The A-Z Screenwriting Encyclopedia

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We know you are tired of empty promises from screenwriting ¨gurus¨"and endless Hollywood gatekeeping. 

This is the only no-B.S guide to the terms that truly matter regarding the craft of screenwriting.

Here are the ultimate insider secrets for you to use in your screenplay, right now!

A

Action 

Action is the most basic unit of screenwriting in your script. These descriptions tell the reader what is happening visually. It includes both physical and psychological movement in the scene. Your action lines convey the visual and sound details to the production team. Every action must resonate deeply with the performing character. This immediately telegraphs their core attitude and their change. 

Alex DeLarge in A Clockwork Orange shows his attitude through violent action. William Wallace in Braveheart changes because of a brutal act against his wife. In Se7en, the chase sequence is written beat-for-beat with short action lines.

Aftermath 

Aftermath is an event resulting from a prior decision or action. This usually presents a negative consequence for your character. It is an unexpected obstacle that must be overcome immediately. Sometimes the entire film is the aftermath of a major opening event. This is the price characters pay for bold initial choices. 

The film Fargo is mostly the aftermath of the failed kidnapping plot. The aftermath in The Game propels Nicholas Van Orton into the third act. The Matrix Revolutions shows the aftermath after Neo's final sacrifice.

Allegorical Characters 

These characters symbolically represent something much more than themselves. They allow the audience to observe a figurative, external model. This model can be an abstract concept or a specific real person. They embody a specific feeling or mood unbendingly. 

Daniel Plainview from There Will Be Blood represents ruthless capitalism. Andy Dufresne in The Shawshank Redemption symbolizes pure hope and freedom. Hynkel in The Great Dictator is an allegory for Adolf Hitler.

Antagonist

The Antagonist is the character who directly opposes your protagonist. They function as the hero’s most crucial adversary. This character is the physical form of the hero’s dilemma. Always remember the antagonist views themselves as the true protagonist. They exploit the protagonist’s weaknesses ruthlessly. 

The Alien in Alien is a powerful antagonist against Ripley, the underdog. In The Exorcist, the demon Pazuzu is equally matched against Father Merrin.

Anthropomorphism 

This is giving human characteristics to non-human things. This includes animals, objects, or even gods in your story. It establishes a universal connection with your audience immediately. Characters still adhere to arcs, attitudes, and cores. 

The talking animals in The Lion King are a simple example. HAL 9000 in 2001: A Space Odyssey mimics human behavior. The character of Death in The Seventh Seal is a common example.

Archetypal Characters 

These characters embody one specific, universal idea. They symbolize common human conditions, flaws, or virtues. Their entire essence is reduced to a single common denominator. They represent a go-to human condition that sums them up instantly. 

James Dean in Rebel Without a Cause is the quintessential Rebel. Kevin Costner in The Bodyguard is an example of the Protector. Robin Williams in Jack is a child archetype stuck in an adult body.

Audience 

The audience is every person who reads your script or watches the film. Every single writing decision must be made with their total enjoyment in mind. This writer-audience relationship is the only reason filmmaking exists. As the writer, you are the script's very first audience member. Capture what excites you to captivate every other member.

Audience Awareness 

This is the degree to which the film informs the audience of key details. This dictates the level of mystery and suspense the audience experiences. There are three major ways the audience is given information.

1. Audience Knows First: This technique builds massive suspense immediately. In Psycho, the audience knows the killer is approaching Marion Crane.

2. Audience Knows Simultaneously: We learn new information exactly when the characters do. The shock of Darth Vader's identity hits Luke and the audience together in Empire Strikes Back.

3. Audience Learns Later: This technique generates an engaging, compelling mystery. The truth behind Bunny's kidnapping in The Big Lebowski is revealed late. Citizen Kane is a famous example where the audience knows Rosebud's meaning, but the characters never do.

Audience Expectations 

This refers to the things the audience assumes will happen in the story. These are based on genre conventions and previous events in the film. Exploiting audience expectations can create powerful surprises. Groundhog Day exploits the expectation of daily repetition.

b.g. 

This is an abbreviation for "background" in your action lines. It is ascribed to action or dialogue in the rear-plane of the image. This is used to discriminate activities visually on the screen. It can relate metaphorically or literally to the foreground action. 

The looming figures in the Hurt Locker background influence the scene's tension. Background activity is often used for subtle sight-gags in comedies.

B

Backstory 

Backstory is the crucial historical context of a character or world. This past history must explain their current motivations and behaviors. Revealing it slowly adds great dramatic weight to their dilemma. 

