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The folder of our project

is always better to be accompanied by a script.

Sometimes it's called pilot, first chapter,

but it's difficult to sell a series

if we still do not write the script of the first chapter,

or at least if not we walk through the experience of writing

how our characters speak, what is the rhythm of each episode

and, in short, how we imagine that our series will be.

My advice is, as Hemingway said, that the first version of anything

is crap, so do not trust in the first draft of your chapter.

Try giving it to your friends to read, listen to the returns you give them,

reread it many times.

The best advice I can give you is that writing

is rewriting all the time.

So we'll talk first about how to write

the script for our first chapter.

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We arrived at the moment to write the script.

not the easiest part, really, but we've already done a job

and we know more or less what we want to tell.

So I'm going to show you an appointment that I really like,

that I have very much in mind when it comes to sitting down to write.

It's from the book called "Practice of the screenplay",

by Carrière and by Bonitzer. He says that:

"Every dramatic event, to be fully satisfactory,

must be both unexpected and inevitable.

Unwrap as best as possible in this admirable contradiction."

Why do they tell us this?

Because every time we think a turn or give a twist

to our script that should be surprising,

should not expect the viewer.

At the same time it should be absolutely logical,

should not be an occurrence of the scriptwriter or screenwriter.

So we have to try to be very subtle

between the unexpected and the inevitable

every time we think a new action for our script.

Let's see now in good, very practical terms

what we should keep in mind when we really sit down to write

and face with the blank sheet.

Usually, I work with this script model.

We call it a literary script.

There are several models of scripts, there is also a model

quite used for television, which is with two columns,

in a column the image and in another column the sound .

But I suppose because I passed through the film school

and because I was taught to use this type of format

I became fond of it and it's the one I use.

It's kind of like a standard, a convention

in the world of television and the world of cinema

see scripts with this format.

The font that is used is Courier New, 12

and I use A4 but there are people who use letter or letter sheet.

It's different because it changes the number of pages

and you have to take it into account.

And also, when using an application

you can use the Final Draft, you can use the Celtx

or you can use any other word processor,

could Use the Word too.

And lately, for some projects I use Google Docs.

I open a document and there are plugins that can be downloaded,

there is one that is called Script Format, and with that plugin

I already have preset the tabs I need

to be able to work, and we can also work collaboratively

with one or a co-writer.

On the other hand, at the time of writing, we will see very quickly

what elements are present in the script, some advice

and then we will quickly analyze against image a couple of pages

of a script of "Petit".

In principle, this part, INT. SCHOOL - DAY, it's called a header.

By production you have to take into account which is inside or outside.

Then the location and then the effect, day, night, sunrise, sunset.

We call that header, and it has a scene number

that we have to be very attentive to change it every scene change.

Some applications do automatically.

Each time the time or space changes, the scene changes.

We immediately write the action, and you have to be very careful

because, for example in this case, it says: "The teacher is next to the board

front of the class. there is a projection of several animals,

one next to the other, a sheep, a bear, a fish and a monkey ".

This could be two planes, a general plane,

where the teacher next to the board in front of the class,

or a middle plane of the teacher with a projection background.

It would have been different: "Petit observes how the teacher,

next to the blackboard, shows a projection of several animals".

There we would have imagined a half plane and Petit

and then a map of the teacher.

So, you have to be careful in what are the images

that we put on the head to the person who is reading

what we are writing.

In that sense it helped me a lot study direction.

So, I already when I go writing the actions

I'm dosing it as if it were that I'm showing it on planes.

Let's keep in mind that, let's help our interlocutor

so that he can understand what planes we imagined

when we were writing and, on the other hand,

we will be able to convince them because they will see clearly what our vision is

and they will not imagine things that we do not want them to imagine.

Immediately after, when there are dialogues,

is put to the character, the ideal is always name it in the same way.

If sometimes I put "teacher" and other "miss" or something else,

that can generate confusion, not known if it is the same actress or not.

Then we always put "teacher" and always write the same way

to that character, the same with the rest of the characters.

There are two conventions.

I use the second, which is that once in the action is written a character

is written with capital letters.

And the other convention is that every time a character is written,

is written with capital letters the first time it appears.

I always write it with capital letters because it helps me to quickly see

the actions where characters appear,

which are the characters that are triggering.

Then we put the lines of dialogue of each of the characters

and we are indicating, when there is a parenthesis,

for example here in "mysterious", a very specific of acting,

we can mark it in parentheses and in that way,

when the actor or actress is interpreting,

a first reading can know what is the intention that we ask

in each of the lines.

More or less, I was taught that a script is one page per minute.

But now let's see that is not always that way.

On the other hand, you have to dose a little the amount of description of actions

because many times in animation there are actions that are not conventional,

as the character triggers a propulsion mechanism

and it goes flying and pushes a catapult of I do not know what works.

Many times we must develop in the action part of the script,

quite a complex action.

This leads us to have many lines and many times that is a second,

but we, so that our interlocutor understands it,

we must put a lot of description.

Sometimes in animation that happens and that makes it run

and not necessarily that a page is a minute.

Maybe a page is absolutely dialogued

and it's a monologue, and that page is maybe a minute and a half.

But it is more or less important that we as scriptwriters

know that more or less the reading time of a page

should be directly proportional with the time that we imagine

those actions and dialogs on screen.

Let's see an example of chapter four of Petit's first season,

which is called "I'm going to find the missing link",

and we're going to see the screenplay against to see what we have to take into account.

