next page if it won’t fit. You’ll notice that most scripts have each character typed in caps the
first time that they appear. Most scripts also have camera directions and sound effects typed
in caps. A few have props typed in caps. Sounds that the actor makes (like sneezes, snorts,
etc.) are best placed in with the dialogue so that they’re not missed during recording. You
do not have to type CUT or CUT TO after each scene. If you write no specific instructions
for scene transitions (like DISSOLVE TO), then we assume that it’s a cut. Traditionally,
scripts are started with FADE IN (flush left) and end with FADE OUT (either flush left or
at the far right tab setting). Many scripts today skip those obvious directions.
The camera directions following are written in the traditional daytime animation script
format:
CLOSE SHOT ON JADE
Jade smiles.
WIDER—TO INCLUDE JACKIE AND THE SHADOWKHAN
As Jackie does a flying kick into the Shadowkhan, Jade flips out of the way as a chair comes
hurling into the shot.
See how each camera direction is typed in caps on a separate line with spaces before
and after? This is the traditional animation script format. I would suggest that you use this
format for your own sample script because it’s more widely accepted. Now look at the
sample script at the end of the chapter. Rather than typing the shots separately and skip-
ping a line for the action, these scripts are written with shot and action on the same line.
Some scripts today are written like this. It reads better. It’s less standard.
Break up your dialogue with action. A standard animated script has no more than three
blocks of dialogue at once. An average of two or three lines of dialogue per block is about
normal. But each show is different. When you can, model your script format on a script for
the specific show you have in mind.
The First Draft
You’ll want to write your first draft or version straight through. Think about length as you
write, estimating page count by the ratio of script to outline. It’s better to write a little too
long and cut to tighten than not to write enough. Save the script editing until the end.
The first page has to hook your audience! Even descriptions should be interesting. The
first scene must be strong, funny, or high action—never exposition.
Every scene should have a grabber opening. Each scene will have a purpose that’s
accomplished as simply and economically as possible, advancing the plot, furthering sus-
pense with unresolved questions or action, adding to the pacing, telling your story in a way
that’s entertaining and unique, contributing something that’s fresh and unexpected.
Write with magic and wonder. Set a mood. Write with passion! Provide an emotional
experience putting the senses into play. Establish attitude, using dialogue, mannerisms, body
language, and stage business. Give your viewers a few moments that they’ll remember...
The Script 203