glossary eng

8/16/2019 Glossary Eng

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Glossary

A Page A revised page that extends beyond the original page, going onto a second page. (i.e. ,

1A, 2, 3, 3A)

Abbreviationsshortcuts used in scripts such V.O., O..

Above-the-line!n "il#, those costs that occur be"ore "il#ing, this includes salaries o" the talend and creativetea# (director, producer, screen$riter), plus any rights re%uired "or adapted scripts.&o#eti#es, above'the'line can also re"er to the people included in the above'the'line pay#entcategory.

Act A large division o" a "ull'length play, separated "ro# the other act or acts by an inter#ission.

Act/Scene Headingentered, all AP& heading at the start o" an act or scene. Act nu#bers are $ritten in o#annu#erals, scene nu#bers in ordinals.

Acting Edition A published play script, typically "or use in productions in the a#ateur #aret or as readingcopies. O"ten has a list o" prop list or set design setches.

Action*he #oving pictures $e see on screen. Also, the direction given by a director indicating that"il#ing begins.

ad lib+ialogue in $hich the characters or actors #ae up $hat they say in real ti#e on the #ovieset or on stage. ro# the -atin ad libitu#, in accordance $ith desire.

Against A ter# describing the ulti#ate potential payday "or a $riter in a "il# deal. /0, against/, #eans that the $riter is paid /0, $hen the script is "inished (through re$riteand polish) $hen and i" the #ovie goes into production, the $riter gets an additional/0,.

Agent Submission A #ethod o" play sub#ission, in $hich a theater re%uires that a script be sub#itted by arecogni4ed literary agent.

Alan Smithee A "ictional na#e taen by a $riter or director $ho doesn5t $ant their real na#e credited on a"il#.

Angle A particular ca#era place#ent.

Approved writer A $riter $ho# a television net$or trusts to deliver a good script once hired.

Arbitration6inding ad7udication by #e#bers o" a 8riters 9uild o" A#erica co##ittee regarding properonscreen $riter credit o" a #ovie arbitration is available only to 89A #e#bers or potential89A #e#bers.



Artistic Director A theater co#pany5s chie" artistic o""icer and usually the last stop be"ore a play is selected "orproduction.

Associate Artistic Director An artistic o""icer o" a theater co#pany, "re%uently a director and o"ten second to the Artistic

+irector, integrally involved $ith its artistic decisions.

At Rise Description A stage direction at the beginning o" an act or a scene that describes $hat is on stage literallyat rise o" the curtain, or #ore co##only in conte#porary theater, as the lights co#e up.

Attached Agree#ent by na#e actors and:or a director to be a part o" the #aing o" a #ovie.

Audio/isual Script A dual colu#n screenplay $ith video description on the le"t and audio and dialogue on theright, used in advertising, corporate videos, docu#entaries and training "il#s.

b!g! Abbreviation "or bacground (i.e. !n the b.g., ids are "ighting).

"ac# Door Pilot A t$o'hour *V #ovie that is a setup "or a *V series i" ratings $arrant "urther production.

"ac# EndPay#ent on a #ovie pro7ect $hen pro"its are reali4ed.

"ac# Story;xperiences o" a #ain character taing place prior to the #ain action, $hich contribute tocharacter #otivations and reactions.

"an#able A person $ho can get a pro7ect "inanced solely by having their na#e is attached.

"eat A parenthetically noted pause interrupting dialogue, denoted by (beat), "or the purpose o"indicating a signi"icant shi"t in the direction o" a scene, #uch in the $ay that a hinge connectsa series o" doors.

"eat Sheet An abbreviated description o" the #ain events in a screenplay or story.

"ill

*he play or plays that together constitute $hat the audience is seeing at any one sitting. &hort"or playbill.

"inding8hat literally holds the script together. As a $riter sub#itting your #anuscript, you #ight useeither brads $ith cardstoc covers or one o" a nu#ber o" other pre'#ade "olders (all available"ro# *he 8riters &tore).

"lac# "o$ A "lexible theater space na#ed "or its appearance.

"lac#out A co##on stage direction at the end o" a scene or an act.

"oo#*he story and the non'#usical portion (dialogue, stage directions) o" a theatrical #usical.



