Variations in Rules of Format

Of course, there are exceptions. The opening sluglines of "Star Trek IV: The Voyage Home" read:

To set a story in space violates traditional ideas of interior or exterior, because it's an effects shot. In addition, scenes set in space no longer require DAY or NIGHT information. An interesting variation is demonstrated in the script of "Star Trek II: The Wrath of Khan":

PURPLE is not your usual description for a location; it refers in this script to the interior of a nebula cloud. Who's to say that it's incorrect format? And regarding SPACE as having an EXT. designation, or none at all, which is correct? Both, either -- it's up to you. Effects shots often require creativity on the part of the writer, because often you are describing something unusual, which therefore often requires an unusual slugline.

Part of the "gimmick" in this film is that part of the story is in color, part in black and white, and its slugline informs the reader of this fact.

This next slugline, from "Beavis and Butthead Do America," shows an unusual stylistic variation, in that it uses slashes instead of hyphens (or periods like "Pleasantville") to break up the line.

The point in showing these differences, is that sluglines, often thought of as having a rigid format, are actually completely flexible depending upon your needs. Don't be afraid to play with them, but don't get carried away. Remember, your aim is communication of your ideas without interrupting the flow.

Action lines can also be sculpted to your particular needs and style. Some screenwriters like to clearly delineate shots by breaking them down line by line. Yet outright shot description can border on too much description.

In the screenplay for "Beavis and Butthead Do America," the shots are often clearly listed:

ON BEAVIS' P.O.V. across the street, we see what Beavis is looking at:

ANDERSON'S CAMPER.

ANGLE ON BEAVIS. He takes the picture of Dallas out of
his pocket.

TIGHT ON the picture of Dallas.

TIGHT ON Anderson's camper.

TIGHT ON Beavis.

		     BEAVIS/CORNHOLIO (CONT.)
      Aaaahh, heh heh...

Animation scripts are often this shot specific. Yet for a standard film script, it is usually best to suggest shots by simply describing a location, person or item, without the extensive use of such terms as ANGLE ON and TIGHT ON.