BMA123 EXAM 2

Logline

a brief, one to two-sentence summary that encapsulates the core elements of a story

Synopsis

a brief summary that gives audiences an idea of what a composition is about

Summary

It usually more focused on summarizing the main points of the narrative in a concise manner.

Logline

It acts as a concise pitch, highlighting the key aspects that make the story unique and intriguing. Think of it as a hook that entices potential readers, viewers, or producers to delve further into your narrative.

Synopsis

It should convey the content of your book or screenplay, and it should be INTRIGUING! it’s best to avoid revealing major plot twists or the ending in a synopsis. Focus on summarizing the main events and character arcs without giving away all the surprises.

Summary

often aim to provide closure or a clear summary of the story's conclusion

Plot

the sequence of events that make up the storyline of a narrative. It includes the central conflict, rising action, climax, and resolution.

Blurb

a short promotional description found on the back cover of a book, on its dust jacket, or on the book's product page online. It's meant to grab the reader's attention and entice them to read the book.

Outline

a structured plan that lays out the main points, events, and structure of a story before writing begins

THE BEGINNING - STATUS QUO

In order for an adventure to have any sense of progress, we need to see what the world is like right now. In the beginning, our heroes either state or are explicitly told their WANTS and NEEDS for the story.

CALL TO ADVENTURE

Our heroes don 't go out searching for adventure. They are called to it, usually by a mysterious newcomer.

REFUSE THE CALL

Without fail, the hero will ignore or outright refuse the first call. He doesn 't think he is capable of taking on the immense challenges ahead. Refusing the call can even be a momentary decision.

SUPERNATURAL AID, FINDING "HELPERS"

When the hero finally decides to take the call, it usually comes with a bit of supernatural aid...if just to kick things off. This is also where the supporting cast is introduced.

CROSSING THE THRESHOLD

The hero leaves home for the first time. Samwise Gamgee literally says "this is the farthest I' ve ever been from home." Crossing the threshold can be a physical thing, like entering new areas, or a metaphorical thing.

BELLY OF THE WHALE

It is about being overwhelmed by the reality of the adventure. Basically, it is the final separation from the hero ' s known world and self.

ROAD OF TRIALS

The trials are represented as a series of small victories and defeats. Each step forward is also a step backward, but the protagonist is constantly learning and growing.

THE ABYSS (DARK NIGHT OF THE SOUL)

The confrontation. The hero meets up with the villain in a massive battle...and loses! The Abyss is marked by a metaphorical—or even literal— death of the protagonist.

TRANSFORMATION

The hero has been tested in the most grueling way possible...and now they are transformed.

ATONEMENT

The death of the villain. Atonement can mean many things, but it is usually the team/family coming together in the 11th hour for the final victory. It is the moment the hero believes everything they were told by their mentor (or rejects it outright) in order to win the day

GIFT OF THE GODDESS

With the villain defeated, the hero receives a gift. This can be a magical amulet, a cool medal, or a delicious sandwich. It isn 't what the hero was questing for (more often than not), but rather what they needed all along.

RETURN

Finally, the hero returns home...but everything is different. The hero returns to their community as a force of change, bringing healing and wholeness to society at large

Sluglines / Scene Headings

used to introduce each new scene and provide information about whether the scene is interior or exterior, where it is exactly (the location), the time of day, and any other relevant details needed to set the scene.

Script

a written work consisting of components like detailed story, dialogue and setting.

Smash Cut

This is a hard edit or quick cut to the next scene. There’s no gentle fade or soft music taking you there — instead, the cut is meant to be jarring. This type of transition helps to add importance to the new scene and speed up the pace.

Dissolve To

This transition is almost the opposite of a “SMASH CUT.”

Dissolve

a slow fade out of one scene into the next, giving the audience a moment to digest what they have just seen and making clear what has just happened is connected to the next scene, though exactly how they are connected may not be clear yet.

Intercut

This one simply means the action is cutting between two scenes, you don’t have to be so detailed with the slug lines

Match Cut To

This means the last scene is visually similar to the next one, showing a thematic connection.

Match Cut To

You are showing a similar scenario but the characters are defined by the differences

Jump Cut To

This transition means you are fast-forwarding to later in the scene or later that day, likely with the same character. You should mention how much time has passed in the action lines below the transition so the reader isn’t guessing.

Jump Cut To

the action in one scene cuts to later in the same location, possibly with the same characters, but not necessarily.

Fade In

A classic. You use this at the beginning of the screenplay

Fade Out

this one at the end. They both are time-honored transitions but aren’t really necessary these days. Some writers really love to use them, however, so it’s really up to you.

Shot

tells the reader the focal point within a scene has changed. L

Transition

film editing instructions, and generally only appear in a shooting script

Parenthetical

Indent: Left: 1.5" Right: 2.0" Width: 2.5"

Dialogue

Indent: Left: 1.0" Right: 1.5" Width: 3.5

Transition

Indent: Left: 4.0" Right: 0.0" Width: 2.0"

Character

Indent: Left: 2.0" Right: 0.0" Width: 4.0"

Extension

Placed after the character's name, in parentheses

Mores and Continueds

Use between pages to indicate the same character is still speaking.

Page Number

Located 0.5” from the top, flush right.

Instructions for a series of quick cuts between two scene locations.

Extension

A note placed after the character’s name to indicate how the voice will be heard on screen.

Subheader

For when a full scene heading is not necessary.

Dialogue

Lines of speech for each character.

Character

A character’s name always appears above his dialogue.

Character’s first appearance

A description of the character; name should be CAPPED

Action Lines

The narrative description of the events of a scene.

Scene heading

A one line description of the location and time of day of a scene.

Fade In

The very first item on the first page should be these words.

Title

The name of your script, in 12pt Courier font.

By-Line

The name of the author(S)

Contact Information

Your or your agent’s. Include address, phone number and email.

Dialogue

a crucial element that usually takes up the largest part of a film script.

Action Lines

give readers an idea of the physical setting and character movements or actions. They provide a visual description of what is happening on the screen. They are simple, declarative and written in the present tense.

Sluglines

used to introduce each new scene and provide information about whether the scene is interior or exterior, where it is exactly (the location), the time of day, and any other relevant details needed to set the scene.