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• #OPEN SCRIPT WITHOUT SLUGLINE SERIES#

#OPEN SCRIPT WITHOUT SLUGLINE SERIES#

And OMG that finale cliffhanger!!! 😱 Thank goodness the series has been renewed for a season 2 or I would have gone all shades of BESERK!! Definitely worth a watch. I don't think I love it yet like the original, but I am definitely getting there. I do miss some of the characters from the previous series, especially Jay Edgar, but they do weave in cameos deftly so it's not all bad. Instead she is cool and calculating like her FBI agent mother. She's strong-willed and uncompromising like her father, but knows she can't be hot-headed and demanding as a female cop or her career will be over. Maddie is GREAT as a rookie: gone is the young idealistic student. After seeing her motives constantly called into question in Bosch, it is really illuminating to see how SHE sees the law this time. We see much more of Chandler, especially her PTSD from being shot in the last season of Bosch. I wasn't disappointed: after resigning from Hollywood PD in the last season of the original, Bosch is now a private investigator who sometimes works for 'Money' Chandler, proving everyone makes compromises sometimes. I absolutely ADORED Bosch, so was very keen to watch this spin-off. Time for another #B2Wreviews!! This time BOSCH: LEGACY where he shares the stage with daughter Maddie and former antagonist defence lawyer Honey 'Money' Chandler. Keep them as your “anchors” and as short as possible, not a sneaky way to shove information in there as the “way” you see the scene.įor more on format issues like this, check out The Format One Stop Shop. I’ve actually seen sluglines/scene headings go on for as long as three or four LINES. Yes, if you have more than one house in your script, then it’s advisable to give a little more information, ie:īut giving the whole address, colours of cars, location details etc – does it matter, REALLY? And if it doesn’t, why bother? We all know this, ‘cos most of us have lived in a house or at least a flat, which is just a smaller version. Writers seem to get really, really hung up on *which* house we’re in and exactly *where*, yet most houses will have bedrooms, a kitchen, a living room. The biggest offender I see are addresses in sluglines/scene headings. Sluglines/scene headings are just “anchors”, we don’t need all the detail here. The problem with sluglines like these is, they’re quite distracting to the reader and “draw the gaze”. A HUGE MOUNTAIN RANGE WITH A WINDING RIVER – DAY CALVIN ROAD, NEAR THE KEBAB SHOP ON THE CORNER – NIGHTĮXT. 119 KILMER ROAD, BOURNEMOUTH, PETER’S ROOM – NIGHTĮXT. Writers often seem very hung up on letting the reader know EXACTLY where we are, to the point of the script’s detriment. While I’m discussing sluglines/scene headings however, there is one thing that WILL “bust” scribes and that’s overly detailed/overly long ones. I don’t believe this will “bust” you – as a reader I’ve never remarked on it in script reports and as a writer, no one has ever once said to me, “You know what I hate about your scripts? The fact you don’t ever put MOMENTS LATER or SAME TIME.” It’s very easy to get “hung up” on so-called “rules” but for me, the important thing re: format is not getting busted. I’ve seen it written like this in many, many scripts – both spec and commissioned – and I’ve certainly NEVER heard anyone complain about it. Instead of setting up a whole new slugline for the en-suite bathroom then, I’ve just made sure the reader knows we’re in another room, but essentially it’s the “same time”. Through the open door, Joe’s reflection switches the light on and blows the overhead light, plunging both men into darkness.

Jim checks the bathroom cabinet: no complimentary toiletries. If I was to take his example here, a scene between Joe in the bedroom and Jim in the en-suite bedroom, I might instead not bother with the notion of “overt time” and write it like this:

Owen makes a good point here: sluglines/scene headings in spec scripts are often littered with timings, when none are really needed. I have many pages with “MOMENTS LATER” throughout… Is this necessary? I mean obviously changes in “time” need to be reflected, but if there is no change in time, is that not just read in?” BATHROOM – NIGHT (or SAME TIME, MOMENTS LATER, whatever) interminably. Let’s take, for example, and interchange between Joe in the bedroom and Jim in the en-suite bathroom. “The “time” of a scene sometimes is a problem.

Many thanks to Bang2writer Owen Salmon, who asks this question about sluglines, aka scene headers: