Write Your First Screenplay, TV Show or Short Film with Final Draft! (The Industry Standard) | Mike Battle | Skillshare

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Write Your First Screenplay, TV Show or Short Film with Final Draft! (The Industry Standard)

teacher avatar Mike Battle, Film and Music Professional

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

25 Lessons (1h 26m)
    • 1. Introduction

    • 2. Trial Download and New Screenplay

    • 3. Scene Headings & Sluglines

    • 4. Smart Type

    • 5. Action Lines

    • 6. Characters and Dialogue

    • 7. Parantheticals

    • 8. Transitions

    • 9. Shots

    • 10. Extra Tip - Off Screen & Voice Over

    • 11. Cast List, New Act, End Act

    • 12. Creativity Tools - Beat Board

    • 13. Creativity Tools - Story Map

    • 14. Views and Page Splitting

    • 15. The Navigator

    • 16. Labels and Bookmarking

    • 17. Fonts, Styles and Highlighting

    • 18. Quick Fire Extra Tips

    • 19. Saving, Back Up & Title Pages

    • 20. Watermarking & Printing

    • 21. Collaborating

    • 22. Epilogue - Reports

    • 23. Epilogue - Tags

    • 24. Epilogue - Revisions

    • 25. Conclusion

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About This Class

Want to write screenplays, TV shows or short films but stuck messing around with word processors and other ineffectual tools? In this course I will teach you how to write your first screenplay in the Hollywood standard software for screenwriting, Final Draft. (30 Days Free Trial Available on Website)

My name is Mike and I am a film industry professional who has worked on Hollywood movies such as Terminator Dark Fate, Mary Poppins Returns, Tomb Raider and currently, Amazon Prime TV. I will be your teacher. 

In the course will cover all aspects of formatting and techniques you will need to write screenplays as well as the more advanced creative and production tools within the software. 

If you would like to learn the software of Final Draft AND the basics of screenwriting join me on this course and enroll now! 

Note: I am not affiliated with Final Draft. 