"rads6rass "asteners used to bind a screenplay printed on three'hole paper, $ith Acco <= solidbrass brads generally accepted as having the highest %uality.

"ump A troubleso#e ele#ent in a script that negatively de"lects the reader5s attention a$ay "ro# the

story.

"utton A *V $riting ter# re"erring to a $itty line that tops o"" a scene.

%able A cable television net$or such as >6O, or cable television in general.

%ast*he characters $ho are physically present in the play or "il#. *hese are the roles "or $hichactors $ill be needed. 8hen $e tal about a role in a stageplay as being double'cast $ithanother, it #eans that the sa#e actor is expected to play both roles. *his happens in "il# as$ell (e.g. ;ddie ?urphy), but only rarely.

%ast Page A page that typically "ollo$s the *itle Page o" a play, listing the characters, $ith very brie"descriptions o" each.

%enter &Stage'*he center o" the per"or#ance space, used "or place#ent o" the actors and the set.

%G(o#puter 9enerated !#age a ter# denoting that co#puters $ill be used to generate the "ulli#agery.

%haracter

Any personi"ied entity appearing in a "il# or a play.

%haracter arc*he e#otional progress o" the characters during the story.

%haracter name8hen any character speas, his or her na#e appears on the line preceding the dialogue. !nscreenplays, the na#e is tabbed to a location that is roughly in the center o" the line. !nplay$riting, typically the na#e is centered, but $ith the advent o" screen$riting so"t$are thatauto#atically positions the character na#e correctly, it has beco#e acceptable to use asi#ilar "or#at "or character na#es in stageplays.

%heat a scriptudging the #argins and spacing o" a screenplay on a page (usually $ith a so"t$are progra#)in an atte#pt to "ool the reader into thining the script is shorter than it really is.

%lose )p A very close ca#era angle on a character or ob7ect.

%ommission A play "or $hich a theater co#pany gives a play$right #oney to $rite, typically $ith theunderstanding that the theater $ill have the right o" "irst re"usal to pre#iere it.

%omplication*he second act o" a three'act dra#atic structure, in $hich the plot thicens, peaing at its

end.

%on*lict



*he heart o" dra#a so#eone $ants so#ething and people and things eep getting in the $ayo" the# achieving the goal. At ti#es, the obstacles can be co##on to both the hero andvillain, and the ulti#ate goal a laudable one "or both parties.

%ontinuing Dialogue+ialogue spoen by the sa#e character that continues uninterrupted onto the next page,

#ared $ith a (cont5d) in a stage play.

%ontinuous Action!ncluded in the scene heading $hen #oving "ro# one scene to the next, as the actioncontinues.

%opyrightProo" o" o$nership o" an artistic property that co#es $ith registering your script through the@nited &tates egister o" opyrights.

%opyright +oticePlacing Bour Ca#e on the *itle Page o" a script.

%ourier , pitch*he #ain "ont in use in the @.&. by both publishers and the >olly$ood "il# industry.

%overage*he notes prepared by script readers at literary agency, "il# production co#pany, theaterco#pany or script co#petition. overage is typically divided into three sectionsD plot synopsis,evaluation : discussion o" the %uality o" the $riting, and a reco##endation that either passeson the script or ics it on to the next level. *ypically, coverage is "or internal use and al#ostnever shared $ith the $riter.

Designer *heater pro"essional $hose 7ob it is to envision any o" the "ollo$ing ele#ents in a playDcostu#es, sets, lights, sound or properties.

Development*he process o" preparing a script "or production.

Development Hell*he dreaded creative death #alaise that occurs $hen the develop#ent process lasts too long.

Dialogue*he speeches bet$een characters in a "il# or a play.

Direct Solicitation8hen a theater contacts a play$right or his agent about sub#itting a script. *heaters that usethis #ethod typically do not $ant the play$right to initiate the contact.

Direction. Stage Direction(&ee &tage +irections in evised above.)

Director !n a stageplay, the individual responsible "or staging (i.e. placing in the space or blocing) theactors, sculpting and coordinating their per"or#ances, and #aing sure they "it $ith the designele#ents into a coherent vision o" the play. !n a #usical, there $ill typically be a separate#usical director responsible "or the #usical ele#ents o" the sho$. !n a +ra#atists 9uildcontract, the play$right has approval over the choice o" director (and the cast and designers).!n "il#, the director carries out the duties o" a stage director and then so#e (e.g. choosing theshot list), $ith considerably #ore say'so over the "inal product.

Downstage



*he part o" the stage closest to the audience, so na#ed because $hen stages $ere raed(slanted), an actor $aling to$ard the audience $as literally $aling do$n. alled +o$n "orshort.

Dra*t A version o" a play. ;ach dra"t o" re$rites:revisions should be nu#bered di""erently.

Dramatists Guild o* America*he pro"essional organi4ation o" play$rights, co#posers and lyricists, based in Ce$ Bor.

Dual Dialog8hen t$o characters spea si#ultaneously

Emphasied Dialogue+ialogue that the play$right $ants stressed, usually identi"ied $ith italics.

Establishing Shot A cine#atic shot that establishes a certain location or area.

Evening-0ength Play A play that constitutes a "ull evening o" theater on its o$n (a..a. ull'-ength Play).

Event8hat precipitates a play. or exa#ple, 6ig +addy5s birthday is the event in at on a >ot *inoo".

E$position*he "irst act o" a dra#atic structure, in $hich the #ain con"lict and characters are exposed or revealed. Also, any in"or#ation about the characters, con"lict or $orld o" the play.

E12!Outdoors.

E$tension A technical note placed directly to the right o" the haracter na#e that denotes >O8 thecharacter5s voice is heard. or exa#ple, O.&. is an extension that stands "or O""'&creen.

*!g! Abbreviation "or "oreground (i.e. !n the ".g., ids are "ighting).

3eature 3ilm A #ovie #ade pri#arily "or distribution in theaters.

3ilm 3estival

A "estival o" short and:or "eature'length "il#s sho$n over the course o" bet$een a "e$ days toa "e$ $ees. estivals are places "or "il#s and "il##aers E particularly in the case o"independent "il#s E to gain exposure and critical bu44 and, in #any cases, distribution.Perhaps the t$o best'no$n "estivals in the $orld are &undance and annes.

30ASH"A%4 A scene "ro# the past that interrupts the action to explain #otivation or reaction o" a characterto the i##ediate scene.

3ont*he loo o" the printed text on the page. or screenplays, ourier 12 point is the standard (a"ixed "ont $hich in practical ter#s #eans that an l or an #, although the # being $ider, occupythe sa#e $idth o" space). or stageplays, $hile ourier 12 point is o"ten used, *i#es o#an

and other proportional spaced, clearly readable "onts are also acceptable. (Proportionalspaced "onts #ae ad7ust#ents "or sinnier letters text usually taes less space.) E this hasbeen edited.



3ormula?ore co##only used in the $orld o" "il# than "or describing the stage, it usually re"ers to asure'"ire #ethod o" structuring a script (i.e. it #ust include certain ele#ents and arrive at acertain ending). or exa#ple, there have been a sle$ o" #ovies $here a group o" #is"its arethro$n together and ulti#ately beco#e the +avid that slays 9oliath on the athletic "ield(e.g. The Bad News Bears).

3REE5E 3RA6E*he i#age on the screen stops, "ree4es and beco#es a still shot.

3ull-0ength Play Also no$n as an ;vening -ength Play, a play that constitutes a "ull evening o" theater.

Genre*he category a story or script "alls into ' such asD thriller, ro#antic co#edy, action, scre$ballco#edy

Green 0ight A pro7ect OFed "or production.

Header An ele#ent o" a Production &cript occupying the sa#e line as the page nu#ber, $hich is onthe right and .= "ro# the top. Printed on every script page, header in"or#ation includes thedate o" a revision and the color o" the page.

HeatPositive gossip about a pro7ect on the >olly$ood grapevine.

High concept A brie" state#ent o" a #ovie5s basic idea that is "elt to have tre#endous public appeal.

Hip poc#et

A casual relationship $ith an established agent in lieu o" a signed, "or#al agree#ent o"representation.

Hoo# A ter# borro$ed "ro# song$riting that describes that thing that catches the public5s attentionand eeps the# interested in the "lo$ o" a story.