In Apocalypse Now, Willard slowly reviews Kurtz's dossier. This piecemeal reveal increases Willard's conflict with his assassination mission. All Star Wars films use the scrolling text to deliver fast exposition.

Beat 

A beat is a momentary, essential shift in the scene’s rhythm. It illustrates a character's brief pause between lines of dialogue. It is written as a parenthetical in lower-case letters. This marks a change, realization, or moment of deep subtext.

Block Page 

A Block Page is a script page predominantly heavy with action. This gives the page a dense, bulky appearance with little white space. It makes the page feel word-heavy and slows down the reader. You should break up dense blocks with dialogue or white space. 

2001: A Space Odyssey is known for its action-heavy pages.

C

Camera Narrator 

This is a device that uses the camera itself to tell the story. The camera becomes an active, knowing character in the film.

CARD: 

A card is a written message placed directly on the screen. This message is used to give the audience crucial information quickly. It is a bold, disruptive way to deliver exposition instantly.

Character 

A character is any individual in a script who demonstrates personality. They may or may not have spoken dialogue to articulate that personality. Every character, no matter how small, thinks they are the protagonist. They must have solid needs, wants, and goals to achieve. Compelling characters are accurate reflections of real people.

Character Arc 

This is the internal, emotional journey of transformation. The hero moves from a fundamental lie to a critical truth. Michael Corleone’s arc in The Godfather is a dramatic change from war hero to ruthless mob boss.

Character Attitudes 

This refers to a character’s persistent emotional or mental state. It is their ingrained perspective on the world and their situation. Hannibal Lecter in Silence of the Lambs has a consistently arrogant, superior attitude.

Character Change 

This is the fundamental shift in a character's attitude or core. It is usually forced by the story's intense conflict and stakes. Eliza Doolittle in My Fair Lady undergoes a classic and visible transformation.

Character Core 

This is the essential, unchanging nature of a character. It is the inner quality that defines them, even as they change. Luke Skywalker’s core of compassion defines his destiny in Star Wars.

Character Description 

This is the first impression a character makes on the page. It is the critical few words used to introduce them quickly. Keep these descriptions evocative and utterly brief.

Character Development 

This is the ongoing process of revealing a character's history and traits. It is the gradual, continuous exploration of their personality. It should be revealed through action, not through excessive exposition.

Character Identification 

This is the audience's ability to strongly relate to a character. It involves seeing aspects of oneself in the character's journey. A character's vulnerability is key to achieving identification.

Character Paradox 

This is a character trait that is seemingly contradictory. It makes the character more human, compelling, and utterly complex. Tony Soprano is a ruthless mob boss who is also a deeply concerned father.

Character Psychology 

This is the internal logic behind a character’s motivations. It explains their decisions, beliefs, and emotional responses.

Character Relationships 

This refers to the dynamic connection between two or more characters. These relationships are necessary for building subplots and conflict. The mentorship between Morpheus and Neo in The Matrix is central.

Characterization 

This is the overall presentation of a character's traits and personality. It is the culmination of all attitudes, actions, and psychology.

Climax 

The climax is the moment of maximum tension in the narrative. It is the final confrontation where the hero faces the ultimate stakes. The outcome determines the entire resolution of the story. The final bank vault showdown in Heat is a devastating climax.

Collective Unconscious 

This is a concept of universal ideas shared by all humanity. These are the recurring, shared images and concepts in art. Using these concepts makes your story resonate universally.

Concept 

The concept is the high-level summary of your story's core idea. A strong concept is instantly recognizable and marketable. Snakes on a Plane is a perfect, self-explanatory concept.

Conflict 

Conflict is the essential opposition that drives your entire story. It is the clash between the protagonist and a powerful opposing force. Conflict can be external, internal, or even conceptual. Without constant conflict, your narrative simply cannot sustain interest. The hero's internal battle with his alcoholism in Flight is a core conflict.

Context 

Context is the overall background in which an event takes place. It includes the social, historical, and environmental details. The Vietnam War provides the grim context for Apocalypse Now.

CONTINUOUS 

This is a transition used in the scene heading, or slug line. It tells the reader that the action moves immediately from the previous scene. This is used when cutting back and forth between two concurrent locations.

Contrast 

Contrast is the comparison drawn between two characters or ideas. It illustrates what makes each individual different instantly. This also underlines their intrinsic similarities and shared humanity. The dynamic between Somerset and Mills in Se7en is perfect contrast.

