There’s not a dime's worth of difference between screenplays and scripts. And if you rely on the internet as your master source, you’re going to get some conflicting views—some accurate but more, not so accurate. The thing about the term “screenplay” is that it is slightly antiquated. It has been around for a long time. But I like the term, and, in my humble opinion, it is slightly more informative—well, that and the fact that I am an old fart and that’s my jam.

Screenplays, or if you like, scripts are the next step in the storytelling developmental process. Industry screenwriters, typically part of a stable of hired guns studios have on their payroll, will start by laying out a likely storyline as bullet points. If the story idea offers potential, then an outline is developed to determine if it has the necessary plot points (Exposition, rising narrative, climax with a meaningful conclusion). From there, a treatment is the next step—a numbered scene-by-scene narrative of what takes place, without dialogue, setting descriptions, or direction.

If the storyline appears to work well, then comes the screenplay—fleshing out, as fully as possible, the initial treatment adding dialogue, modest descriptions for locations, and very modest staging directions (Don’t step on the director’s toes. They really don’t like it!). Never (I know writers hate that word), but never add camera shots, camera angles, or extensive staging directions. Unless you are planning to produce and direct your movie, leave those tools out of your screenplay.

Ah yes, and so this is where screenplays often get confused with shooting scripts. The temptation to add a “Close Up” a “Two Shot” or a “Birdseye Angle” to your screenplay because you see it in your head is problematic. Resist the temptation, because the agent, producer, or director who’s throwing you a bone by reading your stuff, will likely see those misplaced tools as the work of a rookie.

Once the script is in the hands of the director, it is his or her job to turn your screenplay into a shooting script; adding their vision to your story foundation; often working with the director of photography (DP) and a possibly storyboard artist to develop the overall composition of shots, angles, and staging for the talent and location.

All that being said, the first draft of anything you write is always your baby. You write what you hear and see from your mind's eye, bending and twisting your story and your characters into whatever knots suit your diegetic (god-like) will desires. Because it is your universe (Bwa-ha-ha-hah). But, in the final draft, when dealing with seasoned agents, producers, and directors, be a seasoned professional. Always.

Biography

Kevin McDonald (BFA, MFA) like most young struggling artists, I started as a jack of all trades—custodian, set designer, electrician’s assistant (until I melted my screwdriver), roofer, video producer, and counselor to troubled teens, et al. All that fodder became grist for the writer’s mill (especially marriage and being a father—good stuff). For many years I worked on stage, television, and television movies. Now, I freelance as a writing coach. Email me if you have questions: storycoach_mcd(at)yahoo.com.

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