Screenplay Software and Online Collaboration Tools

With an increase in filmmaking, thanks to technology, there has been an increase in programs to help navigate every step of filmmaking, including writing. Writers have more choices of computer programs with more features than ever before.

Screenwriters often collaborate with each other for any number of reasons and there are more tools than ever to enable this process, typically through a cloud-based, online program. There are more screenwriting programs than ever, those that intersect with a screenwriting method, rely on any text-based application and often with simple, distraction-free modes to help focus the writer’s attention. All of the below offer proper screenplay formatting, export to .PDF files and most provide a variety of other tools such as reports. There are many differences between them, such as the user interface, variety of tools and numerous import/export file format options, so it’s worth checking out the free trial period to see if they suit the needs of you and your project. Following is a list of screenwriting and collaborative software available.

Set Up Your System: Software, Colors, Numbers

Creating and using a system is useful in that it can:

• Save time and money
• Avert confusion
• Establish habits for safety checks

Having said that, any system used in filmmaking is only as good as it is:

• Clear
• Used consistently
• Everybody understands it
• Works for accounting purposes

Establishing a system for this process will foster organization and build on what you’ve already done (as opposed to redoing things because they weren’t set up right in the first place). Systems combine any variety of colors, software choices, numbering and naming conventions.

Talk with your team. There’s no point in buying software and setting up a project in it, only to have a producer request something different (although file types are compatible between programs). The breakdown process is an investment of time and effort, get it done right the first time. Once you establish a system, make the information readily available to the parties who need it and verify that everyone understands it.

Will you do everything manually, via paper, production board? Using specific software? Or a combination of software and paper? Using online collaborative platforms? Tools should improve the quality of everyone’s work and make the process efficient.

CYA: Ask team members if anyone is colorblind or dyslexic, so you can set up a system that will make everyone’s life easier. Knowing who has Mac versus PC issues, different versions of software, access to a color printer or not, can avert potential roadblocks.

The need for a system goes back to the length of a script (too long to memorize, typically shot out of screenplay order). Color and numbering systems establish a shorthand. Imagine a discussion with your director about greenery. It is cost efficient to use certain plants in multiple scenes, if possible. It’s faster to refer to: Scenes 24 and 17; rather than, Exterior Garden Party Scene, before the Wedding and Aunt Mabel’s Victorian Mansion, Drawing Room—day.

Software System: Computers are great—they can streamline your work and save you time. Computers can also crash, get viruses, software gets buggy, Internet outages plague us, but computers are here to stay and an increasingly integral part of production management.

The programs in use for the longest time include Final Draft (for screenwriting) and Movie Magic Screenwriter, they export .SEX (not a misprint) files, used for production scheduling programs. Entertainment Partners production management software for scheduling and budgeting are the most widely used and will be used in our examples. Even if you have a different type of software, the process is similar.

New production management systems are being developed all the time. Price range, features, whether operating in the cloud or living on your computer, graphical interface, vary. Most software is compatible with a variety of screenplay formats but is something to check as far as how seamless your scheduling and budgeting software will work with your screenwriting software. For example, it’s entirely possible to write a great script that looks perfectly formatted as a Microsoft word document (.docx), however, that file will not import into Movie Magic Scheduling, so if you were planning on using that program, your workflow will require an extra step. Included is a list of software programs for scheduling, budgeting and production uses.

It is more common to export a screenplay for breakdown inside film scheduling and budgeting programs. We will go into further detail on this subject in upcoming chapters. What’s important about the computer system you choose is that it works for you and your team, to share information as needed and keep information private as required.

Color Systems

1. Screenplay paper colors indicate revised pages in the script
2. Breakdown sheet and strip colors indicate time of day
3. Category Color-Coding in a script during the breakdown process makes things easy to spot (vehicles, animals, cast, sound, wardrobe, props, makeup/hair)

These systems are unrelated.

1. Screenplay page colors indicate a revision: Revised pages are printed on different colored paper so it will be obvious which are new and old pages. These are standard colors (subject to your budgetary constraints). FYI, this is industry practice, but all white paper works too.

   Table 2.3

   Revision Number	Color
   Final Draft (what you start out with)	White
   1st	Blue
   2nd	Pink
   3rd	Yellow
   4th	Green
   5th	Goldenrod
   6th	Buff
   7th	Salmon
   8th	Cherry
   9th	Tan
   10th	Gray
   11th	Ivory
   12th	Back to White again
   	(double white, or neon colors)
   13th	Blue
   14th	Pink
   15th	Yellow, etc.

   Many screenwriting software programs *ASTERISK* changes in the margin so those changes stick out. Many software programs will do this automatically if set in the screenwriting software. If your writer is using word processing software, ask her to *ASTERISK* or indicate changes. Only revised pages are printed, not the entire script. Replace old pages with new revised ones and at the end, you will most likely have a multicolored-rainbow script.

2. Breakdown sheets and production board strips indicate time of day and Interior/Exterior at a location with color. If you are working manually using breakdown sheets, colored paper corresponds to the scene heading, inside (INT.) or outside (EXT.) and either DAY or NIGHT.
   • White: day interior
   • Yellow: day exterior
   • Blue: night interior
   • Green: night exterior

   If you are working manually and using all white breakdown sheets, Circle, Star, Bold which sheet it is on the top left hand corner.

   

   Fig. 2.10 Circle Corresponding Breakdown Sheet Code
   

3. Breakdown Category Color-Coding: The important thing with this system is to:
   • Pick one
   • Be consistent
   • Put a “key” on the first page of the screenplay, for quick reference
   • This is about you

There are 2 options, a manual approach or a computer approach.

Manual: All In pencil (except red pen for Stunts), printed script, transfer info to printed breakdown sheets. Pros: cheap, erasable, easy to photocopy.

Manual or Computer: In color. On paper, use markers or highlighters to mark the script. On the computer, use a PDF program (Acrobat, PDF Pen, Preview) to mark the script. Pros: Fun, colors make it easy to distinguish information quickly.

Another standard option:

Rule of Thumb: Cast and Extras should contrast to distinguish quickly between them. Crayons or sharpies are not recommended (messy, bleeds through paper).

Number Systems: Characters and scene numbers condense information in the schedule on each strip. Numbers quickly convey which scene (top row) and which character appears in that scene.

Fig. 2.11 Numbers Convey Information Quickly

Fig. 2.12 Scene Strip

Set Character Numbers and Keep Them: It’s another one of those things that once you decide, that’s it. You can assign a meaningful ID number (easier to remember) to each character, as is common practice, or number characters in the order they appear in the script (the default in scheduling programs). These numbers are political as well, reflecting the leverage of one actor over another (and the universal desire to be #1).

An example of meaningful identification numbers for your cast:

• 1 = most important dramatic character (or actor), descending to least.
• Bad guy (or comic relief) = 13
• Joker/Wild card = 7
• Couple and Pairs = Consecutive Characters—Cops 1, 2—could be 21 and 22, or 31 and 32, linking them together in your mind.

Set Page Numbers and Keep Them: In production, it is not unusual for scripts to continue to change. Maintain the integrity of your page numbers by locking them. When material is added and it extends to the next page, the original page numbers remain intact. It’s easy to do in a screenwriting program, but you have to make a concerted effort in a word processing software.

For example, once you’ve locked pages in Final Draft, a new page after 3 would become—page 3A, then 3B, 3C and so forth. Page 3 will remain the same.

Fig. 2.13 Page Locked

Fig. 2.14 Protects Page #

The writers you are working with may be familiar with these production tools in their software, but it is a critical part of your job to maintain the integrity of scene numbers and page numbers. Problem prevention is one reason why PMs and Line Producers are valued, though unsung, heroines and heroes.

Set Scene Numbers and Keep Them: Consistency in scene numbers is important. The principal applied to page numbers applies to scene numbers. Once a scene gets a number, that’s it. Scenes are defined by scene headings, defined by where and when the scene takes place. When adding a new scene between scene 23 and 24, the new scene(s) would be numbered 23A. We will go into further detail on this subject coming up.

Breakdown Forms

Breakdown sheets contain details about each scene in a screenplay and give us a way to organize, quantify and inventory resources needed for each scene, 1 at a time. Depending on where you get breakdown sheets (scheduling software generates them) they look a little different, but serve the same purpose. Use those on our website.

Rule of Thumb: The very top of a breakdown sheet contains: Macro information

• Breakdown Color Code, indicating Day or Night/Interior or Exterior
• Production Title/Name, Production Company
• Date breakdown sheet is created
• Script Version Color

Under this heading information; Mechanics and Logistics:

• Breakdown Page #
• Set Name in Script
• Scene #
• INT erior or EXT erior
• Time of Day (Day, Night and sometimes Dawn or Dusk)
• Location (may not know yet, leave blank)
• Page Count (8ths of a page)
• Scene Synopses—Short Vivid Description of Scene
• Name of person preparing breakdown sheet

The lower 2/3rd of the breakdown sheet is inventory: listing every element in its respective category in that particular scene. And questions.

• • Cast Members (speaking parts)
• • Extras (Acting parts without Dialogue)
• • Extras (Silent Bits—AKA: Background/Atmosphere) (Silent background players filling out the scene like real life)
• • Stunts: if unsure, put it in Director’s Notes at bottom
• • Visual Effects, Special Effects: if unsure, put it in Director’s Notes at bottom
• • Props: objects actors handle
• • Vehicles/Animals
• • Wardrobe/Makeup/Hair
• • Sound/Music
• • Special Equipment: if unsure, put it in Director’s Notes at bottom
• • Set Dressing: objects actors ignore
• • Production Notes: notes about scene for various depts.
• • Director Notes: questions about the scene for the Director

Other color codes on the breakdown sheet.

1. The paper color of the breakdown sheet itself,
2. The color of the category as identified in your marked script

Read Script Completely

Reading a script through once, completely, gives you an initial introduction to the material. Put down your pencil, get a snack, get comfy and read.

This is a good idea for three reasons:

1. You get a first impression, enjoying the story as a spectator.
2. The questions that arise will be confirmed as you commence the Breakdown Process; and
3. It’s hard to go back. After you breakdown a script, you won’t see it the same way. This is the last time you’ll see the “forest” for the “trees,” before working on it; retaining a lasting impression of the work as a complete story instead of a series of scenes containing elements, questions and puzzle pieces to be moved around.

This may sound obvious, but it’s an easy step to skip if you are in a rush. Reading all the way through is helpful because when you start working, you will be ready to ask good questions, a critical part of the process.

If you can read the screenplay in one sitting, even better. If not, that’s fine too. In an increasingly digital world, maybe you prefer reading on a computer or iPad tablet—great, if you can actually read without distraction.

Number Scenes

Scene numbers need to remain the same once they are set. They are the foundations upon which a schedule and budget are built.

Fig. 2.16 Script Page: NO Scene Numbers

Fig. 2.17 First Scene Numbered (manually)

Fig. 2.18 Script Page: NO Scene Numbers

Fig. 2.19 Scenes Numbered (software)

Why not line the whole thing at once? Isn’t that what the computer will do? It is tempting, but it takes your attention away from considering each scene carefully. There may be scenes hidden inside other scenes and you need to ferret them out.

To turn on scene numbers in Final Draft, open the Production menu.

Fig. 2.20 Production Tools

Fig. 2.21 Check Number

Fig. 2.22 Scene #s On

Set Scene numbers and KEEP Them. Even if scenes are deleted (omitted).

AKA: Delete = Omit

Delete a Scene

If the director wants to eliminate a scene—mark (OMIT scene 89) on the:

• Screenplay, (by hand or by computer)
  • ○ Scene before scene 89
  • ○ Scene after scene 89

• Breakdown sheet for scene 89

This process is similar in screenwriting programs.

Fig. 2.23 Open

Fig. 2.24 Select

Fig. 2.25 Omit

Fig. 2.26 Result

Eighths of a Page

Counting segments of a script page as eighths is a way to measure shooting progress and show how much of a page a scene covers.

Fold a script page, top to bottom, 3 times, to divide it into eighths; each section is about an inch long. Starting at the top of a script page, scenes that are about one fold (1 inch) = 1/8th of a page.

