{"id":23,"date":"2025-07-08T22:19:46","date_gmt":"2025-07-08T22:19:46","guid":{"rendered":"https:\/\/pressbooks.palomar.edu\/candacerose\/chapter\/table-of-contents\/"},"modified":"2025-08-05T21:07:07","modified_gmt":"2025-08-05T21:07:07","slug":"table-of-contents","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palomar.edu\/candacerose\/chapter\/table-of-contents\/","title":{"raw":"Table of Contents","rendered":"Table of Contents"},"content":{"raw":"
\r\n

Table of Contents<\/strong><\/a>1<\/strong><\/p>\r\n

The Left Brain vs the Right Brain<\/strong><\/a>7<\/strong><\/p>\r\n

What is a Screenplay for?<\/strong><\/a>8<\/strong><\/p>\r\n

Chapter 1: Where Do You Find a Good Story?<\/strong><\/a>9<\/strong><\/p>\r\n

Tips for writing a Short Screenplay<\/a>10<\/p>\r\n

ADAPTING A NEWS HEADLINE FOR A SCREENPLAY<\/a>11<\/p>\r\n

Worksheet<\/a>12<\/p>\r\n

Chapter 2: The Premise<\/strong><\/a>13<\/strong><\/p>\r\n

Chapter 3: Screenplay Structure<\/strong><\/a>15<\/strong><\/p>\r\n

The Three-Act Structure<\/a>15<\/p>\r\n

Act One<\/a>16<\/p>\r\n

The Set-Up<\/a>16<\/p>\r\n

The Central Question<\/a>16<\/p>\r\n

The Catalyst\/Inciting Incident<\/a>16<\/p>\r\n

The First Turning Plot Point<\/a>16<\/p>\r\n

Act Two<\/a>17<\/p>\r\n

The Midpoint<\/a>17<\/p>\r\n

The Second Turning Point<\/a>17<\/p>\r\n

Act Three<\/a>17<\/p>\r\n

The Climax<\/a>17<\/p>\r\n

The Conclusion<\/a>17<\/p>\r\n

Theme<\/a>17<\/p>\r\n

THE PARADIGM 3-ACT STRUCTURE<\/a>18<\/p>\r\n

Chapter 4: Scene Cards<\/strong><\/a>21<\/strong><\/p>\r\n

Creating Your Cards<\/a>21<\/p>\r\n

Laying Out Your Cards<\/a>23<\/p>\r\n

Chapter 5: Subplots<\/strong><\/a>25<\/strong><\/p>\r\n

Chapter 6: Treatment Outline<\/strong><\/a>26<\/strong><\/p>\r\n

Chapter 7: Manipulating Time<\/strong><\/a>28<\/strong><\/p>\r\n

Narrative devices to manipulate time:<\/a>28<\/p>\r\n

Flashback<\/a>28<\/p>\r\n

Flashforward<\/a>28<\/p>\r\n

Set-Up\/Payoff<\/a>29<\/p>\r\n

Montage<\/a>29<\/p>\r\n

Series of Shots<\/a>29<\/p>\r\n

Chapter 8: Conflict, Obstacles and Rising Stakes<\/strong><\/a>30<\/strong><\/p>\r\n

