Ask Dr.Format: THE HOLLYWOOD SLASHER

DAVE TROTTIER has sold or optioned ten screenplays (three produced) and helped hundreds of writers break into the writing business.  He is an award-winning teacher and script consultant, author of The Screenwriter’s Bible, and friendly host of keepwriting.com.  Read more tips on the Ask Dr. Format page.

Dr. Format

THE HOLLYWOOD SLASHER

QUESTION

In a couple of "Hollywood" scripts that I have read, I see scene headings that use a slash as follows:

INT. JILL'S MARKET/BAKERY – DAY

EXT. LANCE'S CAR/WASHINGTON, DC – DAY


ANSWER

The slash is not used correctly in either case above. The slash is generally used to indicate that we are at two places at the same time and that the director and editor may alternate between the two locations at will. It is most often used with the INTERCUT in telephone conversations, as follows:

–TERESA'S KITCHEN/BOB'S BEDROOM

 

Now the camera can be either location at any point in the conversation.

Your first example presents a master (primary) location followed by a secondary location (that is part of the master location). This would be correct:


EXT. JILL'S MARKET – BAKERY – DAY


The same is true for the second example, but the master location is erroneously named last. Also, in this case where you simply want the reader to know we're in Washington, but not actually show us the city of Washington, use parentheses as follows:

EXT. LANCE'S CAR (WASHINGTON, DC) – DAY

 

WHAT TO DO WITH A SKULL

QUESTION

You say in your book that when a character's name is used as a secondary scene heading that it means the camera is on that character until the next scene heading. So how would you make the transition in the following scene?

THE GROUNDSKEEPER

is spellbound by the weird mesh holding the skulls together.

Suddenly, the skulls come alive.


ANSWER

Sometimes you can cheat a little if you are absolutely clear, and the above may be the exception that proves the rule (or should I say "guideline"). On the other hand, why not get rid of the secondary scene heading altogether; for example:

The Groundskeeper is spellbound by the weird mesh holding the skulls together.

Suddenly, the skulls come alive.