Screenwriting : Sluglines by Stephanie Elie

If multiple sluglines are part of the same related "sequence" of scenes, I use DAY or NIGHT on the first one and CONTINUOUS on the rest. I only use MORNING or EVENING if it's important to the scene, like daybreak or sunset. Usually, the context of the scene makes the additional clue moot and I just say DAY or NIGHT.

Stephanie, if scenes take place in one location, I'll write scene headings like this:

INT. HOUSE - LIVING ROOM - DAY

Write action

KITCHEN

Write action

BEDROOM

Write action

Also, I only write DAY or NIGHT in a scene heading. I write things in action descriptions to show it's morning, afternoon, etc.

Here is an example

INT. DIVE BAR - NIGHT

to

EXT. DIVE BAR PARKING LOT

I didn't include the Night in this case because it's just moving outside...

I would include night because the location changes from inside to outside.

Think of it as light.

DAY, NIGHT, DUSK, DAWN all have specific light and specific looks.

You also have to orientate the reader. A woman walking down a street at night has a perceived risk as the asshole ratios go up at night.

Lighting is very technical and essential to clearly Emphasize the time of day. So it is necessary when switching from day to night. You should include all times of the day as it all has different kind of light. Dawn, afternoon, evening, DAy, Night,

The only time you wouldn't need it is if there is a "CONTINUOUS" that extends the information from one slug to the next. Also, Craig D Griffiths is right, there are other times of day that can help to break it up. Best of luck and keep us posted on your progress!

Most of the screenwriting concepts which translated now to "Mandatory" software is based on "Plotting Technique". However the natural creative writing is more so like a free hand writing skill which gradually experienced writers create a writing process for their novel or stageplay or screenplays.

Earlier it was just paper/book/pen slowly into Typewriters and then word document and now Software. So there is a sense of understanding of writers what, where and why things are. A novelist turned screenwriter who used typewriter will understand what I'm saying.

However when we all new writers, screenwriters are taught to write story without let the learning happen to build this natural writing process, we are blindled, forced into plotting/outlining technique to get quick results. It's kind of good for thrillers and mostly suitable for writing for studios, institution's credits and all, but it doesn't truly help for learning knowing why, what, where things are, as the writing process isn't inbuilt within us.

This method of plotting stories strongly emphasizes use of story building blocks like ACT, Structure, Form, Archetype so on to help them with the studios, institution setup to keep up the canonical nature of story construction. This keeps adding as new forms of stories come in. And that slowly translated to what we'll find now, Screenwriting's nomenclature like Action, Dialogue, Character, Location(INT, EXT) 1A, 2B so on. That gradually gets to the BEATSHEET to pre production guidelines..

Now why I'm saying this is, all these questions, confusions on screenwriting happens when we don't have that process internalized and always been bombarded with new set of rules, regulations and what not suggestions thrown at us and we are confused like , "Wait we did different way once and now we are told to do something completely different, why".

To fix future answer in your situation, learn to "Reverse Engineer your story idea,concept".

1. Start from the beatsheet itself. Observe what all elements are there in beatsheet of a story and create your own simple excel sheet story format which got a basic elements assigned to columns and rows.

Example in Columns you can use ACT structure, in Rows you can include, ACTION, CHARACTER, DIALOGUE, LOCATION, TIME etc

2. Based on Character and Location, color code them and categorize them according to common elements

3. Always note the SCENES count. A simple 2 hour script will have max 30 to 50 scenes. So keep the scenes within that. A novel will have around 100 to 150 scenes. That's one reason why it's difficult to convert novel to film script.

4. Use one liner to fill the basic idea on beatsheet

5. Use this excel sheet and convert this to a first outline of the story(DRAFT), and later can be used to create Treatment/Synopsis/Summary a proper outline so on

6. Now you are good to start your screenwriting with holding all the elements, notes, structure in place.

Maurice Vaughan @Mark @Dan Craig @Bob already told what to do specifically to your question. So you already have the answer, but this above process which I explained will help you understand why they are suggesting that, and how to go about anything complicated in later phase of screenwriting.

