sound engineers and sound mixing crews who are so critical to take away this last monument and nod of thanks to their profession. No sound, no picture, yet so many forget this.

I always put all sounds in CAPITALS out of respect for their industry and for their near forgotten and overlooked profession - a respect that is so absent in todays world.

In short, it is MORALLY the right thing to do.
 
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Technically, not all of these are true anymore. They were used at one time or are true for plays but not screenwriting.
Editor said:
This is what I understand is TECHNICALLY supposed to be the situation on capitals...

1. SLUGLINES AND CAMERA SHOTS (if there are any) correct. Only use camera shots in a shooting script, not a spec.

2. Characters when they first appear with speaking lines correct
OR are critical (eg the guy in the gun store in DAWN OF THE DEAD is a critical character yet never speaks a line as he is too far away. Not always true. Safer to not capitalize non-speaking characters in a spec script.

3. SOUNDS and SOUND EFFECTS No longer true unless it is truly unusual, we expect knocks. You should generally not capitalize common sounds. FOOTSTEPS, HOOF POUNDS, etc.

4. CAMERA and CAMERA associated (eg DOLLY would be so) in those rare instances, so, for instance where the CAMERA goes through the window of the dining room in that Mel Brooks film, the mention of the DOLLY moves too fast would have the DOLLY in caps. Likewise, the boy throws the ball at CAMERA has CAMERA in capitals.Don't use unless you're preparing the shooting script.

5. Text or signs within INSERTS so, for instance is someone has written GO TO HELL! like that on a letter that goes in an insert then that is in capitals as it is supposed to look on the screen.

6. Medals or distinctions following names, so "The Queen gives James Bond an OBE", the OBE medal (award) is in its normal capitals. Acronyms should ALWAYS include periods, O.B.E. unless it is now considered a word such as "laser". DNA is one of those odd words that I've seen written both ways. Newer writers without, older writer with the periods.

7. All changes to characters on set, ie. entrances and exits. No longer true most Hollywood scripts. Only on first appearance unless the character reappears later and speaks for the first time.

8. Transitions - on the rare use of transitions, they need to be in capitals. correct

NOT IN CAPS

1. Shouting. Emphasis and words being shouted as NOT in caps but should be UNDERLINED. Only put into caps shouting if they are balling so loudly that they can be heard all the way to Baffin Island in Canada. In effect, caps in speech is as a last resort booster to an existing stress underline.
correct

2. Props should not be in caps - However, the scene description MUST contain, in effect, an inventory of all props used in the scene or any scene that follows in that location, so if a cigarette box is used in the kitchen on page 93, any scene in the kitchen on page 4 should ALSO have the cigarette box in the opening description to avoid a continuity breakdown.Don't repeat props unless integral to a scene. It's not necessary. The AD, not the screenwriter, is responsible for continuity.
Click to expand...
 
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1. SLUGLINES AND CAMERA SHOTS (if there are any) correct. Only use camera shots in a shooting script, not a spec.

.....Whilst one should rarely use a camera shot in some raw instances, this is necessary. As I pointed out, the Mel Brooks CAMERA accidentally breaking the window itself cannot be conveyed without the use of the word CAMERA or at least reference to it.

2. Characters when they first appear with speaking lines correct
OR are critical (eg the guy in the gun store in DAWN OF THE DEAD is a critical character yet never speaks a line as he is too far away. Not always true. Safer to not capitalize non-speaking characters in a spec script.

.....ACTUALLY NO. Although it is hyper-rare to have a central main character who is silent, this can occur. in such an instance, it would have to be in capitals.

3. SOUNDS and SOUND EFFECTS No longer true unless it is truly unusual, we expect knocks. You should generally not capitalize common sounds. FOOTSTEPS, HOOF POUNDS, etc.

...UNTRUE. Just be cause everyone else picks their nose and eats it is no reason to do it also. Likewise, just because others have no respect for sound technicians is no reason to treat them with no respect either.
4. CAMERA and CAMERA associated (eg DOLLY would be so) in those rare instances, so, for instance where the CAMERA goes through the window of the dining room in that Mel Brooks film, the mention of the DOLLY moves too fast would have the DOLLY in caps. Likewise, the boy throws the ball at CAMERA has CAMERA in capitals.Don't use unless you're preparing the shooting script.

.....UNTRUE - Whilst one should rarely use a camera shot in some raw instances, this is necessary. As I pointed out, the Mel Brooks CAMERA accidentally breaking the window itself cannot be conveyed without the use of the word CAMERA or at least reference to it.

5. Text or signs within INSERTS so, for instance is someone has written GO TO HELL! like that on a letter that goes in an insert then that is in capitals as it is supposed to look on the screen.

6. Medals or distinctions following names, so "The Queen gives James Bond an OBE", the OBE medal (award) is in its normal capitals. Acronyms should ALWAYS include periods, O.B.E. unless it is now considered a word such as "laser". DNA is one of those odd words that I've seen written both ways. Newer writers without, older writer with the periods.

....UNTRUE. OBEs and various other medals and honours handed out by the Queen NEVER have full stops after it in peoples names.

7. All changes to characters on set, ie. entrances and exits. No longer true most Hollywood scripts. Only on first appearance unless the character reappears later and speaks for the first time.

8. Transitions - on the rare use of transitions, they need to be in capitals. correct

NOT IN CAPS

1. Shouting. Emphasis and words being shouted as NOT in caps but should be UNDERLINED. Only put into caps shouting if they are balling so loudly that they can be heard all the way to Baffin Island in Canada. In effect, caps in speech is as a last resort booster to an existing stress underline.
correct

2. Props should not be in caps - However, the scene description MUST contain, in effect, an inventory of all props used in the scene or any scene that follows in that location, so if a cigarette box is used in the kitchen on page 93, any scene in the kitchen on page 4 should ALSO have the cigarette box in the opening description to avoid a continuity breakdown.Don't repeat props unless integral to a scene. It's not necessary. The AD, not the screenwriter, is responsible for continuity.

....UNTRUE - If a prop is to be in place where it will used it would be absurd to leave it out I the original description of the scene.
 
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@ Editor <--- The "@" or 'at' sign means this is directed to you. Just to bring you up to the modern age.

I'm sorry your info is ten years out of date. Most of what you suggest is for plays, not movies. It sounds more like you wrote during the 1950s when play format still influenced screenwriting. Times and formats have changed significantly. You should update your skill set as well as your computer. Take a modern screenwriting workshop.
 
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FantasySciFi said:
@ Editor <--- The "@" or 'at' sign means this is directed to you. Just to bring you up to the modern age.

I'm sorry your info is ten years out of date. Most of what you suggest is for plays, not movies. It sounds more like you wrote during the 1950s when play format still influenced screenwriting. Times and formats have changed significantly. You should update your skill set as well as your computer. Take a modern screenwriting workshop.
Click to expand...

Maybe it would be more appropriate if you took an Anger Management Course to deal with your strutting arrogance.
 
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