The Title Page.                                                                                                                    

Less is more!  All you need is your title and your name.  If you don't have an agent, then do include your contact information in the lower LEFT hand corner.  Place "WGAw" flush right on the same line as "CONTACT:", which should be just above your contact information.  I ALWAYS place a copyright notice at the very bottom.  See my page on COPYRIGHT for reasons why this is important.  If you are submitting to a contest and they forbid any contact info on the title page, then you should omit your name from the copyright notice.

Do not place your WGA registration nr., draft number (unless this is a work for hire in such case you would want to put draft number and date), or other such superfluous information on your title page.  It smacks of amature.  For all intensive purposes, when you send that spec screenplay out to production companies or agents, it is the first draft.  It doesn't matter how many times you may have rewritten the thing! 

SEE A SAMPLE HERE.

Card Stock Covers.

I use card-stock covers that I purchase from FEDEXKINKOS or OFFICE DEPOT.  I prefer WHITE, but any light, muted tone will also suffice as long as it's not too bright or too dark.  I buy them by the ream, with letterhead paper to match. It's much cheaper this way.  The cardstock cover should be a minimum of 80#.  Please, do not use those hard, slick covers or college paper covers.  That's not how we do it.

YOUR COVER SHOULD BE BLANK.  NO ARTWORK.  NO WRITING. NO SCRIPT TITLE.  NOTHING.

Length... and other Basic Stuff.

Standard length for a feature-length screenplay falls between 100-130 pages, with the preferred length around 110 pages.  A script that is too light or too heavy will make a negative impression before it's even cracked.  Unless you're Steven Spielberg or James Cameron, try to stay within these parameters.  However, length does have some exceptions, relating to genre.  Comedies and horror generally run between 85 - 105 pages.  No less, and usually not much more than that unless it's cross-genre.

Courier (12-point, 10-pitch, non-proportional) is the industry standard font.  Courier, Courier New, and Courier Old are all acceptable.  Make sure it's set at 12 points.  Do not deviate from this!  It may look pretty written in italics, but it's one sure way to get it tossed in the trash or, if you're lucky, in that SASE you included with your submission. 

Some Tricks of the Trade.

• SOUND EFFECTS... Sound effects are written in ALL CAPS but sometimes there's confusion between what constitutes a sound effect and what constitutes dialog. For instance: Does Shelly scream or SCREAM? Does the dog bark or BARK? One simple way to remember the answer is to ask yourself if the source of the sound is ON-SCREEN.  If Shelly is on-screen when she screams, then it would not be capitalized. If she SCREAMS from another room, then it would be capitalized. If the dog is on-screen when it barks, then you wouldn't capitalize it. However, if the dog BARKS outside, then you would. Get it?

• O.S. - V.O. - O.C. ... These terms sometimes confuse the writer. O.S stands for off-screen or out-of shot and is used in FEATURE FILM writing when the speaking character is talking but from another room or area of the set that's not seen in the current shot. V.O. stands for voice-over. Characters in the scene usually can't hear the dialog because it's said mainly for the audience's benefit. It's often used when someone is reflecting (to us) about the past, or when a character is reading a letter (we may hear whoever wrote the letter reading it to us aloud). O.C. stands for off-camera and is used in the same circumstance as O.S. except only for television.

• PHONE CONVERSATIONS... These can be a real pain.  When you cut back and forth between two locations with scene headings,  the flow of the story is interrupted. One great way to get around this is to set up the first scene and when you cut to the second location, you'll set this up too. As soon as you've written your brief descript of the location, you'll want to add (INTERCUT PHONE SEQUENCE). Then carry on the conversation as you normally would if both characters were talking face to face. When the conversation is over, the character that's in the scene will dictate which location finishes out the scene. Get it?

• TRAVELING SHOTS WITH CARS AND DIALOG... Use INT/EXT in your scene heading. For instance your scene heading may look like this: INT/EXT  CAR/ROAD - DAY  then write your description including outside happenings and inside dialog.

• FOREIGN LANGUAGES... when you're using a foreign language, simply add just prior to the dialog under the CHARACTER NAME: (ITALIAN, subtitled). 

• WHEN A CHARACTER SINGS A SONG... Under the character name in dialog you'll want to "direct" the actor by adding in the parenthetical (Sings). Then when you place the song lyrics in the dialog, USE ALL CAPS and break the lines, if possible, where they break in the lyrics.

• MONTAGE OF SHOTS... these scenes are very brief, usually do not include any dialog, and usually center around a common theme. For instance, your characters may be spending their time shopping at the mall. You want to show them with each other purchasing various items at a couple different stores but you don't want to set up each experience as an entirely different scene. Here's a basic example:

BEGIN SHOPPING MALL MONTAGE.

INT. DEPARTMENT STORE COSMETIC COUNTER.

A professional applies Shelly's makeup. Her mother's next.

FINE DRESS SHOP.

Pearl waits for Shelly outside the dressing room. Shelly appears in a gorgeous Chanel gown. 

MALL CORRIDOR.

Pearl and Shelly hurry toward the jewelry shop. They struggle with bags bursting with purchases, all laughs.

Then continue with your next full scene heading.

DO'S AND DONT'S.

• DON'T write the name of your script on its spine.
• DON'T use screw in fasteners to bind your script.
• DON'T place your WGA registration number on your script.
• DON'T put artwork on your cardstock cover.
• DON'T make producers or agents sign for your material.
• DON'T send screenplays, treatments, or pitches unsolicited.
• DON'T use caps in narrative unless you are using a sound effect, a shot tag, or introducing a SPEAKING character for the first time.
• DON'T use caps in dialog unless it's singing.  If you must emphasize for clarity, underline it.
• DON'T micromanage the actors by overusing parentheticals.
• DON'T include too much detail in the set.  The only detail should be that of theme and feel, or a necessary element of the plot.
• DON'T number your scenes.  Write in master scenes only (unless your hired to do a rewrite and the script is locked).
• DON'T print your script on an inkjet printer.  The text will run if it gets wet (like with the producer's coffee).
• ----------------------------------------------------------------------------------------------------------------------------------------------
• DO place a copyright notice on the bottom of your title page.
• DO register all pitches, synopsis, treatments and screenplays (all drafts) with the WGAw.
• DO register your copyright of all scripts, treatments, and pitches.
• DO keep a submission log of all contacts in receipt of your screenplay, pitch, treatment or synopsis.  Note its disposition as well.
• DO hire a consultant if you are new to screenwriting.  It will shorten your learning curve considerably and save you a lot of time.
• DO invest in a screenwriting program if you are serious about the craft.  Again, it will save you time and money in the long run.
• DO get any proposed deal in writing... always.
• DO cultivate your own contacts and leads.  You must be your own biggest agent.
• DO surround yourself with a support group that simply cares, then surround yourself with a support group that actually cares about the quality of your writing.
• DO research each project.  You'll write better.
• DO read scripts.  Good ones and bad ones.
• DO use a laser printer or copier to print your scripts.