Fig. 2.27 Insert Scene in Final Draft

Production management software calculates this automatically. When you are doing this manually, it is an inexact science. Shortest scenes are counted as the minimum—1/8th of a page. Guesstimate. When a scene is exactly the length of a page,

Fig. 2.28 Approximate Length of 1/8ths of Page

Fig. 2.29 1/8th of a Page is about 1 Inch Long

it’s 1 page (8/8ths). Likewise, for scenes that extend longer than 1 page, the sum would be:

• A scene that has
• 2/8 on the bottom of page 1 and
• + 2/8 on the top of page 2
• = 4/8

No fancy math (for example, 1 and 2/8ths pages would not equal 10/8ths); don’t reduce fractions (2/8 is not 1/4). If a scene isn’t quite 1/8th and it isn’t quite 2/8, what do you do? Let the material guide you; give stunts and complex scenes more eighths, simpler scenes less. Although this is a matter of occasional debate, keep life simple. Once in a blue moon a page will have more than 8/8ths, no big deal. Rarely will all the scenes of a screenplay perfectly line up so that each eighth falls exactly at a scene heading, so use your best judgment.

Identify Resources

Identifying resources is the process of marking each element you will need and assigning to its proper category. Each scene contains one or more visual or audio categories, such as cast, vehicles, props, wardrobe and more.

Identify each element (Jeannette, Blue Pickup Truck, Red Lipstick) assigning it to its category.

1. Jeannette = CAST
2. Blue Truck = VEHICLE
3. Red Lipstick = PROP

Whatever system you use, you will need to indicate every element needed for the shoot.

Rule of Thumb

1. Work one scene at a time.
2. Identify one category of ELEMENTS at a time.

Whether working manually on paper, or using a Tagging function associated with a software program like Final Draft, Celtx, Movie Magic Screenwriter:

• Start at the beginning of the scene
• Identify one CATEGORY at a time
• Work systematically at first to make sure you do not miss anything.

Category

1. Cast (speaking)
2. Extras
3. Props
4. Sound
5. Stunt
6. Special Effects
7. Costume/Wardrobe
8. Makeup
9. Livestock/Animals
10. Animal Handler
11. Music
12. Vehicles
13. Set Dressing
14. Greenery
15. Special Equipment
16. Notes (questions for your team)

Then for scene 2, go through the list again. Let’s go through an example. Feel free to print this out from our website and participate.

Write the key on the first page of the script.

Anyone looking at the script will understand how categories are marked.

• Mark Scene 1 by drawing a line at the end before the next slugline (Int. or Ext.)
• Write the Scene #

Indicate 8th page portion, 7/8th of a page.

Start with Category 1—Cast. Identify each cast member with a thick underline, per the key.

CATEGORY #1. Cast: Typically, the first time a character is named in a screenplay, the NAME is CAPITALIZED.

Fig. 2.30 Identify Cast

How many characters appear in Scene #1? Five. Irma Stickle, Harv Stickle and 3 White-Haired Ladies: Lois; Celia; Hedy.

CATEGORY #2—Extras: Take a look at Scene #1 in Figure 2.33 again, are there extras in this scene? One might wonder whether Lois, Celia and Hedy are extras—but it is unusual to give extras names and Lois has dialogue. To make sure, you could flip through the next few pages to look. As it happens, these three characters speak several lines in the upcoming pages. We will consider them as cast.

CATEGORY #3—Props: Circle props in Scene #1.

Fig. 2.31 Identify Props

Multiple golf balls, golf club.

Did questions arise? Do you imagine that Harv, teaching Irma to golf, might have his own club? Note to ask the director. When Irma swings her club and MISSES, there is no direct mention of her missing a golf ball , it’s implied, so under production notes, note the need for extra golf balls. Casting: actors auditioning for Harv—can they play golf or fake it.

CATEGORY #4—Sound: What sounds happen during Scene #1? According to your key, use a Box to identify them.

Fig. 2.32 Identify Each Sound

Golf Balls MISS, Whiz, Thwack on the head, Sail through the air.

Will these sounds occur on the set? More likely added afterwards, in post. Make a note that the actors will need a cue to react as if they heard that sound. Mention to the AD/Director.

Continue until you have identified each element by category, from stunts to notes, in scene #1. The breakdown process described may seem careful and slow, but once the process is clear, start identifying elements as you read each line.

Identify as you read: With repetition, the process will become more organic and you will identify elements as you read, coding each element as you scan.