Costume 

Costume is the clothing worn by your characters in the film. It is a powerful, instant visual indicator of their personality. The Joker's signature suit in The Dark Knight speaks volumes.

Culmination 

Culmination is the accumulating tension leading up to the climax. It is the gradual building of theme, plot, and character issues. The audience's deep satisfaction comes from this necessary buildup.

CUT TO: 

This is a simple transition that indicates a quick cut between scenes. It is formatted on its own line, flush right, in all caps.

D

Delay 

Delay is purposely slowing down the pace of information delivery. This is used to build anticipation and intense frustration.

Descending Action 

This is the sequence of events immediately following the climax. It is also known as the falling action in traditional structure. These events lead directly to the final resolution of the conflict.

Details 

Details are the small, specific, and crucial descriptions in a script. They bring the scene and the characters to life for the reader. The quality of your details is a sign of your mastery.

Directing on the Page 

This is when the writer inserts unnecessary camera or directorial instructions. Traditional screenwriting teaches that you should avoid this completely. Trust your descriptive action to convey the intended visual execution. Amateurs use this to show their insecurity and lack of control.

DISSOLVE TO: 

This is a visual transition where one scene slowly fades into the next. It is used to indicate a significant passage of time quickly. This effect is commonly used to create a sentimental or dreamy mood.

Dramatic Irony 

This occurs when the audience knows a crucial detail the characters do not. This creates powerful tension and a deep sense of suspense. The audience desperately wants to scream the warning to the hero. In Othello, the audience knows the source of Desdemona's handkerchief.

Dramaturgy 

This is the art of structuring your story for maximum dramatic effect. It is the overarching study of theatrical and narrative composition. A dramaturg ensures the script is cohesive and logically sound.

E

Empathy 

Empathy is the audience's ability to truly relate to your character's journey. It is the crucial sense of understanding their unique pain and desires. You must make the audience feel what the hero is feeling now. Forrest Gump is a great example of a character who inspires deep empathy.

Environment 

The environment is the physical, geographic setting of your scene. It must be integrated to reflect the character's internal and external state. The oppressive heat in Do The Right Thing reflects the rising tension.

Experience 

Experience is the overall feeling a film evokes in its audience. It is the unique combination of mood, tension, and pace you create. Your writing must provide a unique and compelling experience.

Exposition 

Exposition is the background information the audience requires to understand the story. You must reveal it quickly, clearly, and creatively. The best exposition is seamlessly integrated into the current scene's action. Never stop the story to deliver a massive information dump.

EXT. 

This abbreviation stands for Exterior in a scene heading, or slug line. It tells the reader that the scene is taking place outside.

F

FADE TO: 

This is a transition where the scene fades to a single color, usually black. It is typically used to end an entire act or segment. It is formatted on its own line, flush right, in all caps.

Failure 

Failure is a moment when the character’s efforts do not reach their objective. This is an essential component of the hero's ultimate journey. Failure forces the hero to change their approach completely. Walter White's early failures in Breaking Bad force him to become more ruthless.

Fantasy Characters 

These are characters who exist in a purely fictional, imagined world. They exist outside the rules of our known reality completely. Examples include elves, dragons, or other mythical beings. Gollum in Lord of the Rings is a classic fantasy character.

Fear 

Fear is a character's core emotional motivator or immobilizer. It drives their actions and informs their deepest flaws. The Fear of failure drives Miles Teller in Whiplash.

Fidelian Sequence This is a sequence that focuses on a character's critical dilemma. It uses dramatic irony to build suspense immediately. Alfred Hitchcock often used this technique effectively.

First Culmination 

This is the major turning point at the end of the first half of the Second Act. The hero believes they have achieved their goal but they are wrong. This false victory then leads to a devastating setback immediately.

Flashback 

A flashback interrupts the chronological flow of time purposefully. It takes the audience back to a prior, essential moment in the story. Flashbacks should be used sparingly for maximum dramatic effect. The scattered flashbacks in Memento are central to the mystery.

Freeze Frame 

This is a visual device where the scene instantly stops on a single frame. It can be used for dramatic emphasis or a stylistic flourish. The end of The 400 Blows is a famous example.

Future 

This is a story set in a time after the present day. These stories often explore technology and the human condition. Blade Runner and Children of Men are dark future examples.

G

Genre 

Genre is the distinct category your script belongs to by style and content. It is a critical promise you make directly to your audience. Every genre comes with specific expected conventions and rules. Know the rules before you decide to break them completely.