Meet Your Teacher

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Mike Battle

Film and Music Professional


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1. Introduction: Hello, My name is Mike, and I'm a film industry production professional who's worked on movies such as Terminator. Dark Fate. Mary Poppins returns Tomb Raider on Ready Player one. Lots of beginner screenwriters and television writers mess around with word processes in the light when they first start, but I'm going to teach you how to use the industry standard for screenwriting final draft. It's simply the only software we used in the industry. During the course. I'm going to take you from a total novice to someone who really understands how screenplays are created and then analyzed. I'll teach you where to put the scene heading, how to write down a dialogue line on where to format parenthetical is and character names all the way through to more creativity based tours. Such a story, maps and beat boards and finally go to the more advanced features our production facing, such as tags on revisions. The sort of thing that you'll need when you're actually making your script or production team is by the end of the course, you'll have all the information you need about how a screenplay is made and formatted so you can go and write your own as well as some extra large about the final draft platform, which will come in handy later. If you'd like to learn how to write your first screenplay, television show or short in role now on, we'll get going. 2. Trial Download and New Screenplay: Now that we've got the introductions out of the way, let's get straight into final draft for anybody that doesn't have the software already. There is a free 30 day trial on the website, so simply Google final draft and then go on to the website and you'll see on the home page once it loads right here, you can get the free 30 day trial, so you click that and download it. I'm going to be working on a Mac through this tutorial, but obviously, if you are PC User, please download it for that. Once the software is downloaded, you're going to have a little final draft Icahn like this pop up on your launchpad or the PC equivalent, and to open a new screenplay. All we need to do is click on Final Draft and it'll open it for us. No need to go into the file tab. It'll a new screenplay is they're ready for us. If you did, for some random reason, want to open another screenplay On top of that or you need to do is go file and then new. But let's close that for the moment. You may have noticed there when I quickly clicked onto the file tab that there is another option for opening a screenplay template. If you click new from Template, you'll be given a whole host of final draft suggestions for different types of television and films and even graphic novel templates you can use in your writing straight away. We can see how final draft can really help you in your screen writing, because you may be beginners who have been working on word processes and things like that. At the moment, screenplays are famously difficult in their formatting. Dialogue has to be a certain amount of space is from the left scene. Headings need to be. A certain amount of space is from the left left the lined parenthetical all of this stuff. It's all quite confusing and, to be honest, a bit of a waste of your time to be mucking about, moving things left or right and hoping that there all in line, what you really need is software that can do it for you. And final draft does that. During this course, I'm going to be talking about the TV show friends as it's simple and easy to understand, and I would go on to the TV templates Andi, half an hour sitcom template. Given that, I feel a lot of the people watching this are actually going to be writing films for the purposes of this cause. I'm going to be writing on the normal screenplay template, which is the one that final draft gives you when you open it. Now that we've learned how to open your first screenplay blank page template in final draft , let's move on to scene headings. 3. Scene Headings & Sluglines: So here we are the blank page that all writers must face because I'm a fan off getting straight to the point. The first few lessons right now are going to be about how you can get your first words on the page of your screenplay and simply get going. How to get some dialogue on the page, how to write your characters on how to add things like scene headings. We'll get into the more advanced features of final draft later on other creative ways. You can add to your screenplay storytelling, but for the moment, let's start with a scene heading. The reason I'm doing this is that I know a lot of the people watching this are beginners on not necessary, just final draft beginners. And it's difficult to explain how to do the formatting without actually explaining how the things work on what they are. So, first of all, the thing you're going to want to get onto the page is a scene heading or also known as a slugline within the industry. But what is the slugline? It's basically a description off where the scene is going to take place. So, for example, in the example we're using. I'm talking about the TV show friends, so we're going to add in interior. First, we need to know if it's indoors or outdoors. The reason for this is storytelling, but also because off production you'll learn with writing and particularly with final draft writing or indeed, any other screenwriting software, you need to be letting the production team on. The producers of the movie know how much things are going to cost, where they're going to be. Is it going to be abroad? Is it going to require, ah, horse or a dog or various difficult things to acquire? You really need to think about the endgame of where your script, my end up Hollywood movie or whatever when you're writing in the beginning. And that's why we write interior or exterior, because we need to know whether it's an expensive outdoor night shoot or if it's an indoor little seen in this studio. So we've added interior, and you'll notice that when we type in, I this little thing called the smart type pops up and we'll get to that in the next lesson . So we've added in Syria. In friends, there are three main locations, one of which, being Monica's apartment. So we've added that and there's one last thing to add in a slugline is the time of day. So we've added a dash and then again, day and the smart type tool will pop up again. So let's just type it out for the purposes of and we click, enter or done, we've got a perfectly usable slugline or seen heading. Let's move on to what the smart type tool is and how it can help you. 4. Smart Type: in the previous lesson, We had our first interaction with final drafts. Smart type tour. But what is it? And how can it be really helpful for you in saving you time? The best way to explain the smart type tour is to explain why it's used. So, for example, we're using the TV show Friends in Friends. There are six main characters, and there are three main locations. Monica's Apartment, Chandler and Joey's apartment on the Central Perk coffeehouse. Given that we're going to be writing those three phrases and again and again and again, same as the characters, we don't want to keep typing out the same thing again and again and again all day. The smart type tool remembers what we doing. So, for example, if we wrote a new scene heading will Do Interior I M is now remembered Monica's apartment. So every time we type Monica's apartment, all we need to do is press tab, and then it will appear for us. Easy peasy. You'll notice that the smart type tour doesn't just work for locations, though you can also do it for interior exterior. And for anyone who's wondering what I E. Is it means interior and exterior. For example, if you had a detective movie and they were walking along the street and then they went inside a police station through the door on, we carried on filming them in the scene. This would be interior exterior in final draft its i slash e. But to be honest, ume or see often as i nt dash e x t all the other way around exterior in Syria doesn't really matter. It also works with the time of day. So, for example, Monica's apartment tab Space D today dawn and dusk or night There we go and you can customize the smart type tool for you to do this, You simply going to document and then smart type. And here we have a list of the different things that you can add in. So, for example, we have at the moment is a location for Monica's apartment. And so if we wanted to add Central Perk Coffee house, it would be there. Likewise, you could add characters. Jolly Oh, Joey Monica, etcetera. We click. OK, the next time we do a scene heading, we go Interior Central Park, coffeehouse. There it is, and then the next time we want to do a character press J and Joe, is there really helpful tool to be using to save you time, particularly if you're writing a long script? Let's move on. 5. Action Lines: Now that we've got our seen heading on the page, the next thing we're going to need is action lines. And to do this we need to change elements. But what is an element? An element is what final draft defines as the different bits off formatting that divide up to make a screenplay, and you can look at them here in the elements tab. So, for example, we've got general text seen heading, which we've learned on. We're going to learn about each of these others as we bob along Action character, parenthetical dialogue, transition shot, cars list, new act and end of act will learn each of