I enjoy the format of traditional literature, why should I read a screenplay?
A quick run-through of how to read a screenplay for non-filmmakers
How do I even read this?!
So, we’re two days away from the release of my first pages. I’m starting us off with the first pages from the “pilot” script for my series Attrition and a chapter of a novel (fingers crossed I get my pages done in time).
I mentioned in my first article that I wanted this publication to be a mix of everything: chapters of my novel, opinion pieces, and pages of my screenplays. That means there’s going to be a bunch of you here for different reasons—all lovers of story, but you may not have an earthly clue how to read a screenplay. So here’s a quick guide. (If you want to skip the summary and look at the anatomy of it all, skip to the end.)
What makes a screenplay different?
First and foremost, a screenplay is not merely the outline of the narrative; it’s a blueprint. A movie is what we call a synthesis of all arts—it's a fusion of Literature, Theater, Visual Arts, Music, Choreography, Architecture, Craftsmanship, Cinematography, just to name a few. The screenplay helps lay the groundwork for keeping all of that in line.
Because the pages of the script have to speak to artists in so many different disciplines (not to mention to the non-artists responsible for budgeting and scheduling), the language of the screenplay follows a set of rules that make it simpler for everyone to understand.
It’s important to understand what a screenplay is not (and this is in comparison to a book, for instance).
It’s not primarily a “descriptive medium.” In a book, there is little limit to the amount of details that can be described or the amount of words that can be used to paint a picture in someone's mind. The words are the final and ultimate medium—they paint the full and complete picture. If one wanted, they could write a dozen pages just to describe the intricacies of a tree, or a dozen more to set up a complex metaphor.
A screenplay can take no such luxury. The anatomy of the screenplay was designed in such a way that, in general, one page estimates to about one minute of screen time (if formatted properly). All “prose” (as I call it) happens within the “action lines.” Those action lines are meant for one primary purpose: the literal action happening in the scene. They’re always written in the present tense with active verbs (you’ll see me occasionally slip up sometimes. I’ll do a whole review just to fix my slip-ups on that front). The goal is efficiency and to be powerfully succinct.
There is no room for overt metaphors or escapades into the thoughts of the character. The idea is that what is written is a concrete image that will be filmed or otherwise created. You’re typically not supposed to see lines like “And then she thought about how angry she felt at that moment.” That’s not a line attached to a concrete image (and it can take power away from the performer—but that’s a different article). Those ideas can be expressed in other ways (by actions that imply a thought, perhaps, if done with tact).
It is generally considered taboo to have block action lines longer than four lines. Not only does that create a laborious read, it messes with the magic of one page, one minute.
Action lines are highly visual; the word choices must be extremely intentional, and it all must stay very slim. But something about that creates a creative limitation that I love.
The craft of a screenwriter is being clever. Most of us are still “regular” writers at heart. And we find ways of sliding in what we want. But the ultimate role of the script is to set up, imply, lay the groundwork, and trigger the imagination of all the artists involved to what is possible.
I could write a whole series of articles just on the craft of screenwriting and what makes it different, and the struggles of someone who goes between writing both novels and screenplays.
But if I enjoy the format of traditional literature, why should I read a screenplay?
At the end of the day, a screenplay still tells a story. Does it use all the literary techniques of a novel? No, not all of them. But the language of a screenplay does have its own literary charm. And there are really brilliant screenwriters who learn how to borrow literary techniques from other mediums. I have my own set of techniques that I borrow, and I'm perfecting that craft (that’s another article)...you know what though, I will admit, sometimes I just wholesale break the rules—but never without a reason. (In an action line, if you see lines that break off into italics, I’m cooking.)
I know that asking someone not used to reading the screenplay format is asking a lot, but if you understand its charm, you might come to read a screenplay like filmmakers do. Instead of seeing blocks of strangely formatted words, you’ll see the movie play out in your head. You’ll connect with the characters, become one with their thoughts and emotions, sense their memories—you’ll feel your heart race during a chase scene, feel your body ache at loss, and rise at a triumph. Screenplay format may not resemble the literary form you’re used to—it prioritizes function over form. But the form is there, it’s literary in its own right, and I’m in love with it.
With that context, I can now give you a brief anatomy of a screenplay page. There may be further articles in the future breaking it down even further.
Here’s a sample screenplay excerpt with each part highlighted to demonstrate the anatomy:
INT. COFFEE SHOP - DAY
The small, cozy coffee shop is bustling with people, the sound of steaming milk and quiet conversations in the background. JAMES (30s, scruffy) sits alone at a corner table, staring out the window. He’s lost in thought, tapping his fingers on the table nervously.
JAMES
(to himself)
What am I doing with my life?
SARA (late 20s, sharp, confident)
(walking up, smiling)
You still asking yourself that?
JAMES
(startled, then smiles faintly)
Sara. Didn’t see you there.
SARA sits down, placing her coffee cup on the table with a soft clink.
Breakdown of Anatomy:
Scene Heading (Slugline):
INT. COFFEE SHOP - DAY
Tells the reader the location (COFFEE SHOP) and the time of day (DAY).Action Lines:
The small, cozy coffee shop is bustling with people, the sound of steaming milk and quiet conversations in the background...
Describes the visual and atmosphere of the scene, setting the stage for what’s happening.Character Name:
JAMES
The character’s name appears in all caps before the dialogue.Dialogue:
JAMES
(to himself)
What am I doing with my life?
The words spoken by the character are written below their name.Parentheticals (optional):
(to himself)
Indicates how the dialogue should be delivered or under what context (e.g., internal monologue, whispering).Transitions (none in this example, but could be like CUT TO or DISSOLVE TO if needed).
Shot Descriptions:
(startled, then smiles faintly)
Describes the character’s emotional state or movement, helping guide the actor’s performance.
I hope this helps, or at least gives you a good starting point. If you're ever confused, please feel free to reach out! At the end of the day, I just want you to enjoy my writing, so I'm here to help however I can.
-Silas
AI Ethics Statement:
This work includes a script example generated in ChatGPT, reviewed for grammatical errors using ChatGPT, and an image generated in DALL·E.