As screenwriters, we're constantly told to "think in film" — to imagine each scene unfolding in our mind as if it's being played out on the big screen. To complicate that sagely advice, we're also told not to use camera angles or shot descriptions in our scripts.

So what can you do?

Simple: skip the camera directions and find better ways to convey the same imagery.

Here are some examples:

Let's say you're writing a script about a burglary and you want to open the scene with the image of the burglar's gloved hand. You have two choices: use the camera directions or not. (Hint: Always go with "or not".)

An example of how NOT to write the scene:

Instead, convey the same imagery without the camera directions:

Voila! Same imagery, no camera directions.

Another example of how NOT to write a scene:

What does a slow pan have to do with the story? Absolutely nothing. Remember, it's the story you're concerned with, not the filming of the story. If something isn't integral to the storyline, remove it. If it is integral to your story, find a way to weave those words without referring to camera directions.

As a general rule, the easiest way to convert your script to spec-friendly format is to eliminate any and all filmmaking terminology that falls between FADE IN and FADE OUT. Delete the CUT TOs, strike out the CLOSE UPs and remove the PANs. Avoid using anything other than the required sluglines.

Direct your film by writing in the visual style of shots and camera directions without referring to the shots and camera directions themselves. For a more detailed explanation of how to direct your script by writing your action in a style that automatically flows from shot to shot, also check out the previous article called Using White Space to Hold a Reader's Attention.

Standard disclaimer: Please note, web browsers do not allow for the presentation of a screenplay in its correct format. Excerpts and examples of screenplays found in these articles should not be used as examples of proper screenplay format. To learn how to properly format your screenplay, David Trottier's The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script is an excellent reference.

At one time or another, every writer searches her heart and mind for a great story idea and comes up short. The muse is silent. The motivation is gone. The driving force that compels her to write just isn't there.

At this point, the writer has two options. One: wallow in self-pity, bemoan the situation and dwell on the lack of creative flow in the hopes that some interesting tidbit of an idea might magically present itself. Or two: take action and find something to get those creative juices flowing again.

While it often seems like the best ideas just appear in the mind — usually popping in at the most inconvenient and untimely moments — those ideas don't manifest themselves out of nothing at all. They come from somewhere, from a place deep within, where all the input your senses have ever received meets in a tangled jungle of sights and sounds and smells, textures and thoughts and emotion. That somewhere, that jungle, is what you as a writer need to learn to tap into at will.

That's where the Idea Generator comes in.

Not a machine but a technique, or combination of techniques, designed to propel you into creative mode.

This entry will deal with the first of those techniques, a simple method that forces your mind to look beyond what your eyes see, to probe your inner jungle to find the deeper story in everything around you. After practicing this technique, you'll find it difficult to look at any object and not see the potential for story.

How it works:

Grab a notebook and a pen and sit in the center of a room. Any room, the bedroom, the living room, it doesn't even have to be your room. A public place will do just as well.

Look around. A writer's greatest asset is the power of observation, and object targeting is a terrific way to hone that ability to a fine point.

Instead of focusing on the room itself, concentrate on what's in the room. What objects do you see? You may see furniture, you may see pictures on the walls, you may see knick-knacks on the shelves. If you're in your own room, each of these items may have special meaning to you. You may know Great Aunt Helen gave you the ceramic dog that sits by the door or that the silver candlesticks on the mantle were a wedding gift and the painting on the wall was a terrific bargain at the local flea market for five dollars, but for now, forget everything you know.

Focus on the objects in the room as if you've never seen them before. Let yourself be drawn to one object in particular. It might be a feature of the room, such as a fireplace, or something as simple as a book or figurine. You may be attracted to it because of its color or shape or simply because it's unique.

Once you've decided on an object, write a brief description of it in your notebook. This should be your initial impression of the object. Remember to look at it as if you are seeing it for the first time.

As an example, I'll write about that ceramic dog. (No, I don't really own a ceramic dog, but for the sake of this exercise I'll pretend I do.)

"Ceramic dalmatian, glass eyes, approximately 12 inches high, somewhat tacky."

Now study the object more intently. If possible, pick it up. Turn it over in your hands. Set it in front of you and walk around it. If your object is a feature of the room, approach and study it from several vantage points.

Make notes about any features that strike you.

My notes:

"Dalmation is hollow, ceramic, has a small chip in the front right paw, a plastic stopper underneath which covers a circular hole cut into the base of the figurine. Glass eyes seem to follow you around the room. Kind of creepy."