Just write two three short scripts using this method, and you don't even require any screenwriting book etc and will be just fine to write freely as the process gets ingrained in your writing and can even find new ways of writing screenplays all by yourself.

It will be something like the attached image below. A writer shares this method in this blog and many novelists, panster writers have their own method in their desk too for sure. Even I have my own and I actually don't jump into writing screenplay at first step. That would be a terrible thing to do. Because that causes multiple rewriting and slowly ruins the whole story concept too, at times.

https://www.awn.com/blog/how-get-god-s-eye-view-your-story-microsoft-excel

All these excel sheets goes in back of my mind, and I go on thinking thinking researching, reading, collecting infos, imagining visuals story unfolding and when I'm sure about it I start writing. For many panster writers, novelists they have this setup deeply in their own figured out process.

So when you say, should I write INT or EXT or INT. /EXT whats going to happen is that, your story tone, flow is different and multiple inputs from everyone for location, camera angles or Character's POV or Audience's POV will change and disturb the story's overall nature . And that's what making you and many writers conflicted about all these screenwriting rules and make it hard. Same reason some refer the use of INT/EXT or give CONTINOUS etc.

So reverse engineer your storyline and form a template, it will make you clear of what goes where and why. This will even make Screenwriting software obsolete as you can write in any software.

Also check the links I shared. It talks about "Writer's Board" which Save the Cat too have that in their software I think. I hope other Novelist, Writers here don't see this or get angry like WHY DID YOU SHARE THIS CHEEKRET(Secret) OUT! :-D lol. (Just kidding).. I mean authors in these two blogs shared it already, so ask them! PUNCH THEM lol.

http://andrewdconnell.com/structuring-plotting-your-novel-with-microsoft...

https://writersinthegrove.com/2015/10/18/nanowrimo-beat-sheets-and-story...

http://darcyhsu.blogspot.com/2015/09/outlining-with-excel.html

This is just a way to learn screenwriting quickly but don't use plotting full time for writing, it's kind of terrible method for full time writing stories, because it never creates and lets your creativity flow naturally but more forced into a predefined path. That's the reason I personally call this method Story construction. But if one is in hurry to write for Studio, Competition then this works. Many expert screenwriters use it too.

Best to get into the habit of always using it as it will pay dividends when you're writing for production.

Try to use MORNING / EVENING sparingly as these are incredibly limiting logistically.

Keep in mind that exterior night scenes require an entire crew shift change which will likely take a whole day out production in terms of downtime.

The whole white space thing has gone way too far with some people.

I love you guys. I got feedback telling me not to include the time of day and I was like whaaaa?

Stephanie - the answer to your question is not always. I'm gonna take some flak for this; but look to your script for the answer. If it's obvious - no you don't need it. As an example: EXT. BACKYARD - NIGHT, action moves to INT. KITCHEN, then you probably don't need it but if it's EXT. BACKYARD - NIGHT and the action jumps to INT. LONDON TOWNHOUSE NIGHT. Then you probably need it. It's just simpler to include it on every scene header.

Basically stick to DAY or NIGHT unless deviation is necessary to the storyline. Vampire flicks often use DAWN or DUSK when necessary to the story. If the audience knows that the bomb is set to 7:00pm the scene header might read INT. RESTAURANT BOOTH - 6:58pm.

Basically the DAY NIGHT designation is useful to the story and crew loading the grip truck.

@Doug That I have been playing it myself. @Jessica interesting that you basically got the opposite feedback I did. LOL.

I've had a lot of coverage of my scripts, including formatting feedback, and I have never been told to remove DAY/NIGHT from my sluglines. The only exceptions are CONTINUOUS and LATER, and with LATER, if you are changing from DAY to NIGHT, for example, it would be NIGHT - LATER. Hope this helps!

Dan - generally true but transitional sub scenes may incorporate a time stamp - look to the script/story for your answer. I hope you all understand that there no hard & fast rules to these sorts of questions.

i would say always

keep in mind some readers will skip to page 70 and start reading.