Updates
The Screenwriter's Bible

All updates to the 3rd edition now appear in the new 4th edition of The Screenwriter's Bible.

Title page basics

In the "Bible," I show the contact information on the lower right corner of the title page; however, it may appear on either the lower left corner or lower right corner. It's your choice. In the opposite lower corner, display your copyright notice only if you registered your copyright with the Copyright Office. There is no requirement to display your Writer's Guild registration information.

Here's more information about line spacing

Line spacing has become a critical issue in recent years. Most software programs give you 53-56 lines per page. If you are not getting 54-55 lines per page, and you want more lines per page, then try to adjust your software so that you do.

If you are using Microsoft Word or Dr. Format Screenwriting Software, you will get about 48 lines per page, and that looks great on the printed page. However, to get a few more lines on each page, you can adjust your line spacing (the space between each line of type) so that your page holds more. Here is how to do that.

Click on "Format," then "Paragraph." Under "Line spacing," select "Multiple," and then delete the "3" you'll see and type in a number. Since 1 is default, then .9 will be 90% of default; that will reduce the line spacing by 10% and result in about 54 lines per page.

CAUTION: Do not go over 55 lines per page. The page will look too cramped and will be difficult to read. In addition, readers may think you are cheating.

The following replaces the section on page 203, beginning with the third paragraph and ending just before the five bullets on page 204.

Let's try to improve on the original without sacrificing much in terms of the "feel" that the original writer wanted to communicate.

EXT. FLORIDA - DAY

From the Atlantic shore, the lush countryside extends for miles westward. Below, a black two-lane highway meanders through the spring growth. A blue van scoots down the highway.

EXT./INT. VAN - DAY

The blue van rumbles along.

Inside, two twenty-something parents, RALPH and SALLY shout at each other, although their words cannot be heard.

Ralph shoots an angry look to the back where LISA, age 6, leans away from him and stares out the window at the beautiful trees and shrubs whizzing by.

The child's eyes are sad. She sits motionless, trapped. One little hand presses against the window.

The parents are silent now -- gathering steam before their next eruption.

In the revision, I have suggested almost everything the original writer wanted, but my focus is on the story and the characters, not on fancy-dancy ways to tell the story. The second scene heading places the camera both outside (EXT.) and inside (INT.) the van, at the director's discretion. That way, I can avoid using a lot of scene headings.

In addition, I imply a POV shot of the child staring at the trees and shrubs. If desired, I could even describe the reflection of trees on the window glass (without using technical terms).

I also direct the camera (without using a camera direction) to a CLOSE UP of the child at the window. (The "sad eyes" imply a CLOSE UP.) And I do it for a story reason. I want the reader to know that the child is the most important character in the scene, and that maybe she is the central character or protagonist; and I want the reader (and the movie audience) to emotionally identify with the child's situation.

I end the scene with a promise of things to come. I am trying to create some interest in what happens next while revealing the emotions of the parents.

In summary, my advice is to focus on story and character; and, while you are at it, use clear, specific language.

The one-sheet

For an explanation of the one-sheet sometimes requested by agents and producers after a pitch, visit http://www.keepwriting.com/tsc/one_sheet.htm.