Movie Script Template

The availability of a movie script template has made movie script writing easier by providing preset formatting. Templates, by virtue of being a pre-developed mold or cast where the writer has only to fit in the story, have increased in popularity. Their popularity is not surprising when one considers the following:

* There has been a boom in the entertainment industry in the recent past.

* The demand for movie scripts has escalated tremendously, pressuring writers to churn out scripts in greater numbers.

* Writers are hard pressed for time and resort to templates to assist them in some of the monotonous and repetitious tasks.

* There is a movie script template to suit each screenwriter's needs and genre.

* Screenplay writers today have easy access to templates of their choice on the Internet that can be downloaded and used free of charge.

The stencil or ready-made pattern in electronic media has taken away some of the burden of script writing, leaving writers to concentrate more on the creative aspects of their stories. A writer need not look too far for a suitable movie script template. There are plenty of websites that offer templates that have unique, built-in features. Some of the templates are free, but some websites charge to download their template. A movie script template has its own word processor, which speed up the writing process. Other attractive features that may be present in the template include the following:

* Ability to convert the script into its PDF version

* Automatic formatting and layout

* Having the script read back to the writer

* Report of all the dialogue spoken by a single character or a list of scenes

* Automatic virus scanning facility

* Comprehensive menus, easy navigation, and ease of use

* Simple printing ability

A movie script template is a useful tool for amateur writers who are not familiar with the strict formatting guidelines that Hollywood and film producers demand. Even those who have been writing screenplays for years and are very familiar with the format can benefit from its pre-formatted structure. The template will at least make your script look professional and aesthetically appealing. From there, it is up to you to write a solid script, with interesting characters and intriguing conflict. Don't reinvent the wheel and waste time on the tedious task of formatting margins and tabs. Taking care of all the key elements, a template is a viable formula for formatting and refining your script quickly and easily.

Sample Movie Script

A sample movie script is a specific movie script that a screenwriter for hire can share with potential clients in order to showcase their screenwriting abilities. With samples, screenplay writers should be able to exhibit their writing expertise. Many people claim to be movie script writers, but few have professional samples they can share to back up such claims. A well written sample can attract film makers who want to hire a ghostwriter.

When preparing a sample movie script, the writer must understand the purpose it serves. If the writer has created good screenplays and has a sample of his or her past work, then there will be more opportunities because clients prefer to hire a proven screenwriter. Samples of an author's work are vital because they illustrate the person's writing ability and provide a finished work for potential clients to read.

It is noteworthy to differentiate between a sample movie script and an example movie script. As was previously stated, a sample is an example of the writer's work. An example script, however, is used for screenwriters as a learning tool. That is, by reading other people's scripts, writers can learn to write their own script. The main difference, therefore, lies in the reason for which it is read. A writer is free to refer to as many examples of film scripts before actually getting down to penning their own script. By reading examples, the writer begins to learn what the writer did well and what could have been improved. With time, the writer will learn how to create a unique style and write a desirable sample movie script.

Tens of thousands of film scripts are written each year and most fail to generate any interest by film makers. This is mostly because the majority of scripts fail to follow the necessary structure or contain weak and melodramatic characters. Screenwriters should take great care to formulate a perfect sample movie script to display their inherent skill in composing bid winning masterpieces.

Creating a sample is an apt way to market the writer's ability to write within their chosen genre. It serves as an extension to their resume. Savvy screenwriters have several samples in different genres and they can share the appropriate based on which is most relevant to the potential client's movie idea. Whenever you hire a film script writer, make sure to read one of their sample scripts to assess their writing skills.

Novel to Screenplay: The Challenges of Adaptation

ADAPTATION 101

Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"

The answer is: "The same way you transport six elephants in a Hyundai... three in the front seat and three in the back!"

Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?

In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.

CHALLENGE NUMBER ONE - LENGTH

Screenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?

And the answer to this question is no joke. "You can't! Don't even try!"

Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.

By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question.

"Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"

The same needs to be done for the major sub-plot.

"Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"

One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.

In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.

CHALLENGE NUMBER TWO - VOICE

Many novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.

The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.

CHALLENGE NUMBER THREE - "LONG-THINKING"

Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease.

"Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"

If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.

When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.

CHALLENGE NUMBER FOUR - WHAT STORY?

Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.

Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.

Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.html

Lynne Pembroke and Jim Kalergis

Coverscript.com

URL: http://www.coverscript.com

Novel to Screenplay: The Challenges of Adaptation   

Novel to Screenplay: The Challenges of Adaptation

ADAPTATION 101

Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"

The answer is: "The same way you transport six elephants in a Hyundai... three in the front seat and three in the back!"

Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?

In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.

CHALLENGE NUMBER ONE - LENGTH

Screenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?

And the answer to this question is no joke. "You can't! Don't even try!"

Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.

By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question.

"Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"

The same needs to be done for the major sub-plot.

"Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"

One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.

In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.

CHALLENGE NUMBER TWO - VOICE

Many novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.

The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.

CHALLENGE NUMBER THREE - "LONG-THINKING"

Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease.

"Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"

If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.

When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.

CHALLENGE NUMBER FOUR - WHAT STORY?

Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.

Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.

Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.html

Lynne Pembroke and Jim Kalergis

Coverscript.com

URL: http://www.coverscript.com

Novel to Screenplay: The Challenges of Adaptation   

Novel to Screenplay: The Challenges of Adaptation

ADAPTATION 101

Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"

The answer is: "The same way you transport six elephants in a Hyundai... three in the front seat and three in the back!"

Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?

In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.

CHALLENGE NUMBER ONE - LENGTH

Screenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?

And the answer to this question is no joke. "You can't! Don't even try!"

Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.

By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question.

"Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"

The same needs to be done for the major sub-plot.

"Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"

One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.

In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.

CHALLENGE NUMBER TWO - VOICE

Many novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.

The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.

CHALLENGE NUMBER THREE - "LONG-THINKING"

Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease.

"Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"

If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.

When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.

CHALLENGE NUMBER FOUR - WHAT STORY?

Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.

Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.

Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.html

Lynne Pembroke and Jim Kalergis

Coverscript.com

URL: http://www.coverscript.com

Novel to Screenplay: The Challenges of Adaptation   

Novel to Screenplay: The Challenges of Adaptation

ADAPTATION 101

Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"

The answer is: "The same way you transport six elephants in a Hyundai... three in the front seat and three in the back!"

Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?

In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.

CHALLENGE NUMBER ONE - LENGTH

Screenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?

And the answer to this question is no joke. "You can't! Don't even try!"

Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.

By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question.

"Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"

The same needs to be done for the major sub-plot.

"Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"

One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.

In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.

CHALLENGE NUMBER TWO - VOICE

Many novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.

The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.

CHALLENGE NUMBER THREE - "LONG-THINKING"

Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease.

"Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"

If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.

When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.

CHALLENGE NUMBER FOUR - WHAT STORY?

Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.

Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.

Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.html

Lynne Pembroke and Jim Kalergis

Coverscript.com

URL: http://www.coverscript.com

Novel to Screenplay: The Challenges of Adaptation