Screenwriting : When to use scene transitions? by Nikki April Lee

A new slug is all that's needed in a spec, the scene transition is implied. I have seen specs with CUT TO and FADE TO after scenes, but they are redundant. Will anyone reading your script, fade or cut the scene, as they read it!? Perhaps the only relevant one I can think of for a spec is OVER BLACK and then FADE IN after wards. In a produced script, they are relevant, as the director has blocked shots and knows what transitions are required.

Nikki, try to avoid using transitions like: DISSOLVE TO, or CUT TO, or MATCH CUT, or SMASH CUT. Use only if your scene really needs it for effect. These types of transitions are used more in development, or in the shooting script. We're talking about a spec script here!! So... No acting directions! No camera directions! No directing! Just don't! The current style in screenwriting is incredibly lean, terse, and absolutely no redundancies. In a spec script the only real transitions you need are FADE IN at the beginning and FADE OUT, THE END at the very end. If you are writing well, you won't need them anyway. :) As Eoin said previously, a new slug line is all you need to transition to another scene. Nikki, PLEASE pick up a copy of "THE SCREENWRITER'S BIBLE," by David Trottier. It is an invaluable resource and is also considered to contain current, acceptable, formatting trends. :)

Funny, I saw that book today at Barnes and Noble. Was about to buy it until I saw Screenwriting for Dummies. Couldn't resist. As for the transitions I'm glad to know that we don't have to necessarily use them in spec scripts it just takes away from the pace of the story.

"some believe" It makes you crazy, doesn't it? You read so many things in books and message boards and on line and many of the ideas and beliefs are contradictory. I have spend some time covering scripts - as a producer looking for a project, as a story editor, as a "reader" for agents and studios and prodCo's. The only time I am put off is when a new writers uses transitions or camera moves incorrectly. That jumps out at me. Just as an example; "PAN OUT" - a pan is a side to side camera movement. Not an "in" or "out" movement. so it jars me as I'm reading. In general I prefer a new, unproduced writer to keep it simple. A script will go through many changes along the development process - often at the hands of other writers - so more often than not that transition or camera move or sound effect in uppercase will be changed before the script goes into production. In general that script you are sending out will not be purchased and put into production - it will be used as a writing sample to get you paid jobs. So what I believe is a writer should keep it simple. No transitions, no camera direction, no uppercase to emphasize sounds or props. show off your ability to tell a story and create iconic characters. when you get hired to write you can put in all the transitions and camera moves and emphasis you want.

You can use them if you want to.

Yes, the rumor that you can't use transitions has somehow taken over this town. And, it's completely false. If your script calls for a transition, put it in there. If you need a SMASH CUT TO, you need it. What better way is there to convey a comedic smash cut? Bottom line is, this is a terribly bad rumor that has somehow swept the screenwriting community. Overuse I can see as an issue, but transitions are just fine and dandy.

i do my best to convey the movie as I see it in my minds eye. if i'm able to do that i'm happy. so far i've only written movies I plan to make - i've never written with the intent to sell.

to be honest if the script is good enough I don't think readers or producers will really care that much. I guess if you are an unknown entity in the writing world then probably avoid using them at all unless it is absolutely necessary. I never use camera angles except for CLOSE ON and PULL BACK or something similar and again only if it is completely necessary for the scene to work. I would make sure only ever to use a camera angle or transition once or twice in a feature