these. Don't worry. So to get to the action one, all we need to do is click at the end of our slug line and then press enter. Once you notice the up here, it's changed from seen heading action just like that. Likewise, you can also press command to on the Mac, which is a short cut to get to action on dawn PCU compress control to If you are on a PC, please just apply everything I'm saying for command with control throughout this course. And then there's a last way, which is, let's say for some reason you ended up and it was accidentally character element. You simply click on the menu and then click action. Then it would take you back. This is another good example of why you need software like Final Draft to be writing your screenplays, because otherwise you'll be mucking about pressing space of 1,000,000 times trying to work out. If it's a character or if it's election line, you'll notice how the cursor moved there. So that's how you have an action line. But what do we right? So in action line is essentially what is happening in the scene. So let's say that Monica, this is incorrect. It needs to be capitalized as another lesson. No, everybody does this, but the rule of thumb is you capitalize it. Monica is lounging on the sofa watching TV. It was a hard day. That's an action line. I hear you asking why we capitalize SOFA and TV. The reason for that is again production. When you're making these films and TV shows, whatever you are doing, the production team need to know how this thing is actually going to be made a script is not just a story like a novel. The points off it is to be made into something you can watch on a screen that is the point of it. It is not a finished product, so therefore, let's say we were talking about someone pulling up to a house in a vehicle. If you write in your script, pulls up in a Ford Mustang, that's one question. But if you write pulls up in a spaceship, that's a very different problem for the production team that's going to involve potentially V effects, the art department drawing up things, the production designer getting involved or just hiring a Mustang. So it really depends on what you're putting in the script. And that's why you should capitalize all things like props again, not strictly necessary. And whenever you read different people scripts, some people do it differently. You'll notice that the top guys basically what they want because they can on. Ironically, the people lower down the tree are more likely to follow the famous formatting guidelines that you'll see in stuff like Syd Field's screenplay. But I do think it's best to capitalize your props and that's your action line You've got Monica. She's the character which had been introduced and she's on the sofa watching TV. It's been a hard day. Let's move on to adding a character. 6. Characters and Dialogue: with a scene heading and action line in place we've introduced our character of Monica is time to give her some words. So let's talk about characters and dialogue. All you need to do is press enter notice that it won't change the element it was stay as action because you can keep writing action again and again, unlike when you go from seen heading toe action, where it knows that it's going to be changing. So we press enter and then all we do is you got to the menu bar of the elements on We click character, and the cursor will go into the middle here. Likewise, we can press, enter and then come on three or come control three on the PC on that takes us to the middle of page, where we begin typing. Our character name says Easy is that and on top of that, we've added Monica earlier into the smart type. So all we have to do is Type M and then tab on. We've got it. That's her name. Characters wouldn't be very interesting if they never said anything. No. So it's time to give him some dialogue again, like when we went from Seen heading to action. Final Draft knows that dialogue comes after character, so all you have to do is go to the end of the character's name and then press enter and it would change the elements to dialogue. As always, you can use the menu bar to do this or you compress command. Five. That would change it. Notice that we've skipped parenthetical, but that's slightly more complicated. Onda. We need dialogue first, really to explain why pathetic A was important and what they do, so I'll get back to that one in the next lesson. So now we need to give Monica a line. What a day, And that's it. We've introduced the Carrots with Monica, and now she's speaking. It's a cardinal rule to make sure that anyone who speaks a line must be introduced in the action First. If we just said the TV was on and then Monica says, What a day it doesn't really work. You need to outline first which characters air in the scene, and then how they interplay with the dialogue to create interplay between the characters. Obviously, we need to have another character come in, so we press enter again from dialogue, and it knows that it's going to action. You'll see press enter again on we have Joey capitalized comes in the door. My writing through this course is not going to be particularly memorable, but it will demonstrate the point. Joey comes in the door and then we press enter again and then command three to get character. The reason I'm really pushing these keyboard shortcut cuts on you is that you really want to maximize your productivity when you're writing, you don't be wasting your time moving around and clicking on menus and stuff. You just want to be actually writing. So that's why I keep doing this, and it will become second nature to So we've set up the character thing. Joey comes in. I put him in smart type earlier Tab. Here he comes. Space, not space. Sorry. Enter and then we say, Hi, How's it going? Question Mark And now we've got two characters into playing and we've got a scene going fantastic. Before we move on, I'm going to show you one cool little trick in the dialogue space, which is Jewell dialogue. Joel dialogue is used an awful lot in people like Aaron Sorkin's work. When people talk over each other, it's fantastic for arguments and the like. And to do this within final draft or you need to do is add another line bad, fantastic writing. Then we highlights the to lines with the characters as well. And we go up to formats and then Jewell dialogue or your notice. You compress command D or control D, I presume on DPC. So we click Command D or on format, and then suddenly, final draft will do that for you, Joey says. How's it going? At the same time as Monica says Bad, easy peasy, one little thing as well. In terms of formatting, you'll notice here that the C o. N. T. D line has come up, which means continued for Monica. The reason this, it appears, is that she was speaking here before, and then action happened, and she continues speaking on again, You don't need to worry about this. Final draft will do it for you. Let's move on to the next lesson. Parent testicles 7. Parantheticals: next up in the elements It's parenthetical is which are a important but famously badly used part off screen writing Parent. Testicles, on the whole, are used for describing how actors should deliver in a line how they should say it's whether they should be super loud or quiet or whatever. But the reason they are badly used is that they are very heavily overused by lots of amateur screenplay writers. You'll notice the phrase when you read more and more of these kind of books about screenplay on screenwriting and filmmaking, cetera that economy in a screenplay is everything. Andi having millions of parenthetical is not good on. Also, it famously and noise actors on. I'm going to show you what that looks like. So we've got Joey has just come in and he said, Hey, how's it going to Monica? And we added Monica's line, I got fired. Oh, no, that's terrible again, remember? So we're on dialogue, We press enter, and it's going to go to action, but we don't want action. We want to go command three to character. So when we say Joey and he says, Ah, we knew you. I knew you loved that job. Anybody reading that would presume that it's red empathetically. But what parenthetical does is it slots in between Joey on the line? And to do this, you click at the end of character and press enter and it would think we're on dialogue still, and you must choose parenthetical. There we go. Here we come up or brackets for anyone in England again. Obviously, you can press command four for a short cut, and that will get us to parent tactical as well. So if you right empathetic, they in there, that is obvious. We know that particularly, you know, the show friends, but that's irrelevant. We know that there friends, probably he's come in the door. She's not surprised. Their friends, obviously, she said she got fired and he says, Are we knew you loved that job. When Joey says this is obvious that it said in pathetically, so this is pointless. This panther tickle is irrelevant on what people will do. Is they'll right? Parent tactical was everything sad. Obviously, she's sad when she said she got fired, etcetera, etcetera, etcetera. So get rid of those. The point off how you should use a parenthetical is usually when it's something unlike how the line would be read by any reader or actor. So, for example, let's say Monica, she hated that job and she'd been wanting to get fired for ages. You might add a parenthetical enter and then come on. Four saw Castaic early. So while the line reads as empathetic, actually, the actor will know on anyone reading it in terms of storytelling that actually, he's saying sarcastically, are We knew