Push the Limits Writing Exercise<\/a>30<\/p>\r\n

Up the Stakes Writing Exercise<\/a>31<\/p>\r\n

Chapter 9: Climax and Resolution<\/strong><\/a>32<\/strong><\/p>\r\n

Chapter 10: Openings and Endings<\/strong><\/a>33<\/strong><\/p>\r\n

Chapter 11: Creating Characters<\/strong><\/a>35<\/strong><\/p>\r\n

Roll the Dice Character Game<\/a>36<\/p>\r\n

Creating Characters and Visualization Boards<\/a>37<\/p>\r\n

Chapter 12: Dialogue<\/strong><\/a>38<\/strong><\/p>\r\n

Dialogue Tips<\/a>38<\/p>\r\n

Listen<\/a>38<\/p>\r\n

Don\u2019t start writing it too soon<\/a>39<\/p>\r\n

Is it needed?<\/a>39<\/p>\r\n

Keep it short<\/a>39<\/p>\r\n

Make each voice unique<\/a>39<\/p>\r\n

Don\u2019t tell us what we already know<\/a>39<\/p>\r\n

Avoid hitting it \u201con the nose\u201d<\/a>40<\/p>\r\n

Speak it outloud<\/a>40<\/p>\r\n

DIALOGUE WRITING EXERCISE<\/a>41<\/p>\r\n

Chapter 13: Writing your first draft<\/strong><\/a>42<\/strong><\/p>\r\n

Tips for building your scenes<\/a>42<\/p>\r\n

Structure<\/a>42<\/p>\r\n

Setups and payoffs<\/a>43<\/p>\r\n

Exposition<\/a>43<\/p>\r\n

Avoid the character\u2019s thoughts<\/a>43<\/p>\r\n

Make it visual<\/a>44<\/p>\r\n

Button a scene<\/a>44<\/p>\r\n

Chapter 14: Formatting<\/strong><\/a>45<\/strong><\/p>\r\n

Screenwriting Software<\/a>45<\/p>\r\n

Script length<\/a>45<\/p>\r\n

Editing and Camera Directions<\/a>46<\/p>\r\n

Avoid \u201cWe see\u201d or \u201cWe hear\u201d<\/a>46<\/p>\r\n

Scene Descriptions Length<\/a>46<\/p>\r\n

FADE IN<\/a>46<\/p>\r\n

Scene Headings (Slug Lines)<\/a>46<\/p>\r\n

MONTAGE and SERIES OF SHOTS<\/a>47<\/p>\r\n

FLASHBACKS and DREAM SEQUENCES<\/a>48<\/p>\r\n

Character First Appearances<\/a>48<\/p>\r\n

Sounds<\/a>49<\/p>\r\n

SUPERS<\/a>49<\/p>\r\n

Parentheticals<\/a>49<\/p>\r\n

Off Screen (O.S.) and Voice Overs (V.O.)<\/a>49<\/p>\r\n

Telephone Conversations<\/a>49<\/p>\r\n

Emails and Text Messages<\/a>50<\/p>\r\n

Foreign Languages or Deaf Dialogue<\/a>51<\/p>\r\n

Character Sounds<\/a>51<\/p>\r\n

FADE OUT<\/a>51<\/p>\r\n

Chapter 15: Rewriting<\/strong><\/a>52<\/strong><\/p>\r\n

Tips for making the most of your rewrite<\/a>52<\/p>\r\n

Proof it<\/a>52<\/p>\r\n

Learn how to give and receive feedback<\/a>53<\/p>\r\n

Here\u2019s a helpful guide on feedback etiquette.<\/a>53<\/p>\r\n

How to give feedback<\/a>53<\/p>\r\n

How to receive feedback<\/a>53<\/p>\r\n

Chapter 16: What\u2019s next?<\/strong><\/a>54<\/strong><\/p>\r\n

Tips and resources to get your script made<\/a>54<\/p>\r\n

Table Read<\/a>54<\/p>\r\n

Organizations for screenwriters<\/a>55<\/p>\r\n

Copyright<\/a>55<\/p>\r\n

Contests, Festivals and Fellowships<\/a>55<\/p>\r\n

College courses<\/a>55<\/p>\r\n

Hone your craft<\/a>56<\/p>\r\n

For Instructors<\/a>56<\/p>\r\n

Chapter 17: Sample Course Syllabus and Schedule<\/strong><\/a>57<\/strong><\/p>\r\n

<\/p>\r\n\r\n<\/div>","rendered":"

\n

Table of Contents<\/strong><\/a>1<\/strong><\/p>\n

The Left Brain vs the Right Brain<\/strong><\/a>7<\/strong><\/p>\n

What is a Screenplay for?<\/strong><\/a>8<\/strong><\/p>\n

Chapter 1: Where Do You Find a Good Story?<\/strong><\/a>9<\/strong><\/p>\n

Tips for writing a Short Screenplay<\/a>10<\/p>\n

ADAPTING A NEWS HEADLINE FOR A SCREENPLAY<\/a>11<\/p>\n

Worksheet<\/a>12<\/p>\n

Chapter 2: The Premise<\/strong><\/a>13<\/strong><\/p>\n

Chapter 3: Screenplay Structure<\/strong><\/a>15<\/strong><\/p>\n

The Three-Act Structure<\/a>15<\/p>\n

Act One<\/a>16<\/p>\n

The Set-Up<\/a>16<\/p>\n

The Central Question<\/a>16<\/p>\n

The Catalyst\/Inciting Incident<\/a>16<\/p>\n

The First Turning Plot Point<\/a>16<\/p>\n

Act Two<\/a>17<\/p>\n

The Midpoint<\/a>17<\/p>\n

The Second Turning Point<\/a>17<\/p>\n

Act Three<\/a>17<\/p>\n

The Climax<\/a>17<\/p>\n

The Conclusion<\/a>17<\/p>\n

Theme<\/a>17<\/p>\n

THE PARADIGM 3-ACT STRUCTURE<\/a>18<\/p>\n

Chapter 4: Scene Cards<\/strong><\/a>21<\/strong><\/p>\n

Creating Your Cards<\/a>21<\/p>\n

Laying Out Your Cards<\/a>23<\/p>\n

Chapter 5: Subplots<\/strong><\/a>25<\/strong><\/p>\n

Chapter 6: Treatment Outline<\/strong><\/a>26<\/strong><\/p>\n

Chapter 7: Manipulating Time<\/strong><\/a>28<\/strong><\/p>\n

Narrative devices to manipulate time:<\/a>28<\/p>\n

Flashback<\/a>28<\/p>\n

Flashforward<\/a>28<\/p>\n

Set-Up\/Payoff<\/a>29<\/p>\n

Montage<\/a>29<\/p>\n

Series of Shots<\/a>29<\/p>\n

Chapter 8: Conflict, Obstacles and Rising Stakes<\/strong><\/a>30<\/strong><\/p>\n

