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Join Jeff Sengstack for an introduction to the screenwriting and production planning application Adobe Story. This course details each of Story's three main functions—scriptwriting, collaborative editing, and production organizing—as well as how to connect script text to spoken dialogue in Premiere Pro. Explore how to create and use script templates, manage editing from coauthors using track changes, arrange shooting schedules, and more.
You're probably chomping at the bit to start writing a script, right? But before we do that, let me show you a script. There are two basic types of script templates that you work with inside story, film scripts and TV scripts, and we're going to focus on film scripts in this course because they're the most common. So let's just take a look at a film script. To do that I want to import a film script. Here we are inside the Test project. When you are inside the Project view here and inside a particular Project and then you have access to this button here Import. Click on that. You can see all the Supported Script types here, see that there is a Story Document-- which is an Adobe Story Document--so you expect that, and the Story Interchange Format also from Adobe Story, but down below you've got Final Draft.
Final Draft is a company that makes a product called Final Draft, then Movie Magic, which comes from a company called Movie Magic-- Movie Magic Scriptwriter or Screenwriter, then you can have a PDF or Microsoft Word. And Microsoft Word probably is the most commonly used scriptwriting tool. And then Final Draft is probably next, then Movie Magic follows that, and then you can put just but anything in a PDF file. So we are providing a Final Draft Script here, there it is this is created inside Final Draft, so just double-click on that or click on it and click on Open, that will import that script.
Okay, here's that script, and it is laid out in a typical film script template format. There are few little gotchas along the way, which we're going to fix when we edit this script, but for now it pretty much matches the typical film script template. Let's just take a look at it. Every scene starts off with an Exterior or Interior or both, it will be EXT., like that, or INT. or IO. then a period. There has to be a period after that indicates, okay, that's the Exterior, Interior. The next thing is the SET followed by the time of day. That is typically how each scene is set up, and down below there might be action--basically describes the scene.
Here is the character name in all uppercase. That's not necessary to put that in the action here. Story will identify characters. It'll look for non-speaking characters when you have a description like this to tell you later to make sure you've got the character there, even though it's not going to say anything in this particular scene. So there you go. It's just the description, typical scene setup. Let's scroll down a little bit more here. Here is another scene. It says INT., meaning Interior. That's the SET, that's the time of day. Now there is plus here, because it says this SET, ARCHITECTURAL CREATIVE COMMONS is not in your SetList, BEACH is in our SetList, the time of day is in our SetList, that's fine.
But here this guy is not. So one of the cool things about story is that you have a SetList already, but story doesn't recognize this one, then you can add it. So I'm going to click on this little plus sign there, that adds it to our SetList. We're going to take a look at it now, there is our set BEACH, LIVING ROOM, and PARK, plus this one now has been added to it. That's good, click that OK, that plus sign goes away now. Then here is another description, another action description, and down below it says REPORTER (V.O.). First of all, REPORTER is a new character, so you get the plus sign there. So I click on that, that's going to add REPORTER to our CharacterList, and here we go, we have REPORTER now, all uppercase there, okay? And V.O. means Voice Over, means that the REPORTER is actually not on the scene, not even going to be on camera. It is just someplace else, maybe a telephone call, something like that, and you hear the reporter's voice.
Here is another new character again, Voice Over, so you don't see the character. The character won't be on scene. I am guessing that the script, that it really didn't intend to have this person completely out of the scene and just hearing voices, probably meant that he is off camera, but we'll let that stay there for the time being and maybe work on it later, and we can add JOSEPH to our list, or not. We'll just let it go for now. Let's scroll down a bit farther. You see the CONT'D means Continued. What that means is this character was talking, this little description here, then the character continued, so you need to include that there to remind people that this is the same person who was just talking moments ago. There was nobody else interrupting him between there.
MORE means that if the character is going to continue reading to the next page, so let's put it automatically. We have a page break. Now you may say, you know, you want to just drop this down to the next page and put a page break here. Well, one of the really cool things about this layout with this font size and the width of the dialog and things like that is that there is a rule of thumb when you do scriptwriting using a film template like this, that basically one page of dialog and description equals one minute of finished screen time. So you can see the number of pages in the script. If it's 100 pages long, it should be about 100 minutes long, meaning an hour and 40 minutes.
So it's kind of a rule of thumb, ball park figure to help you decide how long your project is going to be. That's why they don't put in big spaces here at the bottom. They want to make sure it continues like this so you can really estimate the time. That's also useful when using the production tools here inside Story, because Story then looks at the lengths of the scripts and then sets your production time and schedules based upon the number of pages in your script. It's a very slick little feature. So we have VOICE OVER and CONT'D, an extra one there, so we'd edit that out. Another plus sign here for MR. DALTON, a new character, click on him, I'll add MR. DALTON as a character, we have a LIST there, there is MR. DALTON.
This time it's lower case there, even though it's upper case over here, but that's the way it's supposed to be. So close that down, scrolling down a little bit more, I'm going to go down to Page 7 here. I'm going to show you a parenthetical comment as I go along. Sometimes you give some kind of parenthetical comment to say something about how the character is feeling, so if I scroll down, eventually we are going to run across parenthetical comments. There is the (speaker phone), so it's indicating that he is on the speaker phone. That's a parenthetical comment, we know it's part of the action. O.S. means Off Screen.
Off Screen means you don't see them. Let's scroll down further here, and there are standard things inside scriptwriting. I'll go to Page 7 here. Let's see here. Here is a little mistake, it says EXT. AFTERNOON. You put the time at the end, not ahead of the SET, and so if I click this little plus sign, it's going to add a SET named AFTERNOON, so this is something we need to fix later, but it's important that you follow the templates. I'll click that for now and look at the SetList, and now we have SET called AFTERNOON-BEACHFLASHBACK.
So we're going to want to edit this, so that we don't have AFTERNOON appear first. We want it to come after, so I am going to click on that and say Delete, Yes. So I think you can see how scripts are laid out. We're going to use this film template to create a script in another movie.
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