you loved that job. We know therefore, that she didn't love that job on that is how parenthetical should be used. It's also often used for things like into phone if people are on the phone in the scene and things like that. But obviously to do that, you must have introduced the phone or earlier. Joey, I want that would be up here. Joey comes in the door on the capitalized phone. Now we've introduced that there's a phone we can lay to say he's speaking into the phone. Obviously, that wouldn't make sense, is he's replying her, but whatever, let's move on 8. Transitions: as I mentioned previously. Famously screenplays used to begin with Fade In, and this is what is known as a transition or also known as a cut between scenes. Essentially, you can have one scene, and then you have a transition, and then it moves on to the next. In this lesson, I'm going to teach you about how you write them into your screenplay in final draft. So if we look at our script so far, our amazing script of Joey and Monica in the apartment, if we cut here, it would be really weird. But let's not worry about that. What we need to do is press enter and then command six, and that'll take us over to the right hand side of the page, which is where transitions live in screen place. Likewise, you compress, enter and then go to transition, and it would take us over, make sure you don't go on the line of the previous thing and then go into transition because otherwise it will make his line into a transition. We don't want that to repress Answer. Come on, six. We're over here. Transitions come in. Capitals on the smart type tour has pretty much everything you'll need to be honest. So, for example, if we were to do the fade in, it would be their f fade in fade out fade to fatal black, etcetera. The most common one you're going to see is cut, too. So let's click cut too tab and then we go. We have a transition. The only thing left to do is to add in the next scene. So interior we added it earlier in smart type. Central Perk Coffeehouse tab, Space Tap Line, Space Day, Vente. There we go. That's a transition. We had one scene we've now cut to another scene before we move on, though I just want to talk a little bit about whether you actually need these. So you can create different effects with, perhaps, dissolve to, which is a slower pace, transition or smash cut to which is a hard cut, really hard cut. But to be honest, on the whole, you don't really need to write cut, too, in lots of older screenplays on with some amateur writers, people used to right cut to all the time Monica's apartment cut to coffeehouse, cut to Monica's apartment cut, too. New York subway. Whatever people these days have kind of realized that as a bit pointless, and I totally abide by that. I know that when I go from Monica's apartment and I read now that they're in the coffeehouse, that there's a cup, anyone worth their salt was reading a script knows that. So you don't need to write cut, too. The only time I would write cut to would be if I was putting in a joke or something that needed a hard cut, and that was wild. Put it there and that's a little less and on transitions. Let's move on. 9. Shots: the next elements to learn about is the shot on. Obviously, this shot is how a scene might be filmed. But you do need to be careful with using this in your scripts to get to the shot tab. We either use now elements menu and click shot. Oh, we press enter and then you go command seven, and that will take us to a shop. I'm going to mention a couple of shots here, but obviously this lesson this tutorial isn't to learn about different shots. If you want to learn more about that, there's plenty of resource is online. I would recommend that studio bind at YouTube Siri's, which is really handy. So we've now moved to the shot tab, and IRA might write something like Extreme close up. Oh, I could write push in something like that, which is when they have a dolly and they slowly pushing on the character. And it is okay for screenwriters to put these in very rarely Andi. Certainly, if you read agency represented high level Hollywood screen writers, you will notice that sometimes they add shots and things. Insert shorts, yard yada, but when you're first starting out, you do need to be very careful with this, and the reason is similar to the parenthetical debate. Parenthetical are famously hated by actors because they're being told how to do their job. Likewise, it's well known that directors don't want to be told how to shoot a scene. I appreciate that. It's obviously your story is the writer. But unfortunately want to get to the director is also their story to tell as well. And they have to, you know, direct the symphony, as Steve Jobs would say. So don't write too many portions, close ups, blah, blah, blah throughout your script because they're gonna get annoyed at you, telling them how to direct the script. Obviously, if you are writing a script to direct yourself, you right in and as many as you want, and they are helpful for learning how to do the production of the scene and for costs and budgeting and all that kind of stuff. But I would say Be careful and that's the shop 10. Extra Tip - Off Screen & Voice Over: this lesson is a little short. One on is no, actually, technically an element. But I wanted to sneak it here in any way because it does seem to fit in with the kind of elements, discussion and basics we're talking about. And that is the OS VO extension you get after characters, names. If you read many screenplays, you'll notice that they keep saying OS OS after characters, names and less less used but vo as well on what these mean are off screen on voice over. So let's say, for example, Joey came in. Oh, he wouldn't come in. So let's say, for example, Joey is in the scene and he says, Hey, how it's going How's it going? If we add in brackets or parentheses and then an o notice that smart type is gonna help us out here, Press Tab OS is added, and this means off screen. So if it says Joey Os, it means we can't see him on the screen. And this is really important thing to learn, particularly your writing things like comedies and stuff. It's really helpful to know if the silly character the side is shouting on top or if they're in the camera frame or not. Likewise, you can add in V. Oh, make sure the little dot is after. I know that's what formatting and V o means voiceover. For example, at the beginning of Goodfellas, Ray Liotta is speaking on about how he wants to be a gangster his whole life on He's on the screen. But it would say Vo at the same time it would have any action lines, the description of Hemery Hill walking around. But then, in terms of the actual character name, it would say Henry Hill vo. And then that is what really Ray Liotta is saying. Sometimes people get confused between what vo and off screen are. Well, aren't they the same etcetera, etcetera? The general rule of thumb is that if you write OS for off screen, they are in the vicinity. The character is nearby, maybe just off to the side in the bathroom, whatever. But if you write vo, they're often not in the vicinity. So, for example, if someone was on the phone, I would probably right Joey as Vo if Monica was talking to him and she was in the flat and he was a long way I'd write Vo because he's not actually there, and that's a little lesson on the extensions off the character. 11. Cast List, New Act, End Act: Now we've learned the important elements. There are a couple left at the bottom of the list. You'll see them here. Cast list New act on end of act, which are very quickly run through cast list you probably won't ever really use. It's mainly used in sitcoms like Seinfeld on That or Friends. Indeed, where you add in the names of the characters in the scene, so essentially you write the scene first. So we've written Monica and Joey in this scene. We then go to the scene heading, press enter, and then we choose from the bar cast list. Andi. It will be populated automatically with the people in the scene, and that's it. You really won't use that much. The next ones are new. Act on end of act again. These are more television focused. For example, if you read Tina Fey's 30 Rock, which is a fantastic pilot script for anybody wanting to read a good one, you'll notice how there are new act and end off acts written throughout. So it will say new act, Act one like that and then final draft just capitalize. It folds it and underlines it as per formatting off the industry. And then if we wanted to end the act, we literally press enter down from here. So we're on a space click, end of act, and then it would create the formatting for us or our end off Act one. The reason that acts of more of a thing in television is that they're usually around. The ad breaks, and that's how it works with that kind of thing. And then we go, we have at one and then end of that one. If we don't want to add a new act, we simply could answer again. And then it would take us to new act Act to easy peasy. Now we've learned the elements. Let's move on. 12. Creativity Tools - Beat Board: So far, we've learned the basic elements of how you can get your words straight on the page, and I really wanted you to learn those first so we could get going. But Final Draft actually has some amazing tools for helping your creativity on the structuring off your story. The 1st 1 we're going to look at is the Beat Board, which is my personal favorite to access the beat board in final draft. Let's go back to our script, and we're going to want to click on the views on the top left and then here and then choose the beat board tab, and it would take us to this blank space. Likewise, we can go back to our page view. I'll talk about the other views later, and we could go view and then beadboard Easy peasy on This is essentially a blank sandbox for our ideas for you beginners listening you might be wondering what beat board is and what a beat even means. Essentially, a Beat is a very small element off a story that makes up a screenplay. If anybody reads the book story by Robert McKee, which is a famous book about screenplay writing. You should all read it. He talks about how beats make scenes, scenes, make acts and ultimately acts. Make this story that we're watching, so be is essentially the smallest part off the screenplay writing. So if we look at our screen on, we've got the beat bore in front of us, all we need to do is double click, and it would create a beat for us, and we can move it around, dragging with the track Pat. Just click on it and move it around so we can add a beat title. So let's say, in this episode of friends, Monica loses her job. But then she has a job interview, and then she ultimately gets a job at the end. So, for example, one of the beats would be she gets Monica gets job interview, and then we can type in here. Old boss brings up with job she likes or something like that, whatever you want. And then we can add another beats DoubleClick, and we can put it in here. And so it goes on. Let's say we decide this beat is going to be gang console. Monica Chandler buys flowers. Whatever. It doesn't matter, But essentially, what I'm saying is that this space is your own toe work with, and you can move things around wherever you want. Obviously, gang consoled Mollica would come in front of Monica getting the job interview because that's gonna cheer up. That comes later. We can change the size of the beats by dragging them in and out like this, or down and up at the bottom. I hope you can see how quickly your beat start to take shape, and you can zoom out and have hundreds of these beats plodding along. So, for example, you could have an entire screenplays. Beats play out in this space. It's unlimited, and it's a really fantastic tour. It really starts to get handy, though. When you start to learn more of the intricacies of the beat board, for example, you can click on one on, then double finger click on a Mac or right click on a PC, and you can change into different colors. So, for example, you might have anything with Chandler is in pink, and then anything that's positive for her story monikers story throughout the episode in Orange on throughout, Weaken go plodding along all the way on. Every time is pink. It's Chandler, etcetera, etcetera. Really handy. On top of that, you can even add images into the beat. So let's extend this a little bit on. We go insert and then image navigate to our desktop. There's our image, okay? And then it goes. So it's really becoming a great creative space with pictures of what may be the set looks like who's involved? Colors for different subplots. All this kind of thing Really great for your creativity. A minute ago, when I was right clicking to change the colors of the beats, you might notice that it says Convert to structure point. But what? It's a structure point. Well, the structure point is, ah, more impactful, part off the storytelling process. In the screenplay, it's more than a beat. It's more like an end of act break turning point, which is one of the things again you learn in books like Screenplay by Citi Field. So let's say at the end off the episode, Monica gets her dream job, so we double click to add a beat. Monica gets dream job or new job, whatever. We're gonna choose a color. It's gonna be read because it's so important. And then we double click it both fingers and then click convert to structure point and has got a very slightly thicker border. Now I know what you're thinking. That looks a bit lame. What changed? Their Nothing really happened. Convert to be slightly less thick. Outline convert to structure point. Isn't this meant to be a big deal? Well, this really takes effect when we start to learn about the story map, which is what we're going to learn next. 13. Creativity Tools - Story Map: story map is the other really helpful tool in final draft for crafting your creativity and moving your ideas around. And this is the bar that runs along the top of the screen. You probably been wondering what it was the whole journey so far, and these mean the page count. 5 10 15 20 etcetera. And the first thing we're going to want to do with story map when we're learning and dealing with it is to right click with it on PC or double finger. Click on the track pad on Mac and choose change. Target script length. Obviously, if you're writing a sitcom, you don't want to have your story map at the 110 120 pages mark on the screenplay. So we're going to change ours. A normal episode of Friends and Seinfeld on things like that, normally about 22 minutes long. So we're going to do 22 pages because for any beginners out there, one minute of screen play time is one minute on the television or film screen, so we click OK, and we've got our new story map much easier. You can scroll around to see up and down it, and then you can even drag in and out to make it smaller or larger. Let's get it all in the screen there. Perfect. As I mentioned earlier when talking about the beat board. When it's combined with story map, it becomes a really powerful tool on the way this works is, Let's say we've got Monica gets job interview. This is probably going to be around some of that Page 15 in the script she's had. She's been fired in the first bit. She's bobbed along. She's being consoled by the gang. She's now going to get the interview around Page 14. What we do is we drag out beat from the beadboard to 14 and you'll notice that there'll be a little bookmark there. And then there'll be a page goal here, and this is automatically linked. So wherever you drag your beat up onto the story map, it will give it a page count. Let's say gang consoles Monica at page nine, Page nine on. This is really handy tool, particularly because it's linked together so we can drag that down here back to six, and it will be updated on their amazing Likewise, you can do this with structure points on, as I mentioned previously, structure points on the beat board do look a bit lame, slightly thicker. Border No one cares. But when you dragged them onto the story map that, say, Monica gets her dream job on Page 21 right the end, it has a totally different little tag on there to the beats on. That's why it's really crucial to be using structure points as well. I hope you can start to see that with the beat board, the more you add test, let's give it a color blue and put a nine. You can really start to plan out your screenplay on them or reading and writing screenplays you do. You'll notice that structure is everything, really, and you really need to know things like where the ending is going to be where the middle point is going to be. What the act turning points. Andi. This is really crucial, and it could be helped a lot with the tours within final draft of story map on the beat board. If you move back to our page view, you see that the story map is still there on those page counts are really helpful. So now we're in a on page one, but we know that by page six we already need to be gang Chandler to buy flowers for Monica because every time we click on one of these will get what the beat is. Monica gets job interview, hover over it. Monica gets dream job at the end. Amazing. I hope you can start to see how helpful these beats being placed along the bar on the story map and the structure points are in your script, writing a couple of final points on this story map Before we move on this little blue curse over here on the top left, that is the curse up for the script. So obviously we're any on page one of the moment. But let's say we scrolled all the way down. We can't we don't actually have any more texts and unfortunately, can't scroll if you don't have any. But let's say we scrolled all the way down to Page 10. That blue marking would be here. Secondly, you can hide this story map by double finger clicking on a map or right clicking on PC click Hyde story map. Don't worry. I know it keeps popping ups talking about saving and stuff that we were talking about that later. And then you can just click, show or hide up here, show or hide show story map. Amazing. The final thing to note with story map is you can actually color different scenes as well on. Don't worry, I'm going to do this very quickly here because I'll be talking about the Navigator mawr in depth later. But let's say we highlight scene. We give it a color pink up here on the top left, you'll notice that it's now pink. If we change it to green, this will change color, etcetera. But don't worry about this navigator. For the moment, I will be teaching you about that later. Let's move on. 14. Views and Page Splitting: So far, we've been viewing final draft in what's known as Page You. But there are other ways to look at your script. So let's look at them now to access the views. We simply go to the top left Click Views tab, and they're going to appear here. And obviously you could also go view up here. So at the moment we're in the page view, and the reason I like paid view, if we zoom in and out, is that it looks like how it's going to end up. You know how much of the page certain bits of taking up on what is going to look like to a reader. Ultimately the other views, you can use our normal view, which looks like this which just removed the page essentially. But it keeps in things like page breaks and then speed view, which removes page breaks, things like that. The idea off speed view is that you're going to write faster. It doesn't worry about things like page breaks and other bits of formatting. To be totally honest, I don't really see the point of it. I don't know how fast people writing screenplays, but I keep on page. You really it's just up to you to choose which one feels right for you on muck around and do some writing in age and see which one fits next. One down is obviously the beat board, which we have learned, so we don't need to worry about that right now. The next one up is seen view for us to learn. Andi. I've written in a few more awful scenes for us so we can have them in here. So look a bit silly if there's only two. So this is our seeing view, and it's a bit more of a top down approach. As I keep saying, structure is everything in screenplays, so you want to have a top down approach now and again to see where you're heading, where you're at etcetera. That's why things like the story map is so helpful because it's easy to get bogged down if you're here easy to get bogged down in the little lines of dialogue blah, blah, blah. But really, it's important to know that you need to hit on Page 14 that act break or whatever and hit the end. Monica getting the job. So if we look at the scene view, you'll notice that it just has the scene heading or slugline at the top and then the page on the right and signed, it says. And then it doesn't add the dialogue. It just adds, What's the action lines are so we can get a little summary of what's going on. We can click through and move them around. So if you click on this scene here, for example, you can then drag it above, which is a really handy tool to be aware off. Likewise, pick it up again, hold down, drag it down, no, drag it down and then with the red line, drop it. And there it goes, swapped really easy on handy when you want to be moving large bits of texture out. The reason that this one is in green is that we use the Navigator to change it on the story map earlier on. I'll be getting into that in a minute. Next view up is the index cards. Famously, when people write scripts, they often use index cards to plan out the structure all along their wall in different colors and things. And so final draft essentially gives you a digital version off that. So if we click on the index cards, you'll notice that it's essentially the scene view, but in a different way, and you'll notice that we can fit in the dialogue now. In this scene view, it's a bit limited, but on index cards, we've got more space to play around with so we can show the dialogue on again. You can move these around by dragging and then dragging back, using the red line. The final one of the views from this views menu tab is index cards summary, and you'll notice that everything disappears from the text underneath the slug lines, and that is because we need to edit it in the Navigator, which we'll get to in a few minutes. Quickly, though, in terms of use again, we can also use this split function. So let's say we went back to page view. We can click on the split button and then split vertically or horizontally. You notice that these ones here grayed out and I'll show you why in a minute, let's say we want to click split vertically. Suddenly we've got two parts or thou screen and if you click on the left hand side and then change that view to beat board. We've got both of them next each other, which is really helpful for keeping your mind on the prize and knowing where you're heading . Or perhaps you want to see the images while you're writing, etcetera, etcetera. Now that we've actually split our screen, you'll notice that these two and now open So you can either swap it by that or you can unspent them. And then you just go back to your patriot. Really nice, helpful tool for working side by side. 15. The Navigator: I've mentioned it a few times so far, and now it's time to look into the final draft navigator, which is a really important bit to learn to access the Navigator. We go up to the Navigator Little click button up here, and it'll give you options of what to click. Now. Don't worry about which one you click, cause they're all part of the same dialog window. If you click scenes, for example, you can easily access script notes, characters, etcetera from there. Likewise, you can go into the tools menu and then you can open show a navigator from there and there . A few different things weaken do when we're within the scenes tab. Obviously, at the moment we've only got a few different scenes in our screenplay, so it doesn't really work, but you can navigate around by clicking. So let's say we're number one. We click to number four, and it's going to take us down to the bottom of the page. If we had a really long script of 110 pages, this could be quite handy. Way to get around, but you'll notice a really annoying thing that whenever we click on it. The navigator disappears. So how do we fix that? You'll notice on the top, right? There's a little pin button here, so if you just click that it will pin it to the screen and you can click around to your heart's content on. You can do whatever you like without it disappearing, which is great. I briefly touched on it earlier, but you can add different colors to different scenes. So let's say we go to number two and we make it. Red is going to appear in the story map up here on the top, left as red. Likewise, if we make the next one blue, it's going to be blue. And then finally, let's make number four yellow. So Number four's very small scene. There's nothing there. So company said. But we've got green there. Then we go to the red, then the blue and then onto the yellow, which is a really great way to spread out your script with color. Because lots of people find that really helpful for memorizing where they are and different parts of the structure it's set. There are a few extra bits you can do with scenes tapas. Well, That's how we going to seem. One. You can title the scene here, Monica at home and let's say we have a scene summary Monica Sad lost job or something like that on Where does this become relevant? Now, if you think back to when we were looking at the different views up here on the top left, I mentioned how in the index cards summary there's nothing there if we now click on it because in the navigates we've added a scene summary, you'll see that it's here. We've now got a scene summary within it on Also are different. Colors have been applied because the Navigator is linked to the index card view. Likewise, at the bottom of the Navigator, you'll notice that there are characters in seen list, which could be quite handy. So, for example, in Number one Sunny Joey and Monica, But then, in number two, I've added Central Park coffeehouse Charlton Ross, a chilling on the sofa. Phoebe is there as well. If we go to number two, final draft has cleverly worked out who's there for us in terms of keeping track off your storytelling. Andi, your character's journey through your plots and your scripts, you can add character beats. So here, Monica's apartment. Monica add character. Be sad again. I apologize for this awful writing, but I'm trying to make it really, really basic for you to understand. And then let's say it's on number four. By this point she might be getting that's added to the scene. Richard's reading, Monica there, whatever monikers. Now they're high, blah, blah, blah. Now that she's in the scene as a speaking character, we could maybe add another beat. By this point, she's perhaps got a phone call saying that she's got potential job. Got potential job offer, happy go whatever. And you can put that in there and you contract for the scene. Really good to know. The next tab we're going to look at is this script nodes tag, and these are little notes that you can pepper throughout your script with points to address or problems where various things let's say we're here. Joey's fallen on his face and he says, Ouch. We click. Click on where we want the script notes, pour it into the line, not the name at the flag and then in the script, make sure that that's ticked because otherwise you won't see this red flag here. Well, no, that's red flag. You can change the color of the flag down there. That's how we want green ones for good things on red ones for problems to address. We can do that. If you don't take in script, it won't be there on. Then we can add the name of the note, Joey joke. And then we say, Not funny. Please think off alternative. And there we have a script notes This one here that it'll light bulb is what's known as a general note. So if we add perhaps here Ross Oh, yeah. And you noticed that it doesn't come with same bits of information as the previous name Chandler character needs to be funny. A throughout it's make it all right in the script and this Scripture has appeared. But a general no, actually applies to the entire script. A script note like that really is meant to be for just one little moment. But the general notes on the whole mean throughout the entire script, we want to keep aware off that specific description of a note the final tab to look at on the navigator right now is the Characters tab, where you can add different traits to different characters on. In Final Draft 11 they've included an inclusivity analysis feature, Ari. The Last tab here. The Tags feature will get into that later. In the more advanced, production based feature of final draft section, Let's move on to book marking and labels. 16. Labels and Bookmarking: book marking and labels are not particularly crucial elements of final draft to learn. But we'll get into them now. Just a short lesson. A label is something you see in television shows predominantly, and basically it's something in the header, which describes perhaps which actually in or something like that. So if we go to add one, we click, insert and then label. And if we put in Act one, you'll notice that nothing happens when you press enter, and the reason is that you need to set up the header toe, have a label in it. So if we go to document and then head of Fitze, you'll notice what we've currently got is page number and collective provision revisions is something I'll talk about in a later section, which is more advanced and production facing. Currently, we don't have any revisions, so you can't see anything that's off the page. So we click where we want it. Let's say we over here and we just add label. We can't okay, And now when we go insert label Act one, nothing's there. Still, and that is because these don't appear on the first page. They come on the second page. There it is at one showing there are label. If you wanted to insert Bookmark, let's say it's where Jerry falls over again. We go insert, bookmark Joey full Okay, and then we go. We've added a bookmark. The way to access these is if we go into edit and then go to we can search the page by looking at bookmark here. That's really quite fast. If we go edit, go to we've got a list of bookmarks in the go to tap. So then, if we're further up the page and we click, go to Joey Fall, it will take us down there once. We've got really long script of lots of pages. If you're writing a long featuring things out that come really handy toe, have thes bookmarks and just hop around the script. Easy peasy. Let's move on 17. Fonts, Styles and Highlighting: this lesson is a bit of a boring but necessary step to go through its fonts on highlighting and various format changes like that, much like any normal word process. Er, the basic things you're going to need, like bolding, underlining and italics can be done with the traditional shortcuts. So let's say we wanted to really emphasize Joey's fall, and I keep going back to that one. But it's an easy ones. Keep working with we highlights it. Command B is bold command. You is underlying command. You come on, do you on command? I is a Tallix Tallix Tallix Palace it Alex. The reason you might use bold and underlined in italics things like that in the script for dialogue is just to emphasize what people saying. Maybe they're shouting or they say something in a sarcastic way, and you put it in italics, or you want to emphasize with underlining things like that. These can also be handy for your sluglines if you want to have them bold and underlined. Perhaps this is a trait you notice bit more now. It's not traditionally technically right. Screenplay format standards. If you go by all of the old rules But if Damien Chazelle can do it, I'm sure it's fine. If you wanted to edit bold and underlying, or things like that with the normal bars, you simply go to format and then style. Andi Bold, etcetera. In there, this bar has a few other useful things you can use. So, for example, you can change the font. You can change the size of the font, that style. And here there's quite a lot of handy ones, like all caps. If you want to maybe make I got fired or caps. This has got a long way to do it. He highlighted it for Matt style All caps. There we go. That's quite handy. And there's a few other ones that I quite like. For example, I like the strikeout one. Sometimes if I just want to keep it there but hide it as it were, and then also, you can highlight things. So if you want to perhaps remind yourself of a certain thing you could use highlighted in pink. And this is ah, potentially used by some producers and that toe work out things in the script and where they want to write part of the budget around and stuff like that, particularly. Maybe maybe there's a cast member they want to attach to something. They highlight it about equally. You can remove the highlight and then change the color, so that's a green that same green could hardly see. That wouldn't recommend that it's removed that I'm going back to normal. One thing I would say before we move on is in terms of this format menu. It's great to use things like highlighting and some of this stuff in style. But do be careful with some of the fonts and size and alignment spacing tabs, because I know I keep going on about it. But there are quite strict rules for what screenplays should look like. And you don't want to be messing around with different fonts. For example, it's always this same career font. You don't want to be changing that unless you're maybe Tarantino, and you could do whatever you want. Likewise, don't be moving with the margins around on the spacing. Be very careful with that. Let's move on 18. Quick Fire Extra Tips: this lesson is going to be a quick fire of 11 handy tips that you can use for your final draft workflow before we move on to saving and sharing collaborating with others on your screen place. The first quick tip, much like in any normal software, is if you make a mistake mistake, you just press command said. And it will undo the previous action. So that's mistake on then command said. Or edit and then undo typing. If you want to select a scene, you can simply click somewhere in the scene. Let's say we cook here and then you go edit select scene and it was selected for you. Another handy tip If you wanted to get rid of the scene, perhaps Command said to bring it back. Tip number three is that you can listen back to your script by simply clicking on the little microphone in the bottom right here. Now I can't click on it now because it will cancel out this microphone, but all you need to do is click on that and then final draft has a really called text to speech feature, which will read your story back to you often I find when you're writing, you get bogged down inside your own words, and you can't really see the wood for the trees. So use this listening back feature Toe Aid. That tip number four is that if you're working late at night, as many writers do, you might want to work in night mode. As many software's now have to do that, you just click the little night mode Moon in the bottom right, and it would change, too. Dark mode for you. Easy Tip Number five is good for editing characters. Let's say you've written someone the whole time as Monica, but actually you wanted her to be gum for the guy who works at the coffee shop. You just go on to edit and then replace character. And this is really handy, Much like finding replace tour, you see in lots of work processes. Click on replace character and then you see Monica, you choose Monica and then we go replaced with Gunther. Click OK, and then let me put out there you're noticed. Now this will change to Gunther on every single one will now be Gunther. Likewise, replace character. We then go from gun for to Monica. Okay, and it would change it back. Really nice little tip. When you're working in comedy, particularly, it can be helpful toe. Have different jokes up your sleeve for different lines and to make use of a feature in final draft, you can use show alternative dialogue. To do this, you go into the view tab up at the top, and then you click show warts, and that's what stands for alternative dialogue. So if we click, Schoenholtz doesn't like anything's happened. But actually, if you now go down to beer by Chandler and you click on it, you'll see that a little plus sign has appeared on. This means you can create more dialogue lines. So if I click plus, we've now got two of two, and that's because it's hiding number one back there, you see left to number one, right? So let's change it for I don't know wine and then click off of it. And then this will show that there's an alternative there, which is really brilliant for when you've got extra jokes. So now if we click on it again, we can cycle through it beer, wine, and then if we wanted to actually remove that line. We simply click minus, and then we go back to view hi adults. And then now they're hidden wagon. Another really helpful tip. Tip number seven is how to add an image into the text, and I'm not quite sure why you would ever want to do that. But it's super easy. If you do, just make some space and then go insert image. Click on that and the dialogue box will come up and you can put in image in Tip Number eight is adding non speaking characters. Final Draft won't recognize that they're actually in the script unless they have any dialogue on the way to deal with. This is you're going to script and you cook on insert at the top and then add nonspeaking character. So let's say that I don't know Phoebe. He's boyfriend is in a scene sitting in the background, but he doesn't actually say anything. We click OK, and then that's going to add him into the cast list and things like that. A good love tiptoe. No tip number nine is really helpful. One. If you're English like me or from another country, that's not America the final draft software is normally set to a US English dictionary, but you might want to change that if you go into tools and then spelling. No, we got two options, and here we can choose the language off the script. So for me, I will choose English, United Kingdom, and we go out. And now all the things I keep spelling in a British way aren't going to be spell checked as wrong. Tip Number 10 is great if you're struggling to think of