STREETS OF SAN FRANCISCO – DAY as your primary or master slug whereas your secondary slug lines might include any of the following locations AN INTERSECTION, GOLDEN GATE BRIDGE, A CABLE CAR, etc.
#SCRIPT SLUGLINE IN A CAR HOW TO#
If you’re wondering how to do secondary slug lines in a screenplay that is outlining a police chase in San Francisco. The primary difference between a master slugline and a secondary slug line or mini-slug is that the use of a secondary slug provides an additional element of describing the location of the scene in greater detail.Įspecially in a situation where there will be several working camera setups for a particular location, the secondary scene headings can become very helpful. Secondary slug lines are also sometimes referred to as a mini-slug. LOBBY – HOTEL – DAY would be the preferred method when looking at how to do secondary slug lines in a screenplay. HOTEL LOBBY – DAY or the screenwriter might just use a single word within the scene LOBBY to denote the secondary location. The secondary slug line represents the secondary location within the hotel such that you might have a secondary scene heading that appears like INT. HOTEL – DAY, such that “HOTEL” is the primary location. For example, the master scene heading might be INT. They’re likely to organize the shooting schedule such that the EXT scenes are filmed together as one group and the INT scenes are filmed together as another group.Ī master scene heading identifies the master or preliminary location of a scene. DAY/NIGHT – tells the loaders what to pack, similar to the INT/EXT.Īdditionally, when the director and the AD work together to formulate the shot list.LOCATION – assists in the creation of a shooting schedule.INT/EXT – tells those loading the grip truck what kind of equipment they should be packing.While you might not realize how much information such a simple line of text can provide for an entire working production crew. The scene header or slug line will typically looks something like. And provide important information regarding production setup for the camera crew. Sluglines are scene headings that are incorporated into a screenplay to orient the reader. As they’re just navigating basic screenplay and script formatting. In fact, learning how to do secondary slug lines in a screenplay is something that many aspiring screenwriters will bring up early in their careers. And when to include them in their screenplays. Many aspiring screenwriters are at a loss of exactly how to write them.
But despite the importance of these very basic headings. As it denotes the need for a particular camera setup during production setup. The use of scene headers, also known as slug lines, is very important in screenwriting. information to "set the scene" in the reader's mind.How to do Secondary Slug Lines in a Screenplay Where are we, indoors (INT.) or outdoors (EXT.)? Next, what’s the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD, inside a CAR? And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN. The Scene Heading, sometimes called a Slugline, tells the reader of the script where the scene takes place. Sluglines are always written in ALL CAPS, with an empty line above and below. Sluglines aren’t sexy, but they are a requirement of screenwriting. Inside or outside, day or night, or what room in what building. Simply put, a slugline (or slug line) is a scene heading to help orient the reader quickly as to where that action takes place. But just because U can do something, doesn't mean that U should actually do it. I never put gags or asides or unfilmables in my screenplays. Maybe I am going about it all wrong but every screenplay I have written has been truly intended for the screen rather than to act as a display document to show off my writing chops.
#SCRIPT SLUGLINE IN A CAR MOVIE#
I got nothing out of the script beyond post modern pastiche that was one gag over and over and I didn't think it would make for an entertaining movie and isn't that what ultimately counts? I read about 60 pages of it and sure the writing was slick, neat and stylish but it was a case of writer's personality over writer's voice. I know recently on here people got quite excited about a screenplay called BILLY KARATE. This style over substance technique seems to me to be mistaking writer's personality for writer's voice. I am of the opinion that writer's 'voice' should come through the plot, characters and dialogue rather than gagtastic slugs in bold, knowing asides to the reader, metafictive wink winks, post modern nudge nudges and ironic cap doffs.
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