H

High Concept 

High Concept is a story idea that is easily summarized in one compelling sentence. It should have instant, broad appeal and massive market potential. A Quiet Place is a perfect example of a high concept premise.

Hook 

The Hook is the powerful initial device that instantly grabs your reader's attention. This is typically the first three to five pages of your blueprint. Your hook must promise an incredible, disruptive journey to come.

Hope 

Hope is the character’s necessary belief in a positive, desired future outcome. It drives them to continue the struggle against all opposition. Hope is the fuel for the protagonist's entire fight.

Horizontal Reading 

This is the process of quickly reading the script across the page. It focuses on the action lines and dialogue density immediately. Producers and agents read scripts this way first.

Horror 

Horror is a genre that intends to elicit terror and intense fear. These films explore what the audience fears most deeply. Hereditary and The Babadook are modern horror examples.

I

I-Page 

The I-Page is the crucial page one of your entire script. This page must establish the tone, hero, and central problem immediately. This is your single best chance to hook the professional reader.

I/E. 

This abbreviation stands for Interior/Exterior in a scene heading. It tells the reader the scene takes place on both the inside and outside.

Imagination 

Imagination is the writer's ability to conceive and create new worlds. It is the driving force behind all creative screenwriting.

Inciting Incident 

This is the event that truly triggers the main plot (The Catalyst). This moment sets the hero on their unavoidable new direction.

Indirection 

Indirection is the act of implying something without stating it clearly. This creates subtext and layers of complexity in the script.

Insert: 

This is a separate shot that highlights a small, specific object. It is written directly into the action line of the scene.

INT. 

This abbreviation stands for Interior in a scene heading. It tells the reader that the scene is taking place inside.

INTO FRAME 

This is a device that indicates something physically enters the camera frame. This is used to signal the arrival of a character or key object.

INTO VIEW 

This is a device that indicates something physically comes into the audience’s view.

Investigation 

Investigation is a genre or plot device where the hero seeks the truth. The hero must uncover critical secrets to solve the core conflict.

Irony 

Irony is a statement or event whose true meaning is the opposite of the surface meaning. This is a powerful literary and dramatic device.

J

JUMP CUT TO: 

This is an abrupt, non-continuous transition between two similar shots. It is used to show a small passage of time or a jarring shift.

L

Location 

Location is the specific place where a scene is set. It must reflect the character and advance the plot visually.

Lock In 

The Lock In is the moment the hero is committed to the goal. There is no turning back from the massive stakes now.

Logline 

The logline is the single, crucial sentence that summarizes your entire story. It must include the hero, the central conflict, and the massive stakes. This single sentence is your key sales tool for the entire script.

M

Main Culmination

This is the major plot point right before the Third Act begins. It is the hero's biggest win or loss of the entire story.

MATCH CUT TO: 

This is a transition that cuts between two thematically or visually similar images. It creates a powerful, artistic link between two scenes immediately. 2001: A Space Odyssey's bone to spaceship is a famous match cut.

MATCH DISSOLVE TO: 

This is a dissolve effect that pairs together two matching images. It links an object's thematic or aesthetic link to another object. Citizen Kane's opening sequence uses match dissolves powerfully.

Metaphor 

A metaphor is a figure of speech that compares two unlike things. It helps the audience understand a complex idea simply. The One Ring in Lord of the Rings is a metaphor for corruption.

Midpoint 

The midpoint occurs near the middle of the story, around page 50. This is a massive turning point that raises the stakes exponentially. The hero often moves from reacting to acting at this point.

Midpoint Contrast 

This is when the hero’s emotional state is suddenly inverted. They move from a high to a devastating low or vice-versa.

Midpoint Mirror 

This is when the hero is forced to confront their inner flaw. They see their weakness reflected in another character's actions.

Monologue 

A monologue is a character's long speech delivered without interruption. It is used to reveal crucial information or deep character psychology. The great monologues are compelling and always necessary.

Montage 

A montage is a sequence of short, disparate shots cut together quickly. It condenses a long period of time into just a few moments. This device is perfect for showing progress without dull explanation. The training montage in Rocky is one of the most famous examples.

Mood 

Mood is the specific emotional atmosphere of a scene or film. You use visual elements and sound to evoke this feeling. The constantly tense mood of The Social Network is undeniable.

Motif 

A motif is a recurring visual, sound, or thematic element. It reinforces a central idea without hitting the reader over the head. The color red is a strong visual motif in many films.

Mystery 

Mystery is a genre or plot device where information is intentionally hidden. The hero must engage in an investigation to uncover the truth.