Push the Limits Writing Exercise<\/a>30<\/p>\n

Up the Stakes Writing Exercise<\/a>31<\/p>\n

Chapter 9: Climax and Resolution<\/strong><\/a>32<\/strong><\/p>\n

Chapter 10: Openings and Endings<\/strong><\/a>33<\/strong><\/p>\n

Chapter 11: Creating Characters<\/strong><\/a>35<\/strong><\/p>\n

Roll the Dice Character Game<\/a>36<\/p>\n

Creating Characters and Visualization Boards<\/a>37<\/p>\n

Chapter 12: Dialogue<\/strong><\/a>38<\/strong><\/p>\n

Dialogue Tips<\/a>38<\/p>\n

Listen<\/a>38<\/p>\n

Don\u2019t start writing it too soon<\/a>39<\/p>\n

Is it needed?<\/a>39<\/p>\n

Keep it short<\/a>39<\/p>\n

Make each voice unique<\/a>39<\/p>\n

Don\u2019t tell us what we already know<\/a>39<\/p>\n

Avoid hitting it \u201con the nose\u201d<\/a>40<\/p>\n

Speak it outloud<\/a>40<\/p>\n

DIALOGUE WRITING EXERCISE<\/a>41<\/p>\n

Chapter 13: Writing your first draft<\/strong><\/a>42<\/strong><\/p>\n

Tips for building your scenes<\/a>42<\/p>\n

Structure<\/a>42<\/p>\n

Setups and payoffs<\/a>43<\/p>\n

Exposition<\/a>43<\/p>\n

Avoid the character\u2019s thoughts<\/a>43<\/p>\n

Make it visual<\/a>44<\/p>\n

Button a scene<\/a>44<\/p>\n

Chapter 14: Formatting<\/strong><\/a>45<\/strong><\/p>\n

Screenwriting Software<\/a>45<\/p>\n

Script length<\/a>45<\/p>\n

Editing and Camera Directions<\/a>46<\/p>\n

Avoid \u201cWe see\u201d or \u201cWe hear\u201d<\/a>46<\/p>\n

Scene Descriptions Length<\/a>46<\/p>\n

FADE IN<\/a>46<\/p>\n

Scene Headings (Slug Lines)<\/a>46<\/p>\n

MONTAGE and SERIES OF SHOTS<\/a>47<\/p>\n

FLASHBACKS and DREAM SEQUENCES<\/a>48<\/p>\n

Character First Appearances<\/a>48<\/p>\n

Sounds<\/a>49<\/p>\n

SUPERS<\/a>49<\/p>\n

Parentheticals<\/a>49<\/p>\n

Off Screen (O.S.) and Voice Overs (V.O.)<\/a>49<\/p>\n

Telephone Conversations<\/a>49<\/p>\n

Emails and Text Messages<\/a>50<\/p>\n

Foreign Languages or Deaf Dialogue<\/a>51<\/p>\n

Character Sounds<\/a>51<\/p>\n

FADE OUT<\/a>51<\/p>\n

Chapter 15: Rewriting<\/strong><\/a>52<\/strong><\/p>\n

Tips for making the most of your rewrite<\/a>52<\/p>\n

Proof it<\/a>52<\/p>\n

Learn how to give and receive feedback<\/a>53<\/p>\n

Here\u2019s a helpful guide on feedback etiquette.<\/a>53<\/p>\n

How to give feedback<\/a>53<\/p>\n

How to receive feedback<\/a>53<\/p>\n

Chapter 16: What\u2019s next?<\/strong><\/a>54<\/strong><\/p>\n

Tips and resources to get your script made<\/a>54<\/p>\n

Table Read<\/a>54<\/p>\n

Organizations for screenwriters<\/a>55<\/p>\n

Copyright<\/a>55<\/p>\n

Contests, Festivals and Fellowships<\/a>55<\/p>\n

College courses<\/a>55<\/p>\n

Hone your craft<\/a>56<\/p>\n

For Instructors<\/a>56<\/p>\n

Chapter 17: Sample Course Syllabus and Schedule<\/strong><\/a>57<\/strong><\/p>\n

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