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| # | Kind | Title | ||
|---|---|---|---|---|
| 001 | Guide | MORE / CONT'D conventions, demystifiedWhen to use (MORE), when to use (CONT'D), what your software is doing automatically, and the one rule that's actually contested. | When to use (MORE), when to use (CONT'D), what your software is doing automatically, and the one rule that's actually contested. | 10 min |
| 002 | Guide | Slugline rules and conventionsINT. / EXT., DAY / NIGHT, secondary headers, sub-sluglines, and the mini-slug that working writers actually use to control pace. | INT. / EXT., DAY / NIGHT, secondary headers, sub-sluglines, and the mini-slug that working writers actually use to control pace. | 10 min |
| 003 | Guide | Screenplay vs teleplay format: what actually changesActs, teasers, tags, double-spaced scenes, half-hour vs hour, single-cam vs multi-cam. The format differences that matter and the ones that don't. | Acts, teasers, tags, double-spaced scenes, half-hour vs hour, single-cam vs multi-cam. The format differences that matter and the ones that don't. | 10 min |
| 004 | Guide | How to format a screenplay: the definitive guideMargins, fonts, sluglines, action, dialogue, transitions, page numbers: every rule in industry-standard screenplay format, with examples. | Margins, fonts, sluglines, action, dialogue, transitions, page numbers: every rule in industry-standard screenplay format, with examples. | 20 min |
| 005 | Term | SluglineA slugline is the scene heading that opens every scene in a screenplay. It names whether the scene is interior or exterior, the location, and the time of day, for example, "INT. KITCHEN - NIGHT." Sluglines are set in all caps and tell the reader, and later the crew, exactly where and when the action happens. | A slugline is the scene heading that opens every scene in a screenplay. It names whether the scene is interior or exterior, the location, and the time of day, for example, "INT. KITCHEN - NIGHT." Sluglines are set in all caps and tell the reader, and later the crew, exactly where and when the action happens. | Definition |
| 006 | Term | Mini-slugA mini-slug is a short, partial scene heading used to move the eye within a single location without resetting the scene. Writers use them, a single word like "KITCHEN" or "ON THE PHONE", to control pace and direct attention inside a master scene, without the overhead of a full slugline. | A mini-slug is a short, partial scene heading used to move the eye within a single location without resetting the scene. Writers use them, a single word like "KITCHEN" or "ON THE PHONE", to control pace and direct attention inside a master scene, without the overhead of a full slugline. | Definition |
| 007 | Term | Action lineAn action line is the prose in a screenplay that describes what the audience sees and hears (movement, behaviour, and visual detail) between the dialogue. It is written in the present tense, set full-width on the page, and kept lean: a screenplay describes only what the camera can capture. | An action line is the prose in a screenplay that describes what the audience sees and hears (movement, behaviour, and visual detail) between the dialogue. It is written in the present tense, set full-width on the page, and kept lean: a screenplay describes only what the camera can capture. | Definition |
| 008 | Term | DialogueDialogue is the spoken text a character delivers in a screenplay. It sits in a narrow column beneath the character cue, indented from both margins. Screenplay dialogue is formatted distinctly from action so a reader, and an actor, can find every line at a glance. | Dialogue is the spoken text a character delivers in a screenplay. It sits in a narrow column beneath the character cue, indented from both margins. Screenplay dialogue is formatted distinctly from action so a reader, and an actor, can find every line at a glance. | Definition |
| 009 | Term | ParentheticalA parenthetical, sometimes called a wryly, is a short instruction in parentheses inside a dialogue block. It notes how a line is delivered or what a character does mid-speech, "(whispering)", "(to Sam)". Used sparingly, it clarifies; overused, it steps on the actor's job. | A parenthetical, sometimes called a wryly, is a short instruction in parentheses inside a dialogue block. It notes how a line is delivered or what a character does mid-speech, "(whispering)", "(to Sam)". Used sparingly, it clarifies; overused, it steps on the actor's job. | Definition |