We have Interior, School, Day. "The teacher is next to the board,

front of the class." Behind her there is a projection of several animals,

next to each other , a sheep, a bear, a fish and a monkey ".

Clearly, one when he is writing, also writes for who he is going to direct.

In this case, the director and producer is Bernadette Ojeda,

and she makes thousands of decisions depending on the script.

It is important to know that the script is a previous instance.

Dashes are usually lost.

The important thing is the interpretation that will be made by the director

or the interpreters of the material that we did.

Ideally you have to grow throughout each process.

But in principle here, respected more or less what I had written.

A teacher next to the board front of the class.

"Children, to which of these animals do you think we look the most?"

Petit raises his hand and finds the matches.

"Gregorio looks like that bear, Laura the sheep,

Roman looks like the fish".

There I had to explain that it does not sound so outlandish

because the animals give an air to the companions,

but the teacher interrupts him.

All that description, as you can see, is quite longer

than what happens in the action itself.

"I mean which of these animals is more similar to the human".

"The monkey!"

The same thing happens here.

Roman returns the joke to Petit.

"The slide changes and we see the silhouette of a monkey

and the silhouette of a man and a woman".

Here Bernadette made other decisions, let's see what they were:

"Many years ago, some monkeys began to change.

evolved in humans that we are today."

Notice that here I proposed: "Petit opens her eyes

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in the middle of the teacher's dialogue", and here not necessarily

the principal made the decision to take a of Petit surprised,

but he chose directly to include Petit's question:

"But how did change so suddenly?

It took them many, many years.

But there is a mystery that science has not yet been able to discover, Petit. "

We are now on the page.

Notice: "All the boys pay close attention

to the screen, in the middle, between the silhouette of the monkey and the human,

is a silhouette of what would appear be an intermediate between monkey and human.

We see a pretty funny figure similar to the Yeti ".

Notice that Bernadette added a woman, perfect what she did,

and on the other hand all this description that I did is just a slap of sight.

So, maybe that's where starts to appear.

A very long description of an action, that is understood at a glance

on a single line.

"What was it like to be half man and half ape who lived in the caves

and call it the missing link?"

When I put "mysterious" and say "the missing link",

I do not know what he would have imagined who read it,

but Bernadette interpreted that.

Instead of zooming in to the face of the teacher or whatever,

try to put "mysterious" so that whoever is going to do it

makes his own decisions.

As a filmmaker, I do not like very nice that a screenwriter

imposes decisions that have to do with direction.

I prefer to mark some intentions and not to say:

"A crane goes through the streets", etc.

Maybe they do not have money to make a crane.

I would prefer to show it in another way.

I try to give freedom to whoever runs so that I can make the decisions.

"Petit sinks in the seat, the same thing happens to the others,

all the companions look at the missing link like a monster".

"Tomorrow bring a picture of how they imagine

that it would be the mix between monkey and human".

There, to cut the scene, ends and there's a space jump,

and there's also an ellipsis.

Time passed and I put "cut to".

That's called transitions, perfectly could not be,

and, instead of cutting directly, Bernadette used a plane

that functions as a hinge between one scene and another,

which is the timbre transition.

And now we're on the Outside, Patio and Day.

I wrote: "Petit, Gregorio, Laura and Román seem hypnotized,

tremble side by side, they talk without looking at each other or blinking

and in a monotonous way in a state of shock ".

"I think I will not be able to sleep today

Hey, Petit, could go to your house to sleep today?

Yes, I would like it too.

Yes , friends, of course! not that we're afraid, right?

No, no!

We're not afraid of ...

missing link! "

Notice that we are already on page 3, we have a fifteen minute animation.

At this point we should go, if we pay attention to that rule,

three minutes of animation, but we go one minute fifteen.

So, it's pretty relative.

On the other hand, it has a certain coherence because, in general,

Petit's scripts have about 12 pages

and the Petit chapters last seven minutes.

Again, notice, there is another transition.

And in this case I put ... It's a very short scene

that says: "Exterior, Casa Petit, Night, it's raining, thunder,

we see the light from the loft in the house of Petit lit. "

Bernadette decided not to put the loft light,

but there is a thunder and it's a very short script scene

that works practically as a montage.

This scene might not be and whoever directs could add it or not,

but many times when we imagine the chapter

's okay to add certain scenes that give a little relief

or allowing spectators think about what happened

and create an expectation about what will happen

and also organize the story, tells us that we are somewhere else.

It helps us to understand it.

"I do not want to do the drawing.

Me either."

It's very interesting do this exercise,

one as a screenwriter afterwards is not checking exactly what

what the director with what one wrote,

but also one has to be very aware

that no one publishes the scripts, they are not a literary piece,

but they are a kind of link between the whole creative process

that we were watching and the final visual product.

I think we should not be too fond with the script.

While you do not have to have problems and it has to be a firm step

in the process of audiovisual development,

I think you do not need to cling to it or defend it with nails and teeth.

We need to allow the department to make the decisions

that it has to take so that the work that we think in the script

can be completed in an audiovisual way .

I think our responsibility is not to wait for things to resolve

afterwards, and give something that has rhythm, something that is well described,

something that is very verbose, that does not have misspellings

and that is really impeccable so that the next department

that grabs the script, which in this case is address,

we have to do well our work so you can grow.

Sometimes, if it grows in another direction, will ask us to rewrite

or ask us for advice or our point of view.

But as screenwriters we should be very responsible

and deliver a final product that is perfect

but at the same time know that it is not the final product

but this it will be the audiovisual work.

Let's review then some tips or some tips that we can see

to be able to write better our scripts.