Now sit back and imagine the life of your object. How did it come to exist? Where has it been? Who had contact with it prior to it coming into your possession? Who might want or own an object like this? What role can this object play in a story?

These questions alone can provide a wealth of story ideas. How many novels or films can you name that feature an object as the driving force of the story? The Lord of the Rings, The Red Violin, Raiders of the Lost Ark, and countless other stories have been made with an object as the central focus. Characters need something to strive for, a goal, and often that goal is to obtain a specific tangible object rather than a certain emotional state.

Back to the ceramic dalmatian:

I ask myself, what role can this object play in a story? How can I create a story from nothing but a ceramic dog?

Well, let's see…

For starters, my dalmatian needs a home. We'll put him in the home of a rather wealthy couple. (Hey, even the rich don't always have great taste.)

Now that he has a home, how do I make him the central focus of my story?

Maybe he's valuable, an antique, or an exotic import that once belonged to someone famous. In fact, he's so valuable he draws the attention of a thief. Or maybe the dog itself isn't valuable, but, being hollow, he contains something that is…

It might not be great but it's a start, and all stories have to start somewhere. The goal of this technique is to get those creative juices flowing.

Maybe the map to a buried treasure is hidden in the fireplace behind the third brick from the left (an action-adventure). Maybe one of those silver candlesticks was once used as a murder weapon (a mystery/thriller) and maybe it still possesses the spirit of the victim (a horror).

Everything has a story to tell, if you're willing to listen.

Every writer has her own style and approaches writing differently. Some write in an office while others write at the corner coffee shop. Some have time to write non-stop for hours each day, while others can squeeze in only an hour here and there. Some have a strict routine while others take up their pen on a whim.

No matter what your style, applying discipline to your writing habits can go a long way toward improving your writing. While some might say following a routine squelches creativity and prevents the writer from fully succumbing to the muse, the evidence says otherwise. The top writers in the world — best-selling authors and screenwriters alike — consistently mention the routines they adhere to in order to get their words down on paper.

Getting the words on paper is what makes the difference between just saying you're a writer and actually being a successful writer.

The key to adopting a disciplined approach to writing is to start small. Sure, everyone wants to turn out twenty perfect pages per day, but it isn't likely to happen that way at first. Setting your goal that high will only lead to disappointment. A little discipline goes a long way, and it's much more motivating to work up to producing more words each day as time progresses than it is to find you're unable to meet your initial goal.

Start by giving yourself a requirement of only one page per day. Resolve to write at least three days per week. Make it not just a goal but a requirement. Stephen King forced himself to maintain a strict daily page count, and look where he is today.

Why discipline yourself by adhering to daily page counts or word counts instead of simply giving yourself the requirement to write for a certain length of time per day? One hour per day? Two hours? Because you'd be amazed at how much time you can kill while staring at a blank page. Make it a goal to write for one hour per day and you'll find out just how quickly an hour can pass without a single keystroke, but make it your goal to write one page per day and you'll find you have the urge to put something down on paper to fill that page.

Once you've decided on your minimum word or page count, you'll just sit down and write, right? If only it were that simple.

Having the discipline to write one page per day is an accomplishment in itself, but what should you write about? For many of us, the motivation to sit down and write doesn't always strike at the same time the ideas hit home. How to merge the two is another challenge altogether.

If you find yourself staring at that blank page with no ideas within your grasp, try journaling or random-topic writing. The Writing Fix website offers a random topic generator, available for free at the click of a mouse. Try clicking your way to a new idea. If you write fantasy or science fiction, check out the Fantasybits topic list for writing prompts.

Invest in a pocket-sized notebook for jotting down your ideas whenever you're out and about. Whether you're on the subway or in the checkout line at the grocery store, use your notebook to capture those fleeting thoughts. Write about character traits you'd like to incorporate in your stories. Make notes about possible story titles as you think of them, regardless of whether or not you have stories to go with them. Refer back to your notebook during those times when you're unable to meet that one-page-per-day quota without a little added inspiration.

For those who need additional prompting, try enrolling in a creative writing course at your local college or university. Most community colleges offer courses for a very reasonable price. Having a weekly homework assignment hanging over your head may be just the push you need to put that pen to paper. If enrolling in a college course isn't a viable option for you, join a local writers' group or an online critique group where you can receive encouragement from other writers in the same situation.