| 010 | Term | Character cueA character cue is the uppercase name centred above a block of dialogue that tells the reader who is speaking. Extensions like (V.O.), (O.S.), or (CONT'D) attach to the cue to mark voice-over, off-screen delivery, or continued speech across a page break. | A character cue is the uppercase name centred above a block of dialogue that tells the reader who is speaking. Extensions like (V.O.), (O.S.), or (CONT'D) attach to the cue to mark voice-over, off-screen delivery, or continued speech across a page break. | Definition |
| 011 | Term | TransitionA transition is an uppercase cue, "CUT TO:", "DISSOLVE TO:", "SMASH CUT TO:", that marks how one scene gives way to the next. Set flush right, transitions signal an edit. Modern spec scripts use them lightly, since a hard cut between scenes is already implied. | A transition is an uppercase cue, "CUT TO:", "DISSOLVE TO:", "SMASH CUT TO:", that marks how one scene gives way to the next. Set flush right, transitions signal an edit. Modern spec scripts use them lightly, since a hard cut between scenes is already implied. | Definition |
| 012 | Term | Fade in / Fade out"FADE IN:" is the transition that traditionally opens a screenplay, set flush left at the very top of page one. Its mirror, "FADE OUT.", closes the script. The pair brackets the screenplay the way a curtain frames a stage, the image rising from and settling back into black. | "FADE IN:" is the transition that traditionally opens a screenplay, set flush left at the very top of page one. Its mirror, "FADE OUT.", closes the script. The pair brackets the screenplay the way a curtain frames a stage, the image rising from and settling back into black. | Definition |
| 013 | Term | Voice-Over (V.O.)Voice-over, abbreviated (V.O.), marks dialogue spoken by a character who is not physically present in the scene as a sound source, narration, a remembered line, a phone voice routed through a device. The (V.O.) extension sits next to the character cue to flag it for the reader and the sound team. | Voice-over, abbreviated (V.O.), marks dialogue spoken by a character who is not physically present in the scene as a sound source, narration, a remembered line, a phone voice routed through a device. The (V.O.) extension sits next to the character cue to flag it for the reader and the sound team. | Definition |
| 014 | Term | Off-Screen (O.S.)Off-screen, abbreviated (O.S.), marks dialogue or sound from a source that is physically present in the scene but outside the frame, a character calling from the next room. On multi-camera shows the equivalent is (O.C.), off-camera. Both attach to the character cue. | Off-screen, abbreviated (O.S.), marks dialogue or sound from a source that is physically present in the scene but outside the frame, a character calling from the next room. On multi-camera shows the equivalent is (O.C.), off-camera. Both attach to the character cue. | Definition |
| 015 | Term | Dual dialogueDual dialogue is the formatting used when two characters speak at the same time, with their lines set in two side-by-side columns. It signals that the speeches overlap rather than alternate, useful for arguments, interruptions, and crowd moments where simultaneity is the point. | Dual dialogue is the formatting used when two characters speak at the same time, with their lines set in two side-by-side columns. It signals that the speeches overlap rather than alternate, useful for arguments, interruptions, and crowd moments where simultaneity is the point. | Definition |
| 016 | Term | (MORE) / (CONT'D)(MORE) and (CONT'D) keep a single speech intact across a page break. When a character's dialogue runs off the bottom of a page, (MORE) sits beneath the last line and (CONT'D) rides next to the character cue when the speech resumes at the top of the next page. Most software inserts both automatically. | (MORE) and (CONT'D) keep a single speech intact across a page break. When a character's dialogue runs off the bottom of a page, (MORE) sits beneath the last line and (CONT'D) rides next to the character cue when the speech resumes at the top of the next page. Most software inserts both automatically. | Definition |
| 017 | Term | INT.INT. is short for interior. It starts a scene heading when the scene happens indoors, like "INT. KITCHEN - NIGHT." Use it any time the camera is inside a building, a car, or any enclosed space. | INT. is short for interior. It starts a scene heading when the scene happens indoors, like "INT. KITCHEN - NIGHT." Use it any time the camera is inside a building, a car, or any enclosed space. | Definition |
| 018 | Term | EXT.EXT. is short for exterior. It starts a scene heading when the scene happens outdoors, like "EXT. BEACH - DAY." If the sky could be in the shot, the scene is usually EXT. | EXT. is short for exterior. It starts a scene heading when the scene happens outdoors, like "EXT. BEACH - DAY." If the sky could be in the shot, the scene is usually EXT. | Definition |