Mythic Characters 

These characters are drawn directly from legends or ancient myths. They represent universal struggles and profound human truths. Thor and Wonder Woman are modern mythic heroes.

N

Nonhuman Characters 

These are characters who are not members of the human species. They may be animals, robots, or beings from other worlds. E.T. is the quintessential nonhuman character in film.

O

O.S. 

This stands for Off Screen in your script's dialogue parenthetical. It means the character speaking is not visible to the audience.

O.C. 

This stands for Off Camera in your script's dialogue parenthetical. It is sometimes used interchangeably with O.S. by some writers.

Objective 

The objective is the character’s specific, stated external goal. This is what the hero wants to achieve by the story's end. Marty McFly's objective is to return to 1985.

Obligatory Scene 

This is a scene the audience knows must happen in the film. It is expected based on the story's clear, central premise. The hero must confront the villain in the obligatory scene.

Observation 

Observation is the act of studying the external reality of the script’s world. The writer must be a master of observing human behavior.

One-String Characters 

These are characters defined by only one single, dominant trait. They are simple, but they serve an essential plot purpose.

Opposition 

Opposition is any person or force that prevents the hero from reaching their goal. This is essentially the conflict in action on the page.

P

P.O.V. 

This stands for Point of View in your script's action lines. It means the audience sees the action directly through a character’s eyes. The P.O.V. shifts constantly in the film Hero.

Pitch 

Pitch refers to the verbal communication of a film or TV idea. You must paint a compelling picture of the film in the listener's imagination. It must include a flawed protagonist and the high stakes.

Planting & Payoff 

Planting is the subtle introduction of a crucial detail early in the story. Payoff is the later use of that detail for a powerful dramatic effect. This is a hallmark of truly disciplined and tight writing.

Plausibility 

Plausibility is the appearance of truth or reason in the story. The audience must believe your story could conceivably happen. Even in fantasy, the world's internal rules must be plausible. The asteroid threat in Armageddon must be made plausible.

Plot 

Plot is the careful, deliberate sequence of events in a narrative. It is the mechanical, external arrangement of the story. The plot is what happens; the story is why it matters.

Plot Points 

A plot point is a critical, major event that changes the direction of the plot. These are the crucial turning points that force your hero to act. Every major plot point should feel both shocking and inevitable.

Point of Attack 

This is the moment when the protagonist first begins their action toward the goal. This is the start of the rising action in the First Act.

Polarity 

Polarity is the shift from a negative value to a positive value in a scene, or vice versa. Every scene should contain at least one meaningful shift in polarity.

Predictability 

This occurs when the audience can guess what will happen next. Predictability is often a killer of necessary suspense and tension.

Preparation 

Preparation is the subtle laying of groundwork for a future event. This makes a shocking event feel absolutely earned and inevitable.

Probability 

Probability is the likelihood of an event occurring in your story. The event must have a believable chance of happening.

Props 

Props are the objects used by the characters during a scene. They are small visual tools that help tell the story on the screen. The rosebud sled in Citizen Kane is the most famous prop.

Protagonist 

The protagonist is the central character whose journey the audience truly follows. This is the hero who must overcome the central, massive conflict. They are the character who must be transformed by the entire story.

Q

Quid Pro Quo 

This is a Latin phrase meaning "something for something". It refers to an exchange of goods or services between two characters.

R

Raissoneur 

This is a character who speaks on behalf of the author's own perspective. They often serve to explain the moral or theme of the story directly.

Ramifications 

Ramifications are the unexpected consequences of a character’s choices. They are the ripple effect of the protagonist's main action.

Recognition 

Recognition is the moment the protagonist realizes a critical truth. This truth is often about themselves or the core conflict. The Sixth Sense's ending is a massive moment of recognition.

Resolution 

The resolution is the final outcome of the main conflict. It is the part of the story where all major plot lines are resolved.

Reversal 

A reversal is a sudden, extreme change in the protagonist's fortune. It is a massive shift from good fortune to bad, or vice versa.

Reverse Angle 

This is a visual direction to cut to the opposite angle of the previous shot.

Rhythm 

Rhythm is the cadence and flow of your dialogue and action lines. It is the speed at which the story is delivered to the reader.

Rising Action 

Rising action is the sequence of events that builds tension toward the climax. It occurs in the second act after the inciting incident.

S

Scenarios 

Scenarios are the various plot outcomes or possibilities for your story. The best writers explore multiple scenarios for their heroes.

Scene 

A scene is a single unit of action that occurs in one distinct place and time. Every scene must have a clear beginning, middle, and powerful end.

