+\fontencoding global
+\font_roman "default" "default"
+\font_sans "default" "default"
+\font_typewriter "default" "default"
+\font_math "auto" "auto"
+\font_default_family default
+\use_non_tex_fonts false
+\font_sc false
+\font_osf false
+\font_sf_scale 100 100
+\font_tt_scale 100 100
-Permission to use this script as a LyX example file was kindly granted by
- Greg Beal, gbeal@oscars.org.
-\layout General
+\begin_layout General
+Permission to use this script as a \SpecialChar LyX
+ example file was kindly granted by Greg
+ Beal, gbeal@oscars.org.
+\end_layout
- There were also references to tabs, which don't exist in LyX, so I made
- minor changes in the text.
+ There were also references to tabs, which don't exist in \SpecialChar LyX
+, so I made minor
+ changes in the text.
Speakeroffset is the offset to the right of the dialog margin, so changing
dialogindent will automatically change the position of parentheticals and
speaker names.
Speakeroffset is the offset to the right of the dialog margin, so changing
dialogindent will automatically change the position of parentheticals and
speaker names.
You can put your Speaker names in labels, the insert cross references to
the labels.
The printed version will automatically be capitalized in Speaker even if
You can put your Speaker names in labels, the insert cross references to
the labels.
The printed version will automatically be capitalized in Speaker even if
This way you can use them in dialogue also, and change all references to
your Speaker's names just by changing the label.
This way you can use them in dialogue also, and change all references to
your Speaker's names just by changing the label.
Notice that I did not use the labels for Joe and April here because they
are upper-cased in discriptions only the first time they are used.
You could make extra labels, but I think it would be error-prone.
Notice that I did not use the labels for Joe and April here because they
are upper-cased in discriptions only the first time they are used.
You could make extra labels, but I think it would be error-prone.
Left, 1.5 inches.
Right, 0.75 inches.
Top, 1.0 inch to the body, 0.5 inches to the number.
Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
Left, 1.5 inches.
Right, 0.75 inches.
Top, 1.0 inch to the body, 0.5 inches to the number.
Bottom, 0.5 to 1.5 inches, depending on where the page break comes.
Right above me.
Rules for breaking a page.
Scene headers, like INT., remain attached to Description.
If a page breaks between a Speaker and a one sentence Dialogue, move it
above the Speaker.
A long Dialogue passage would be split -- but I'll get to that later.
Right above me.
Rules for breaking a page.
Scene headers, like INT., remain attached to Description.
If a page breaks between a Speaker and a one sentence Dialogue, move it
above the Speaker.
A long Dialogue passage would be split -- but I'll get to that later.
Courier, 12 point, 10 pitch.
Make sure it's a non-proportional version of Courier.
Courier, 12 point, 10 pitch.
Make sure it's a non-proportional version of Courier.
No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
Stick with Courier.
That's the industry standard.
No bold, no itals, no script fonts, no Gothic, no Helvetica, no Times Roman.
Stick with Courier.
That's the industry standard.
jots down several notes on a 3 x 5 card, studies the card for a moment,
then scribbles another note.
jots down several notes on a 3 x 5 card, studies the card for a moment,
then scribbles another note.
All CAPS, and about 2.7 inches from the left margin.
Some writers center all the speakers' names.
All CAPS, and about 2.7 inches from the left margin.
Some writers center all the speakers' names.
Use More to break up a dialogue across a page boundary.
It will put (MORE) at the bottom of the page, and insert the current speaker
name and (CONT'D) at the top of the next page.
You should not break mid-sentence.
Use More to break up a dialogue across a page boundary.
It will put (MORE) at the bottom of the page, and insert the current speaker
name and (CONT'D) at the top of the next page.
You should not break mid-sentence.
Personally, I don't think it matters.
The look of the script pages is slightly different in either case.
Personally, I don't think it matters.
The look of the script pages is slightly different in either case.
A page break appeared in the middle of my dialogue.
You use (MORE) at the bottom of the page to show that the speaker's dialogue
continues onto the next page.
Then (CONT'D) next to the speaker to show that it has roots in the previous
page.
A page break appeared in the middle of my dialogue.
You use (MORE) at the bottom of the page to show that the speaker's dialogue
continues onto the next page.
Then (CONT'D) next to the speaker to show that it has roots in the previous
page.
Start them about a half-inch to the left of the speaker name.
In our case that would be at 2.2 inches from the left margin.
Start them about a half-inch to the left of the speaker name.
In our case that would be at 2.2 inches from the left margin.
For years, parentheticals were used to express emotion, the manner in which
a speaker spoke her lines.
Loudly, passionately, sadly, and so on.
In recent years writers have often used them for brief bits of action.
For years, parentheticals were used to express emotion, the manner in which
a speaker spoke her lines.
Loudly, passionately, sadly, and so on.
In recent years writers have often used them for brief bits of action.
Not very -- about 1.5 inches.
And they should wrap to the following line when they extend beyond that
point.
Not very -- about 1.5 inches.
And they should wrap to the following line when they extend beyond that
point.
If you place a parenthetical in the middle of a dialogue passage, it should
remain distinct from the dialogue.