(n the Round A type o" theater space in $hich the audience is, usually in a circular con"iguration, on all sideso" the playing area.

(ndie A production co#pany independent o" #a7or "il# studio "inancing.

(+2!!ndoors.

(ntercut A script instruction denoting that the action #oves bac and "orth bet$een t$o or #orescenes.

(ntermission A brea bet$een acts or scenes o" the play to allo$ "or set changes, and "or the audience togo to the bathroo#, stretch and buy concessions.

(nterrupt8hen one character cuts o"" another character5s dialogue, so#eti#es #ared $ith an ... butbetter #ared $ith an e# dash ('').



0e*tOn stage, the actors5 le"t, assu#ing they are "acing the audience. &hort "or &tage -e"t.

0ights 3ade A co##on stage direction to end a scene or an act.

0ine Reading8hen a director or play$right gives an actor a speci"ic $ay to per"or# a line o" dialogue.

0iterary 6anager *he artistic o""icer o" a theater in charge o" at least the "irst stages o" revie$ing scripts "orpossible production. &he #ay have dra#aturg responsibilities as $ell.

0iterary 7**ice@sually headed by the literary #anager and o"ten sta""ed $ith interns and in'house or"reelance readers. *ypically the place to direct script sub#issions and in%uiries.

0oc#ed Pages A so"t$are ter# "or "inali4ed screenplay pages that are handed out to the depart#ent heads

and talent in preparation "or production.

0ogline A 2= $ords or less description o" a screenplay.

0yrics*he $ords that are sung by characters in a #usical.

6!7!S!8ithout sound, so described because a 9er#an'born director $anting a scene $ith no soundtold the cre$ to shoot #it out sound.

6anuscript

A script be"ore it has been published.

6anuscript 3ormat*he ideal sub#ission "or#at in the @nited &tates and in a nu#ber o" other countries, $ithcharacter na#es centered and AP& be"ore their dialogue, and indented stage directions.

6aster Scene Script A script "or#atted $ithout scene nu#bering (the usual "or#at "or a spec screenplay).

6atch %ut A transition in $hich so#ething in the scene that "ollo$s in so#e $ay directly #atches acharacter or ob7ect in the previous scene.

6iniseries A long'"or# #ovie o" three hours or #ore sho$n on successive nights or $ees on @.&.television net$ors.

6ontage A cine#atic device used to sho$ a series o" scenes, all related and building to so#econclusion.

6ovie o* the 8ee# Also no$n as an ?O8, a #ovie #ade pri#arily "or broadcast on a television or cablenet$or.

6ultimedia8riting and "il##aing enco#passing #ore than one #ediu# at a ti#e $hich, script'$ise,usually re"ers to +'O? ga#es or !nternet'based progra##ing.



6ultiple %asting8hen an actor plays #ore than one character.

6usical A play in $hich songs and #usic are an integral part o" the dra#atic structure.

6usical +umbers Page A page in a #usical script, usually "ollo$ing the ast Page, that lists the #usical nu#bers,divided by act, and the characters that sing in the#.

+otes!deas about a screenplay shared $ith a screen$riter by so#eone responsible "or #oving thescript "or$ard into production, $hich the screen$riter is generally expected to use to revise thescreenplay. A si#ilar paradig# exists on stage, $ith notes co#ing #ost o"ten "ro# thedra#aturg or director. A ey di""erence bet$een stage and "il# is that the play$right still o$nshis script and has "inal say on revisions. 8riter can hire consultants to receive "eedbac(notes) to help i#prove the script, prior to sub#itting it to an agency, production co#pany ortheater.

+umbered ScenesCu#bers that appear to the right and le"t o" the scene heading to aid the Assistant +irector inbreaing do$n the scenes "or scheduling and production.

7!%! Abbreviation "or O"" a#era, denoting that the speaer is resident $ithin the scene but notseen by the ca#era.

7!S! Abbreviation "or O"" &creen, denoting that the speaer is not resident $ithin the scene.

7** &hort "or o""stage. *ypically $ritten as (o"") next to a character na#e $hen a character

speaing dialogue is o""stage $hile she speas.