Remember, start small and build upward from there. One page per day will soon grow into two, three, and maybe even ten pages per day, and before you know it you'll be holding a completed manuscript or screenplay in your hands.

Writing visually is not only about crafting words that flow smoothly and evoke vivid imagery. It is also about not including words that detract from that imagery or interrupt the flow. The screenwriter's goal is to create a script in which the writing flows so smoothly the reader becomes part of the story, watching it from within.

Here are some problems aspiring screenwriters should avoid when writing a spec script:

"We hear" or "We see"

Phrases such as "We hear" and "We see" should never appear in a spec script. They momentarily force readers outside the story. You want the reader to become so involved in your story she forgets the rest of the world exists. You want readers to live and breathe your story as they read it.

The imagery evoked by your words should drive what we're seeing or hearing as readers. Phrases like "We see" and "We hear" make the reader feel as if he or she is part of an external audience, not part of the story itself. Instead of reinforcing the idea the reader is immersed in a powerful story, those phrases do nothing but remind her she's holding a script.

Camera directions such as “PAN” and “CLOSE UP”

Avoid the use of camera directions to describe shots in a spec script. Once your script becomes a film in production, camera angles and shots will become the responsibility of the director and the director of photography.

As a screenwriter, your responsibility is to craft words that trigger the desired imagery so those individual "shots" move naturally through the reader's mind.

When writing a script, screenwriters have a very vivid mental picture of the images they are trying to convey. Most of us think in film, meaning we imagine our story unfolding as a series of images or visual scenes. The best way for a writer to direct the script is to format the description in such a way the shots appear to separate themselves. This is called the White Space technique. With the correct use of this technique, you can pace your script and divide each image as if it were its own shot.

As you write your script, imagine where you would change the camera angle or shot. At that point, begin a new paragraph of description. Keep your paragraphs shorter for a rapidly paced scene and slightly longer (but still only a few sentences!) to maintain a slower paced scene. For more detail on the best ways to use the White Space technique in your script, check out the article conveniently titled White Space.

Beginning and ending each page with (CONTINUED)

At one time, screenwriters were required to begin and end each page with the (CONTINUED) notation to indicate, obviously, the script continued onto the next page. Later, the (CONTINUED) at the top of the page was ditched but the one at the bottom of the page was retained. In the past decade, the use of (CONTINUED) at either the top or bottom of the page has been almost entirely abandoned. It is no longer a requirement and is sometimes viewed as more of a nuisance than anything else.

The main reason you shouldn't bother to include (CONTINUED) at the top and bottom of each page is that it wastes a significant amount of space. It requires two lines at the top of the page and another two lines at the bottom. In a 90-page script, those extra four lines per page can amount to several pages of wasted space. In a screenplay, space is a precious commodity that definitely should not be wasted. And, as Denny Martin Flinn notes in his book, How NOT to Write a Screenplay, "Anyone reading your screenplay who doesn't know he's supposed to turn the page is a numskull."

POV (indicating the camera's point of view)

POV is a camera direction, not a writing technique. Do not use a POV notation unless the imagery seen from one character's point of view is distinctly different from the rest of the scene and, more importantly, that difference is integral to the plot.

The scene below provides an example of an inappropriate use of the POV technique.

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In the above example, the image of the children running under the table is part of the overall scene. A shot of the children crawling under the table could be taken from any of several different camera angles and does not specifically require John’s POV. The POV is not integral to the storyline and is not separate from the rest of the kitchen scene, so it is not necessary.

Always remember, camera angles are the realm of the director and the director of photography, not the writer. There is no need to forfeit two lines of space in your screenplay for an unnecessary camera direction.

Transitions such as “CUT TO” and “DISSOLVE TO”

Spelling out transitions is another technique reserved for a shooting script. You should not use transitions in your spec script.

A transition indicates the movement from one scene to the next. This event is already indicated by the use of a slugline defining the new location and time of day. Since the new slugline has already made the reader aware of the shift from one scene to the next, the transition simply takes up space, and space is a precious commodity in a script.

I've heard many writers attempt to justify their use of transitions… "I wanted to let the reader feel the intensity of the scene by cutting it off with a CUT TO," or, "I wanted to let the reader know time had passed by using a DISSOLVE TO."

Your story and the quality of your writing, not your transition, should cause the reader to feel the intensity of the scene. If your story isn't already intense, no amount of CUT TO's is going to make it that way. CUT TO's are only going to interrupt the smooth flow of your words and cause the reader's eyes to jump across the page.

When the script is put into production, the director and editor will determine which type of transition is used, and their decisions will be noted in the shooting script.

Capitalization of specific words to draw attention

In the 80's and 90's, the use of capitalization throughout a script in order to draw attention to specific words became trendy — so trendy, in fact, some writers tended to capitalize fifteen or more words per page, not even including the appropriate capitalization of sluglines, first-appearance character names, and dialogue headers.

Writers capitalize words in this manner with the intent to force a more vivid image into the reader's mind, but using capitalization doesn't necessarily create a more vivid image. Instead, the capitalization makes the sentence visually awkward and detracts from the mental imagery of the scene. It cuts into the flow of the sentence and forces the reader's eyes to stop and adjust. And what happens whenever readers must stop and adjust? They remember they're reading a script, which is exactly what you don't want. In order to avoid constantly reminding people they're reading a script, your writing must flow visually, and capitalizing words halts that flow.

Many writers mistakenly believe sounds, objects or actions to which the writer wishes to add emphasis must always be capitalized. Capitalization does have its uses, and those uses can occasionally have the desired effect of evoking a sense of urgency or intensity, but only when used sparingly.

Your choice of words, not the capitalization of those words, should be what adds focus to a specific object or action. If a word or descriptive phrase doesn't possess the impact you feel it should, check out my previous article titled Selecting the Most Powerful Words for Your Novel or Screenplay, or simply open a thesaurus and find a more intense and dramatic word to use in its place.

Standard disclaimer: Please note, web browsers don't allow for the presentation of a screenplay in its correct format. Excerpts and examples of screenplays found in these articles should not be used as examples of proper screenplay format. To learn how to properly format your screenplay, David Trottier’s The Screenwriter’s Bible: A Complete Guide to Writing, Formatting, and Selling Your Script is an excellent reference.

Resisting the urge to include extensive detail when writing a screenplay as you would when writing a novel is a difficult challenge for a screenwriter to overcome. Most writers who choose the screenwriting field do so because they think in film — they imagine their stories unfolding shot by shot, scene by scene, image by image.

The job of the screenwriter is to convey those vivid images and scenes to the reader. This is often confused with the director's job of determining how certain scenes should be filmed. Deciding where to place the cameras, which actors to focus on, and when to pan or when to include a close-up are all factors that will be up to the director, not the writer.

So the question remains. How can you, as the writer, direct the reader's mind to imagine your film as you envisioned it, shot by shot and image by image?

The answer — through the use of white space.

One immediately noticeable difference between script format and manuscript format is the amount of white space included on every page of a script. In a screenplay, the ratio of blank space to text is high.

White space is the screenwriter's ally.

How does the use of white space help you? First, breaking your action and description into smaller sections makes the script seem as if it reads quickly, giving the reader the effect that your story also moves quickly. A story that moves quickly is more likely to hold a reader's attention.

Smaller sections of action draw the reader's eye down the page. Screenwriters should make their best effort to limit sections of action and description to a maximum of five or six lines. Several consecutive smaller sections of action will appeal to a reader more than one large paragraph of action.

Second, it provides the writer with a method of delivering the story shot by shot, in essence "directing" the film as it plays through the reader's mind.

Screenwriters should not write the screenplay by directing the camera shots, since describing specific camera angles serves as a reminder to the readers that they are reading a script. Your goal is to get readers so caught up in your story they forget they're reading a script.

Camera directions should be reserved for the shooting script and the director. Screenwriters must use the writing of action and description to depict the story exactly as they want the readers to see it in their mind. The best way to achieve this is by breaking that description into smaller pieces, illustrating the action step by step based on how you envision the shots on screen.

A terrific example of this can be found in the following excerpt from Steven de Souza's and Jeb Stuart's Die Hard script:

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Notice that although this is one scene with continuous action, the action is broken up into smaller pieces. On the script page itself, none of these sections of action is more than three lines long. Each of those pieces represents a shot:

Shot #1 – The elevator door opens and Hans emerges.

Shot #2 – Theo enters the room and gives Hans the computer card.

Shot #3 – Hans uses the card to lock the door.

Shot #4 – Hans surveys the quiet street.

As the reader, you get a clear mental image of each shot as the action unfolds. Breaking the description into smaller pieces does not disrupt the flow of the action. In fact, it propels the action forward. It reads quickly, and offering the action in smaller segments creates a rhythm.

Smaller sections also mean fewer words. As a screenwriter you must learn to write economically — using as few words as possible to describe the action — and your description must be crafted using the most vivid words you can find to portray the image.

Standard disclaimer: Please note, web browsers do not allow for the presentation of a screenplay in its correct format. Excerpts and examples of screenplays found in these articles should not be used as examples of proper screenplay format. To learn how to properly format your screenplay, David Trottier's The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script is an excellent reference.

You may have written the most riveting piece of dramatic work in existence to date. Your dialogue may be perfect. Your characters may seem so real they beg to jump right off the page. Your story may rival those of Oscar-winning screenplays. It might even be so good as to put those stories to shame, but if your script never gets off the reader's desk, no one will ever know.

It's well known that readers are the gatekeepers of the film industry. It is also well known that while most readers would rather be doing anything but reading, they still spend countless hours making their way through stacks of scripts in the hopes of finding the next big blockbuster. The late-night caffeine-induced decision of one reader could be the turning point of your screenwriting career.

So how do you make certain that decision is in your favor?

Avoiding common mistakes is a key factor. There are 99 times as many bad screenplays as there are good ones. New screenwriters often take that as an exaggeration. Trust me, it's not. I was a judge in an annual screenwriting contest for several years, and we received hundreds and hundreds of entries every year, yet in some years we were hard-pressed to find ten scripts good enough to be selected as finalists in the competition.

Readers can spot a bad screenplay right away. No matter how terrific your story is, these common errors may cause a reader to overlook the quality of the story in the face of everything else. To a reader, these errors make your script look like the unprofessional work of a newcomer. They indicate a writer who hasn't taken the time to research the details of the industry and his chosen career. Once readers spot these mistakes, it's all uphill from there. They may relegate your masterpiece to the bottom of the slush pile for last-resort reading or skip it entirely.

Steer clear of these typical errors and your script won't be branded unprofessional:

1. Frequent spelling and grammar mistakes

Frequent spelling mistakes and grammatical errors are number one on any reader's hit list. Take the time to proofread your script several times. Have friends or family members proofread it for you, or enlist the aid of a professional proofreader. Never rely solely on your word-processor's spellcheck function. Though it has improved over the years, spellcheck is still notoriously inadequate, especially with its inconsistent ability to point out incorrect homonym usage. (Think their/there/they're, or to/too/two, or your/you're.)

2. Improper script format

Improper format is a big tip-off that the writer hasn't studied the industry guidelines. There are very specific standards for the layout of action, slug lines, character names and dialogue. There are many books and articles that explain script format in detail. David Trottier's The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script is an excellent reference.

There are several software programs that will format your script for you as you write. A script-formatting program can be an invaluable timesaving tool for the writer. The two most popular programs are Final Draft and Movie Magic Screenwriter. Both programs offer many features beyond simply formatting your script.

3. Brightly colored paper and/or script covers

Many writers believe copying their script on colored paper or binding it in a brightly colored notebook will make it stand out. They're right. It definitely will make the script stand out. In fact, not only will it make the script stand out, it will make it scream, "I'm written by a beginner!"

Never copy your script on colored paper. It's harsh on the eyes, making your script more difficult to read and hence, more frustrating and less appealing to the reader. The industry standard calls for white paper, with a cardstock binding in white, ivory or light gray. Cardstock is available at any office supply store.

Your script should be three-hole punched and bound with two or three brass brads or script-screws. Make sure the brads are long enough to tightly secure the pages of your script but not so long as to be lethal stabbing devices capable of injuring the reader. Never trim the brads with scissors to make them shorter as that tends to make their edges razor-sharp.

4. Using a non-standard font

Typing in any font other than Courier 12 pt will make your script stand out in a bad way, as will using bold-faced or italic type. You may use capital letters to emphasize a word, but even that technique should be used sparingly.

5. Including illustrations, music or casting suggestions

Never include illustrations, photographs, or your suggestions for music or casting. While you may think Brad Pitt is the ideal actor to play your lead role, that's a decision for the casting director, not the writer. You may think illustrations or photographs will help the reader visualize the events in your story, but your writing should do that on its own.

How to grab the reader's attention

It may seem like the goal is to make your script stand out as little as possible, to make it blend in with the thousands of other scripts out there and do nothing whatsoever to catch the reader's eye. Make it your writing that stands out, not the font or the color of the paper. The real goal is to make the reader as comfortable as possible while reading your script so the power of your story grabs the reader's attention and holds it until the very end.