| 019 | Term | CONTINUOUSCONTINUOUS goes where the time of day would normally sit in a scene heading. It tells the reader that no time has passed since the last scene: we are following the action straight from one place into the next. | CONTINUOUS goes where the time of day would normally sit in a scene heading. It tells the reader that no time has passed since the last scene: we are following the action straight from one place into the next. | Definition |
| 020 | Term | CUT TO:CUT TO: is the most basic transition: one scene ends and the next one starts instantly. It sits on the right side of the page in caps. Most modern scripts leave it out, because a new scene heading already means a cut. | CUT TO: is the most basic transition: one scene ends and the next one starts instantly. It sits on the right side of the page in caps. Most modern scripts leave it out, because a new scene heading already means a cut. | Definition |
| 021 | Term | DISSOLVE TO:DISSOLVE TO: is a transition where one picture slowly fades into the next, so for a moment both are on screen at once. Writers use it to show time passing or to soften the move between two scenes. | DISSOLVE TO: is a transition where one picture slowly fades into the next, so for a moment both are on screen at once. Writers use it to show time passing or to soften the move between two scenes. | Definition |
| 022 | Term | INSERTAn INSERT is a quick close look at an object the audience has to read or notice, like a text message, a letter, or a clock. You write INSERT, show the thing, then write BACK TO SCENE to return to the action. | An INSERT is a quick close look at an object the audience has to read or notice, like a text message, a letter, or a clock. You write INSERT, show the thing, then write BACK TO SCENE to return to the action. | Definition |
| 023 | Term | POVPOV stands for point of view. It tells the reader we are now seeing exactly what a character sees, through their eyes. Write the character's name and POV, like "SAM'S POV," then describe what they are looking at. | POV stands for point of view. It tells the reader we are now seeing exactly what a character sees, through their eyes. Write the character's name and POV, like "SAM'S POV," then describe what they are looking at. | Definition |
| 024 | Term | SUPERSUPER, short for superimpose, means words appear on top of the picture. Writers use it for a place or date ("SUPER: PARIS, 1944"), a character's name, or a translation of foreign dialogue. | SUPER, short for superimpose, means words appear on top of the picture. Writers use it for a place or date ("SUPER: PARIS, 1944"), a character's name, or a translation of foreign dialogue. | Definition |
| 025 | Term | CrawlA crawl is a block of text that scrolls slowly up or across the screen, usually at the start of a film, to give the audience background before the story begins. Think of a space saga whose backstory scrolls off into the stars. | A crawl is a block of text that scrolls slowly up or across the screen, usually at the start of a film, to give the audience background before the story begins. Think of a space saga whose backstory scrolls off into the stars. | Definition |
| 026 | Term | CreditsCredits are the names of the cast and crew shown on screen. In a script you only mention them when they matter to the story, like "OPENING CREDITS" over a scene, or "ROLL CREDITS" at the very end. | Credits are the names of the cast and crew shown on screen. In a script you only mention them when they matter to the story, like "OPENING CREDITS" over a scene, or "ROLL CREDITS" at the very end. | Definition |
| 027 | Term | Dash (--)In a script, a dash is typed as two hyphens (--). In dialogue it shows a character getting cut off, or cutting themselves off, mid-sentence. In action it adds a sudden pause or a quick turn in the moment. | In a script, a dash is typed as two hyphens (--). In dialogue it shows a character getting cut off, or cutting themselves off, mid-sentence. In action it adds a sudden pause or a quick turn in the moment. | Definition |
| 028 | Term | Ellipsis (...)An ellipsis is three dots (...). In dialogue it shows a character trailing off, hesitating, or leaving a thought unfinished. Where a dash is a sharp stop, an ellipsis is a soft fade. | An ellipsis is three dots (...). In dialogue it shows a character trailing off, hesitating, or leaving a thought unfinished. Where a dash is a sharp stop, an ellipsis is a soft fade. | Definition |
| 029 | Help | Editor settingsHow typing works, element cycling, SmartType, autosave. | How typing works, element cycling, SmartType, autosave. | 2 min |
| 030 | Help | Pagination & page formatPage size, margins, and how Arqo breaks pages for print. | Page size, margins, and how Arqo breaks pages for print. | 2 min |