7ne-Act Play*echnically, a play that has only one act, but in #ore co##on usage, a play that is not anevening unto itsel" but instead usually runs no #ore than an hour. A co##on arrange#ent isto produce three hal"'hour long one'acts on the sa#e bill.

7ne-hour Episodic A screenplay "or a television sho$ $hose episodes "ill a one'hour ti#e slot, $ee to $ee.

7pening %reditsOnscreen text describing the #ost i#portant people involved in the #aing o" a #ovie.

7ption*he securing o" the rights to a screenplay "or a given length o" ti#e.

Pac#age*he asse#bly o" the basic ele#ents necessary to secure "inancing "or a "il#.

PA+ A ca#era direction indicating a stationary ca#era that pivots bac and "orth or up and do$n.

Parenthetical Also no$n as a $ryly because o" the propensity o" a#ateur screen$riters to try to accent acharacter5s speech '' as in 6O6 ($ryly) '' an in"lection to a speech noted by a $riter. O"

course, in stageplays, all stage directions (at least in ?anuscript or#at) are in parentheses,but directing o"" the page, as it5s o"ten called, is e%ually "ro$ned upon.



Pass A re7ection o" a property by a potential producer or an agent.

Pitch*o verbally describe a property to a potential buyer in the hope it $ill be bought.

Play&o#eti#es no$n as a stageplay, it5s a production $hich is #eant to be per"or#ed on stage in"ront o" a live audience.

Playwright A person $ho $rites stage plays.

Playwriting*he cra"t or act o" $riting scripts "or the stage (i.e. the live theater).

PointsPercentage participation in the pro"its o" a "il#.

Polish!n theory, to re$rite a "e$ scenes in a script to i#prove the#. !n practice, a screen$riter iso"ten expected to do a co#plete re$rite o" a script "or the price o" a polish.

P7Point o" Vie$ a ca#era angle placed so as to see# the ca#era is the eyes o" a character.

Producer *he person or entity "inancially responsible "or a stage or "il# production.

Production Script A script in $hich no #ore #a7or changes or re$rites is anticipated to occur, $hich is used dayby day "or "il#ing on a #ovie set.

Pro*essional Recommendation A #ethod o" sub#ission in $hich a $riter #ay sub#it a "ull script i" it5s acco#panied by atheater pro"essional (typically a literary #anager or artistic director, though so#eti#es adirector is acceptable as $ell).

Property Any intellectual property in any "or# (including a play or screenplay) that #ight "or# the basiso" a #ovie. !n theater, usually called a prop, an ite# (e.g. a gun, spoon, hairbrush, etc.) thatcan held by one o" the characters.

Proscenium

A type o" stage in $hich the actors play opposite the audience, "ro# $hich they are separated.?ost high school auditoriu#s are prosceniu#s.

Published Play 3ormat*he "or#at typically "ound in an Acting ;dition, #eant to save space, in $hich the characterna#es are on the le"t and stage directions occur on the sa#e lines as dialogue.

9uery A #ethod o" sub#ission in $hich a $riter approaches a theater $ith a brie" letter,acco#panied by a synopsis and sa#ple pages.

Ra#e A stage that is slanted so that as an actor #oves a$ay "ro# the audience, he gets higher. e$

conte#porary theaters have raed stages. !t5s #ore liely that the house (i.e. $here theaudience sits) $ill be raed.



Reader &a#a Script Reader' A person $ho reads screenplays "or a production co#pany or stageplays "or a theaterco#pany and $rites a report about the#, o"ten being paid per report.

Reading A per"or#ance o" a play in $hich the actors are script'in'hand. !t could either tae place

around a table (called a table reading) or $ith so#e blocing or staging (a staged reading).

Register o* %opyrights*he @& govern#ent o""ice that registers intellectual property (e.g. scripts), necessary prior to"iling a clai# "or copyright in"ringe#ent in court.

Release A legal docu#ent given to unrepresented $riters "or signing by agents, producers orproduction co#panies, absolving said entities o" legal liability.

Resolution*he third act o" a dra#atic structure, in $hich the con"lict co#es to so#e ind o" conclusionDthe protagonist either gets it or doesn5t.

Reversal A place in the plot $here a character achieves the opposite o" his ai#, resulting in a change"ro# good "ortune to bad "ortune.

