Screenwriting : Scene Headings by Claude Gagne

Not sure I follow, but here's how I do it, format-wise, and I've never had any complaints about it from industry pros.

INT./EXT. OFFICE BUILDING - NIGHT

OUTSIDE FRONT ENTRANCE

Marcel Koch and Olivia Palmer walk toward the revolving doors leading inside the skyscraper where Brody works.

LOBBY

Koch and Olivia Palmer approach the reception desk, where the guard on duty is Mal Endicott.

thank you, excellent clarification!

I agree with Dan G.

I agree with Dan G. as well. In fact, "The Screenwriter's Bible" by David Trottier indicates doing it precisely that way under "Secondary Scene Headings" and uses a scene from "Casablanca" as an example.

Thanks everyone for the clarification. I guess I'm going to need to cut my screenplay down a bit. Every scene heading, whether master or secondary have a two line space increasing the length of the screenplay.

Can you clarify my situation concerning my comedy script? I have two porters standing and talking under an hotel portico waiting for clients (vehicles) to pull up to the curb. I have EXT. FOUR SEASONS HOTEL - DAY. The two porters are talking when a vehicle pulls up. Would you use a secondary heading AT THE CURB? The cameras are set up for the portico and all the cameras have to do is swing around to the vehicle to do the filming, or, should I use the secondary heading?

It's not like the cameras need to be set up AT THE TABLE, AT THE BAR, AT THE BATHROOM, AT THE EXIT, and so on.

Also, would INSERT, BACK TO SCENE, MONTAGE, SERIES OF SHOTS, END OF MONTAGE, ETC... be secondary scene headings?

Thanks CG

No Dan, you didn't. All I want to know if you would use scene headings for INSERT, BACK TO SCENE, MONTAGE, SERIES OF SHOTS, END OF MONTAGE, END SERIES OF SHOTS, etc....

The first question is whether you would use a secondary slugline for AT THE CURB, if the camera is in the location of the portico. Picture the two porters talking and a car pulls up at the curb. They're under the portico and need to walk a few steps to reach the car. Would you disregard AT THE CURB because it's a few steps away, but a whole new performance at the car. All the cameras would need to do is rotate to visualize the car. Do you get what I mean? The car and passengers are within talking distance from under the portico. Thanks for helping me out on secondary headings.

I wrote one scene that happened in a very large night club with very few rooms: INT. LARGE NIGHTCLUB - NIGHT. Then several sub headings when characters moved between different areas within the club: BAR, TABLE, DANCE FLOOR, EXIT. This way you know that all the action is happening in the same location, same day, just different corners of the same room.

Throw screenwriting book in the trash and read produced scripts of your genre. Read 1000 pro scripts. Study, mimic and steal from produced writers off the pages.

All this sub-heading stuff is over directing. write a script in simple sentences & master scenes. Let the director figure out how to shoot the scene.

DanG, I know what you are saying but if a director can't "see" the movie from the script, the screenwriter failed or find another director. I'm reading contemporary writers and their scripts have very little descriptions or dialogue break. lots of white space. Simple format, especially now with writing software like Final Draft that does the page margins for you.

Keep it simple and easy to interpret for actors, director, cinematographers, crew. Folks will figure the camera shots on location scouts and rehearsals.

If you have an individual who has/will not do a script analysis, lined the script, developed a shot list/shot log, worked with a story board and set up the basic scene blocking before unpacking the camera - then you do not have a Director.

A Writer is not a Director. You do your job, let him/her do his/hers.

Thanks everyone ... Now I can go through my screenplay (NOW WHAT?) with confidence in pleasing the reader. If all of the information handed out on my question is relevant to today's format (one never knows anymore), I should be close to have it well formatted. Dan G -- I was afraid in using transitions and if you say it's good, then I'll use the one you mentioned, BACK TO SCENE. Anymore transitions that are okay for a screenwriter to use? I don't want to be close to having a shooting script.

I feel compelled to chime in again because in my opinion some of the responses got overly complicated. Claude, It seems like you intuitively get it, but you're question yourself. You're right, if all of the action takes place in one location and the camera just turns or moves around to get coverage, you do not need secondary scene headings, as it is just one location. The action lines direct the reader visually in their mind's eye around the location, so sub headings are overdoing it. When the location has changed, meaning everyone moves and all of the equipment is picked up and brought to another location, including from one room to another, a new Scene Heading results from that move. A Secondary Scene Heading is a nice little piece of shorthand a writer can take advantage of when moving around from room to room, or specific place within an interior location, to keep the reader aware of where he/she is, without having to repeatedly spell out that they're in the same building.

Again thanks everyone for your comments and the time spent to steer me on the right course. I feel rejuvenated to rewrite all my screenplays and resubmit them with a bit more work on the formatting part. The story might be no hell, but at least people reading them won't be lost in its translation. It's like everything else in life, whereby a person needs to practice their walk at the start of their life to creating master pieces of art. You don't get any better by leaving it to chance. Happy writing to all and good luck in 2018.

Spot on Laura and Dan G! That's a big reason why I liked the way you (Dan) broke down the correct usage of shots and transitions vs. scene headings. I use MM Scheduling and have had to do a fair amount of work going back through the breakdown fixing what could have been imported correctly and automatically. A final thought Claude, while you want to ensure that formatting is correct, don't lose focus on the elements of story. That is ultimately important. It's been said that people will excuse a few formatting errors and typos if it's a great story.