If you place a parenthetical in the middle of a dialogue passage, it should
remain distinct from the dialogue.
And typically a different time and/or place.
But many writers have dispensed with such transitions, feeling that a new
scene header signifies a cut without the need of any additional indicator.
And typically a different time and/or place.
But many writers have dispensed with such transitions, feeling that a new
scene header signifies a cut without the need of any additional indicator.
will insert the current Speaker followed by (continuing) as a parenthetical.
Don't worry, it will look right on the printed version.
will insert the current Speaker followed by (continuing) as a parenthetical.
Don't worry, it will look right on the printed version.
Production managers would certainly prefer it that way, but many writers
use headers as a means of showing a particular time of day, especially
SUNRISE and SUNSET.
Production managers would certainly prefer it that way, but many writers
use headers as a means of showing a particular time of day, especially
SUNRISE and SUNSET.
Essentially, any draft that hasn't been paid for.
Any draft to be sent to agents, studio execs, production companies, development
people.
Those are writer's drafts.
And they all should be FIRST DRAFTs, no matter how many versions the writer
has actually written.
Essentially, any draft that hasn't been paid for.
Any draft to be sent to agents, studio execs, production companies, development
people.
Those are writer's drafts.
And they all should be FIRST DRAFTs, no matter how many versions the writer
has actually written.
punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
trail of rubber.
The Camaro takes a left, then a quick right to accelerate into -- A DARK
ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
pulls into the alley, sealing it shut.
punches the accelerator and -- THE BLUE CAMARO leaps forward, leaving a
trail of rubber.
The Camaro takes a left, then a quick right to accelerate into -- A DARK
ALLEY The Camaro quickly reaches a dead end, just as -- THE BLACK CADILLAC
pulls into the alley, sealing it shut.
That's one way to do an action scene.
It's a variation on the Bill Goldman style that's used by many writers.
That's one way to do an action scene.
It's a variation on the Bill Goldman style that's used by many writers.
But other writers just use normal description and standard scene headers
for action scenes, don't they?
But other writers just use normal description and standard scene headers
for action scenes, don't they?
Only when you hear my voice over the phone.
Radio voices and phone calls often are filtered, though it's a convention
that isn't used by everyone anymore.
Only when you hear my voice over the phone.
Radio voices and phone calls often are filtered, though it's a convention
that isn't used by everyone anymore.
Number each and every page, though you can start with page two.
The numbers should appear in the upper right hand corner, about 0.5 inches
down and 0.75 inches from the right page edge.
Those dimensions are not set in stone, but page numbers should always be
placed in the upper right hand corner.
Number each and every page, though you can start with page two.
The numbers should appear in the upper right hand corner, about 0.5 inches
down and 0.75 inches from the right page edge.
Those dimensions are not set in stone, but page numbers should always be
placed in the upper right hand corner.
Oftentimes for narration, for a narrator's voice.
In film noir the protagonists often filled the audience in on their thoughts
or story details.
Documentary films are filled with voice over.
Oftentimes for narration, for a narrator's voice.
In film noir the protagonists often filled the audience in on their thoughts
or story details.
Documentary films are filled with voice over.
I was just demonstrating the way many writers break description into shorter
paragraphs.
I've seen blocks of description covering an entire page.
I was just demonstrating the way many writers break description into shorter
paragraphs.
I've seen blocks of description covering an entire page.
But when you're like me, you have to stick to format.
Is that what you're trying to say?
But when you're like me, you have to stick to format.
Is that what you're trying to say?
By the way, the first time you introduce a speaker in description, you CAP
his name.
And when you break dialogue with description, the standard is to place
"continuing" within parentheses when a speaker chatters on and on.
By the way, the first time you introduce a speaker in description, you CAP
his name.
And when you break dialogue with description, the standard is to place
"continuing" within parentheses when a speaker chatters on and on.
Of course, many writers have dropped "continuing" from their repertoire.
I mean, it's obvious that I'm still speaking, isn't it? And that I never
stopped speaking.
Of course, many writers have dropped "continuing" from their repertoire.
I mean, it's obvious that I'm still speaking, isn't it? And that I never
stopped speaking.
That one I know.
No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
Just scene headers, description and dialogue.
And no scene numbers.
Those are left to shooting scripts.
That one I know.
No CLOSEUPS, no WIDE SHOTS, no shots of any sort.
Just scene headers, description and dialogue.
And no scene numbers.
Those are left to shooting scripts.
Don't worry, I would never let you miss a meal.
Do you know how to make a script sandwich?
Don't worry, I would never let you miss a meal.
Do you know how to make a script sandwich?
You need your script, two sheets of plain manila binding stock, a three
hole punch, and three 1.5 inch brass brads.
No title or name on the binding stock.
When you get it all assembled, you can hammer the brass brads down to make
it good and tight.
Now lets go eat.
You need your script, two sheets of plain manila binding stock, a three
hole punch, and three 1.5 inch brass brads.
No title or name on the binding stock.
When you get it all assembled, you can hammer the brass brads down to make
it good and tight.
Now lets go eat.
projects / lyx.git / blobdiff