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FADE TO BLACK versus FADE OUT

What is the difference between FADE TO BLACK and FADE OUT? Are they the same? Which one is preferable in a spec script? Can CROSSFADE be used instead of FADE OUT/FADE IN?
 
Acknowledging that to even begin a spec screenplay with a left justified FADE IN: and concluding with a right justified FADE OUT: are both superfluous and founded exclusively on ribbon typewriter technology, that's how you're supposed do it, even if your program deefault places them elsewhere.

Frankly, those'll be the least of your worries.

- Does the story have an emotionally compelling structure?
- Is it told with clarity?
- Is it full of unfilmables?

Blah, blah, blah lipstick on a pig, blah, blah, blah, director/producer/agent don't care, blah, blah, blah, FADE OUT:

FADE TO BLACK would be if some SUPER(imposition) is about to come up.
 
By tradition you start with FADE IN and end with FADE OUT.

If you want a black screen somewhere in the middle, you can simply say BLACK or FADE TO BLACK, etc. That's how I generally approach this question.
 
What is the difference between FADE TO BLACK and FADE OUT? Are they the same? Which one is preferable in a spec script?
Both are exactly the same thing. Even "FADE" is the same.


Can CROSSFADE be used instead of FADE OUT/FADE IN?
These are two very different editing terms. Neither should be
in a spec script at all. If for no other reason than many writers
do not know the difference. The writer really shouldn't indicate
editing transition in their script.
 
Editing terms should not be used in a script.

I'm thinking that by "Is it okay" you mean, will your script be
tossed because you use the term. No, it won't. If you feel it is
essential to your story to tell the editor what transition to use
then you need to include the editing transition.

It is much better to not include any editing transitions in a spec
script but there is no number where it is okay and then not okay.
 
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