Scene Heading (or Slug Line) 

This is the line at the top of the scene that identifies the location and time. It is always written in all capital letters.

Script Economy 

Script Economy is the efficient, intentional use of every word on the page. Every single line must be necessary, direct, and purposeful. The writer only includes what is essential to the story.

Sequence 

A sequence is a series of scenes linked together by a single idea or purpose. The heist sequence in Ocean's Eleven is a great example.

Setting 

Setting is the time, location, and environment of the story.

Slug Line 

This is another name for the Scene Heading in the script.

SMASH CUT TO: 

This is an abrupt, sudden transition, often shocking or jarring. It is more forceful and immediate than a normal cut.

Split Screen 

This is a visual device that divides the screen into two or more simultaneous images. The Parent Trap often used a split screen effect.

Stakes 

Stakes are what the protagonist stands to win or lose in the conflict. The higher the stakes, the more invested the audience will become. The fate of the entire galaxy is a high-stake scenario.

Status Quo 

The status quo is the protagonist’s normal, everyday world before the story starts. The inciting incident disrupts the status quo completely.

Stereotypical Character 

These are characters defined by overly simplified and predictable traits. They lack the complexity of a well-developed personality.

Stock Footage 

Stock footage is any pre-existing film used in your movie. It is often used to establish a setting or a historical context.

Story 

Story is the emotional journey and meaning behind the plot events. The plot is what happened; the story is what it meant.

Storyboards 

Storyboards are visual representations of the film, drawn panel by panel. They are the graphic planning tool for the director.

Style 

Style is the distinctive, personal way a writer tells their story. It is the unique combination of voice, structure, and tone.

Subplot 

A subplot is a secondary, supportive line of action within the main narrative. It often reinforces the emotional theme of the main plot perfectly. Han Solo's romantic subplot with Leia supports the main Star Wars story.

Subplot Characters 

These are the supporting characters central to the secondary plot line.

Subtext 

Subtext is the meaning that is not stated directly in the dialogue. It is the unspoken truth hidden beneath the character's words.

Supporting Characters 

These are all characters besides the protagonist and antagonist. They exist to advance the plot and challenge the main hero.

Surprise 

Surprise is an unexpected, un-foreshadowed event in the story. This is different from suspense, which is built by anticipation.

Suspense 

Suspense is the tension created by the audience's anxious anticipation. It is the fear of what may happen, not what has happened.

Symbol 

A symbol is an object or idea that represents something else. The white whale in Moby Dick is a symbol of obsession.

Symbolic Characters 

These are characters whose entire being is a clear symbol.

Sympathy 

Sympathy is the audience’s feeling of pity or sorrow for a character. This is an important emotional connection with the hero.

T

Telegraphing 

Telegraphing is revealing information too early or too obviously. This ruins suspense and makes the story feel overly predictable.

Tension 

Tension is the nervous, apprehensive feeling of the audience. It is the core, sustained emotional engine of your entire film.

Theme 

Theme is the overarching, universal idea or meaning of the story. It is the ultimate message your script truly offers. Your theme is the resonant human truth that sticks with the audience. The theme of loss of innocence is strong in Stand By Me.

Third Act Twist 

This is a sudden, unexpected revelation late in the film's final act. It forces the hero and audience to re-evaluate what happened.

Tone 

Tone is the attitude the writer conveys toward the subject matter. Your tone can be serious, humorous, or deeply ironic. The tone of Fargo is famously black comedy.

Twist 

A twist is an unexpected turn in the plot of the film. The Sixth Sense ending is one of the most famous plot twists.

U

Unity 

Unity is the classical dramatic concept of time, place, and action. Modern film primarily focuses on the unity of action now. Your entire narrative must feel unified by a single core purpose.

V

V.O. 

This stands for Voice Over in your script's dialogue parenthetical. It means a character speaks, but they are not present in the scene.

Vertical Reading 

This is the process of reading every single word and line on the page. This is how professional readers ultimately evaluate the script.

Visuals 

Visuals are the things the audience sees on the screen. The writer should always aspire to think visually first. The visuals of The Fifth Element are meticulously compelling.

W

White Space 

White space is the empty space on the page of the script. It indicates short action lines and fast-moving dialogue. White space makes the script easy to read quickly.

World of the Story 

This is the setting, atmosphere, and specific reality your story occupies. The rules of your world must be established and never broken. The Wild West is the classic world of the western genre. The world of Bruce Almighty grants divine power to the hero.

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