Fig. 2.33 Identify Elements As You Read

If you are using a Tagging function in Final Draft, Celtx, Movie Magic Screenwriter:

• Start at the beginning of the scene
• As you read, assign each element to its appropriate CATEGORY by double clicking on the element (IRMA STICKLE) as you read, then click the applicable CATEGORY (Cast Members), or drag the element over (your software may already identify Scene Headings, Sets and Characters with Dialogue due to formatting).

Fig. 2.34 Tagging Programs Can Start the Breakdown Process

1. Start with Cast: read the first scene looking for Cast, CLICK on it.

Fig. 2.35 Identify Cast in Final Draft Tagger

Fig. 2.36 Tag Cast in Final Draft Tagger

Work one scene at a time, through each category, identifying every element in that category.

Fig. 2.37 Tag All Elements in Final Draft Tagger

Tagging features offer an option to TAG an element (identifying it in a certain category) once and in certain programs, GLOBALLY, (every time the computer sees that item, prop, vehicle, costume, it is assigned to the proper category). It’s a powerful feature. Try a few different approaches and decide what you like best.

Once you have completed the tagging process, EXPORT the file (Dropdown: File/Export) saving it as a .SEX file to be imported into a scheduling program.

The pros of tagging in a program like Celtx is that you work in the native file. If there are inconsistencies, you can fix them right there. This is particularly helpful for hyphenate filmmakers who are writer-directors, or writer-producers. The cons of tagging are that, unlike marking a script directly, you don’t have a lined script once you are finished.

Fig. 2.38 Tagging All Elements in Celtx

Transfer Information to Breakdown Forms

Working through the script one scene at a time, identify resources and transfer that information to the breakdown form.

Fig. 2.39 Transfer Information from Each Scene to a Breakdown Form

Breakdown Using Scheduling Program: If you want to skip the step of transferring resources onto paper breakdown sheets and instead, enter the information directly into a scheduling program, that can save time (once the script’s page numbers and scene numbers are locked). We will discuss this in Chapter Three in more detail.

It is a 4-Part Process

1. From screenwriting program, EXPORT your script as an .SEX file.

   (CYA pages locked, scene #s turned on)

2. Open your scheduling program and Start a New Schedule
3. IMPORT the .SEX file (takes a couple of minutes, get a beverage)
   

   Fig. 2.41 Import
   

   

   Fig. 2.42 Import .SEX
   

   

   Fig. 2.43 Breakdown 1 for your New Schedule
   

   

   Fig. 2.40 New Schedule
   

You land on the first breakdown sheet for Scene 1:

• 4. Just like the manual process, start with the first scene. Working 1 category at a time, transfer each element into the appropriate category.

Fig. 2.44 Transfer Information 1 Category at a Time

Transfer information about each Element in that scene.

Fig. 2.45 Add Element

Fig. 2.46 Name Element

Fig. 2.47 Ensure that Every Element is Added Within its Category

Fig. 2.48 Complete Breakdown for Each Scene

The resulting breakdown sheet leaves blank category names unused in that scene, saving you ink.

Fig. 2.49 Work Through Each Scene 1 at a Time, Until the End.

There are categories we need the Director, AD, Producer and department heads to help us identify regarding Crew, Stunts, Special Effects and Equipment. Certain elements and categories raise questions. Document them in production notes, then follow up.

As you go through the breakdown scene by scene, get in the habit of consciously asking yourself these questions and before long, they will emerge automatically. Questions are good! Whatever their title, the person breaking down the script is an easy target if something goes wrong. We are the guardians of information—the better we know the material, the easier it is to stay current on what’s going on. It’s important to stay current on what dramatic resources are required. When the script changes, the breakdown may have to be updated for a couple of reasons.

Dramatic resources interpreted through PM question filter, which may affect the schedule and budget.

1. Locations—when, where, permits, safety, neighbors, legality, access, power
2. Human (cast, crew)—when, where, arrival and departure times, schedule, rules
3. Props and set dressing—duplicates, expense, look of items, safety (firearms)
4. Vehicles, Animals—cost, availability, safety, support personnel
5. Sounds, effects—used while shooting, inserted after the shoot during post production, what’s required to pull it off successfully

Activate your Commonsense-O-Meter—what special considerations are there when—and fill in the blanks: blizzard, assault weapons, crowds, underwater, camels, sci-fi or period pieces.