Revised Pageshanges are #ade to the script a"ter the initial circulation o" the Production &cript, $hich aredi""erent in color and incorporated into the script $ithout displacing or rearranging the original,unrevised pages.

RightOn stage, the actors5 right, assu#ing they are "acing the audience. &hort "or &tage ight.

Romantic comedy Also no$n as a ro#co#, a co#edic #ovie in $hich the #ain story resolves around aro#ance.

Scene Action taing place in one location and in a distinct ti#e that (hope"ully) #oves the story to thenext ele#ent o" the story.

Scene Heading A short description o" the location and ti#e o" day o" a scene, also no$n as a slugline. orexa#pleD ;G*. ?O@C*A!C A6!C ' +AB $ould denote that the action taes place outside a#ountain cabin during daylight hours.

Screening*he sho$ing o" a "il# "or test audiences and:or people involved in the #aing o" the #ovie.

Screenplay %ontest A sub#ission opportunity "or screen$riters in $hich a group o" readers (7udges) select one or#ore $inners "ro# the entered scripts. *ypically, contests re%uire entry "ees that #ay be ashigh as /0'/=, but can o"ten result in pri4es as high as /2, or #ore "or the $inner(s),as $ell as i#portant exposure to agents and production co#panies. &o#e H"ello$shipIopportunities e""ectively "unction as contests (e.g. Cicholl), choosing a hand"ul o" "ello$s (i.e.$inners) "ro# the pool o" entrants.

Screenwriter

*he #ost i#portant and #ost abused person in >olly$ood. *he screen$riter $rites the scriptthat provides the "oundation "or the "il#, though it #ay go through any nu#ber o" changes,both in the re$riting process be"ore production, during production, and in the editing process



a"ter$ard. 8hile in the $orld o" theater, there is usually only one play$right on any given play(or one collaborative tea#), in "il# there #ay be #any screen$riters throughout the li"e o" apro7ect.

Screenwriting*he art o" $riting scripts "or a visual #ediu#.

Script*he blueprint or road#ap that outlines a #ovie story through visual descriptions, actions o"characters and their dialogue. *he ter# script also applies to stageplays as $ell.

Script cover 8hat protects the script on its travels bet$een the $riter and its #any potential readers. *he8riters &tore carries a nu#ber o" acceptable covers.

Script reader (&ee above as eader.)

Script 8riting So*tware

o#puter so"t$are designed speci"ically to "or#at and aid in the $riting o" screenplays andteleplays.

Securely "ound Script*ypically, a stageplay contest5s re%uest that a script be #ore "ir#ly bound than brads $ill do.;ither it is literally bound, or it is securely held in a "older.

Set*he physical ele#ents that are constructed or arranged to create a sense o" place.

Setting*he ti#e and place o" a play or screenplay.

S31 Abbreviation "or &ound ;""ects.

Shooting Script A script that has been prepared to be put into production.

Shot8hat the ca#era sees. or exa#ple, *AF!C9 &>O* $ould #ean that the ca#era is"ollo$ing a character or character as he $als in a scene. 8!+; &>O* $ould #ean that $esee every character that appears in the scene, all at once.

Showrunner

A $riter:producer ulti#ately responsible "or the production o" a *V series, $ee to $ee.

Simultaneous Dialogue8hen t$o characters spea at the sa#e ti#e, $ritten in t$o colu#ns side by side.

Situation comedy Also no$n as a sitco#, a nor#ally 3'#inute (in the @nited &tates) co#edic televisionsho$ revolving around "unny situations the #ain characters repeatedly "all into.

Slugline Another na#e "or the &;C; >;A+!C9

S6ASH %)2

A %uic or sudden cut "ro# one scene to another.

Soap 7pera



+ayti#e dra#as so na#ed because they $ere originally sponsored by the #aers o" laundrydetergent in the early days o" television.

Spec Script A script $ritten $ithout being co##issioned on the speculative hope that it $ill be sold.

SP31 Abbreviation "or &pecial ;""ects.

Split Screen A screen $ith di""erent scenes taing place in t$o or #ore sections the scenes are usuallyinteractive, as in the depiction o" t$o sides o" a phone conversation.

Stage center ?ore co##only no$n as enter &tage, it is the center o" the per"or#ance space, used "orplace#ent o" the actors and the set.

Stage Directions!n a stageplay, the instructions in the text "or the actors (e.g. entrances, exit, signi"icant actions

or business) and stage cre$ (e.g. lights "ade). Also, in a #usical, the person $ho directed thenon'#usical ele#ents o" the sho$ #ay be credited $ith &tage +irection to distinguish hi#"ro# the ?usic +irector, $ho $ill be credited $ith ?usic +irection.

Stage 0e*tOn stage, the actors5 le"t, assu#ing they are "acing the audience. -e"t "or short.

Stage RightOn stage, the actors5 right, assu#ing they are "acing the audience. ight "or short.

Stoc# Shot A se%uence o" "il# previously shot and available "or purchase and use "ro# a "il# library.

SubmissionCa#e "or a script once it is sub#itted to producers or agents.

Suggested Setting A setting on stage in $hich a "e$ set pieces or lighting or other technical ele#ents tae theplace o" elaborate set construction.

S)PER Abbreviation "or superi#pose #eaning the laying one i#age on top o" another, usually $ordsover a "il#ed scene (i.e. 6erlin, 1J0=).

Synopsis

A t$o to three page, double'spaced description o" a screenplay.

2ag A short scene at the end o" a #ovie that usually provides so#e upbeat addition to the cli#ax.

2echnical Demands*he extent to $hich a play re%uires speci"ic lighting, sound, sets, etc. Plays $ith #ini#altechnical de#ands are easier and less expensive to produce.

2en-6inute Play A co#plete play, $ith a beginning, #iddle and end, designed to play in ten #inutes.

2he "usiness

&ho$ business in general #ore speci"ically, >olly$ood #ovie#aing and television business.

2hriller



A "ast'paced, high staes cri#e story in $hich the protagonist is generally in danger at everyturn, $ith the #ost danger co#ing in the "inal con"rontation $ith the antagonist.

2hrust A stage con"iguration in $hich the playing area protrudes into the audience the actors haveaudience on three sides o" the#.

2ic#ing %loc# A dra#atic device in $hich so#e event loo#ing in the near "uture re%uires that the con"lictreach a speedy resolution (hence, the ticing cloc).

2(20E*ext that appears onscreen denoting a ey ele#ent o" the #ovie, a change o" location or date,or person involved in the #aing o" the #ovie.

2itle Page A page o" the script that contains the title and the author5s contact in"or#ation.

2ouring Play

A play $ith #ini#al technical de#ands that is #eant to be easily paced up and #oved "ro#one per"or#ance space to another.

2ransition A script notation denoting an editing transition $ithin the telling o" a story. or exa#ple,+!&&O-V; *OD #eans the action see#s to blur and re"ocus into another scene, and isgenerally used to denote a passage o" ti#e.

2reatment A scene by scene description o" a screenplay, #inus all or #ost o" the dialogue.

2wea# A #inor change #ade in a scene or portion o" a screenplay or a stageplay.

)nsolicited Script A #ethod o" script sub#ission in $hich the $riter sends the script, $ithout prior contact, to thetheater or production co#pany. &o#e theaters allo$ this, #ost don5t'and very "e$ "il#production co#panies, "or liability reasons, can read unsolicited #aterials.

)pstage*he part o" the stage "arthest "ro# the audience, so na#ed because $hen stages $ere raed(slanted), an actor $aling a$ay "ro# the audience $as literally $aling up. alled @p "orshort.

!7! Abbreviation "or Voice Over, denoting that the speaer is narrating the action onscreen.

8GA Signatory An agent, producer or production co#pany that has signed an agree#ent to abide byestablished agree#ents $ith the 8riters 9uild o" A#erica.

8or#shop A develop#ental production o" a play, $ith a signi"icant a#ount o" rehearsal, but $ith less"ully reali4ed production values (e.g. set) than a "ull production.

8riters Guild o* America Also no$n as the 89A. *he #ain union "or screen$riters in the @nited &tates, $ithchapters in -os Angeles (89A$) and Ce$ Bor (89Ae).

glossary eng

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