names. If you go into tools and then you go down to the names database. This has 90,000 names that you can work from for characters in your script that my name is Mike. And if I want to look up other characters that begin, then M Maybe if I wanted my spouse in the script to also be called a name with M, I click Look up and suddenly I've got these millions of names down here I can choose from Fantastic. Finally, Tip Number 11 is If you head over to the help tab and go on to sample scripts, you'll notice there are some scripts that you can look at for example, script Open up for you on second and look. It's been really populated by the final drive team, and you can see the full capacity of everything we've been learning so far. You can see how they've added images to their beat board in different colors. It's a very expensive beat board. As I was saying earlier, you can fill it with whatever you want. You've got structure points, you've got beats or out throughout battle Chase Here in red, they've used colors and then also just to look at some of the formatting we've been using. We've got aggressive Warlock, and then we've got some action lines, etcetera. It's a really good way to build on what we've learned in the course and look at how it applies to a fully fledged finished script. So that's 11 quick tips for you to play around with him. Found draft. Let's move on 19. Saving, Back Up & Title Pages: So you've written the next Chinatown is time for you to save and share your work. Now, obviously, we should have been saving throughout the whole time. You're writing a screenplay, you don't save it once at the end. But for the purposes off the structure of this course, I thought it best to leave it till the end because it comes last saving in the sharing spreading in the world. Now, obviously there's a normal way to save which is command s which is file and then save as or save, which will bring up the dialogue box as normal. But also, you'll notice throughout this course potentially that it keeps popping up asking about auto save. This is another really handy thing you can use in final draft. If you got to final draft 11 at the top left and then go preferences, you'll come to the auto save backup feature on in here. You can choose where the final draft wants to save it every 15 minutes. 10 31 hour. And it could be really helpful because if you're really plan through your script, you don't want to lose that. You don't lose those precious moments that you've written down and you can turn on or off auto save because it can be pretty annoying. I'll be honest. Finally, in terms of saving your notice at the bottom, there's this auto back up on a board on this is basically a little backup folder. The final draft hides in your hard drive, whereby if you have it on every time you save your work, it will create a backup off that folder on. It could be really helpful if you lose things later on, see if you click on open Backup Folder will open it within my system here on the right hand side, really helpful to use another one of the final things you need to do before sending your script out to the world is create a title page. So to do that, we go up to document at the top and then click title page. It will bring up a new dialog box, and in here we have our title page so you can add your address. I would recommend an email address, not your actual home address on your or your phone number. Perhaps something like that, for the purposes of this I'll just get rid of that. And then we add in our script title. So, for example, if you were writing a screenplay, it might be a few good men, and then it's written by This is all formatted easily for you, Arron Sorkin. And then I don't think it was based on anything off the top of my head. So you just get rid off based on that is for if you're writing a book. So if you were writing the screenplay for Harry Potter, you would put based on Harry Potter and the Chamber of Secrets or whatever down there. So for a few good men were going to get rid of that. I don't think it was based on a book on. There we go. That's all it is. I know it's pretty simple, but that's what it looks like for our purposes is going to be a TV show friends. So it's more likely that it will be friends like that. And then pilot, perhaps pilot episode like that often, you see, or maybe the name off the episode with one with the final draft, of course, and then written by Mike at the bottom and that's it. That's what it really looks like. Sometimes you see it with underlined or not. Doesn't really matter. The thing you don't want to do is cover this in images and big letters and different fonts and things. Sometimes people do do that. I have seen that before, but it's not very common for beginners on when you're sending scripts, the agencies and things like that, you probably want to have it quite crisp. Andi Singular. You don't want to be having all these huge, different images on the front. Just keep it nice and clean. Let's keep go back to our a few good men. Example. Get rid of that Erin soul can. And that's what we wanted to look like. And here are a few examples of other title pages that you can compare yours, too. I hope you can see from the example was that there is a certain way that you need to have your title page on the whole, so just abide by that for the moment on, then one day, if you're a huge director Christopher Nolan, you can put huge letters of inception on your script and no more care. But for the minute, just stick to the guidelines from screenplay format gurus 20. Watermarking & Printing: Now that you've written your amazing script, you want to potentially water market to give it some semblance off protection, I guess. And to do that, you click up to document and then watermark. And then let's say you want to add in John Doe. So you type in John Doe in class, okay, And nothing is going to happen to your script. You know, there's nothing there. You can only see it when you print it or you save it as a PdF. So, for example, if you to go file save as pdf, it would save a John Doe on, and likewise, we can see if we go command p, we go to pdf down here in the bomb left open in preview, and you'll see the PdF open up with John Doe on the background and look very professional. And just like its from seven. When it comes to printing, press camo, NPI Or, of course, go file and then print, and there'll be lots of different options here. You don't really need to worry about a lot of these. Just make sure that in the bottom left, the include title page boxes ticked. Andi, you can choose anything else. Maybe you want it in black and white. If you've got some color in there but realistic, it should be black and white. There's no reason for that. Do you want it to be two sided, etcetera, etcetera? Things that revisions don't worry about that. You can look in the epilogue upcoming in this course, and I'll be explaining revisions. But it's certainly not a beginner step that you need to know about. It's very production facing, and then you let you click print on your going Amazing. 21. Collaborating : again fitting into the idea off. Saving and sharing your work is the notion of collaboration and final draft makes that really easy as well. If you want to collaborate with somebody, you simply click on the collaboration Little button up here. Collaboration. What will then open is this dialog box asking whether your hosting or joining a session. The idea is that online, you can have a live session between two or even more of you where you edit the script. So if you're the host, you simply type in your name John Doe. Yeah, And then you choose the script that you're editing on the new click. OK, And it will open up this little box here, which is your collaboration session. It's even got a handy little chat feature on what you do is you take this session, I d send it over to your friends, your collaborators, whoever you're working with, and then they can import that. So if I were doing the other thing, I would go collaboration, join, and then I'd add in my name, and then I'd add that session I D. And it's a really amazing tool. You can use toe work with your friends and colleagues 22. Epilogue - Reports: this final section is an extra mawr advanced few lessons for those of you who really want to get all off the knowledge you can from final draft, it's more production facing, as if your script was going to be moving and actually getting made, which could be handy if you're making your own projects. Or, obviously, if you're going to be making a big, multi $1,000,000 Hollywood movie. First of all, one of the most important things is, of course, seen numbers. So when you're writing a script, every scene doesn't have a number. Obviously it does in the Navigator, but we need to show this on the script, and the way to do this is we click on I'm going to production and then seen numbers. This production tab is where we're going to working a lot here, so we go see numbers and then you've got various options. Remove the numbers or number re number start from current scene. You don't ever really want to take that. Basically, it's set up to go from beginning. The only difference is if you want to have your extra scenes as a two, a three etcetera or one a blah, blah, blah. I would just leave it on the original settings and press OK, and then you go 1234 etcetera. Throughout your script. The reason that scene numbers are important is that when it comes to something getting actually made all of the costume designers and production designers produces, everybody is going to be making breakdowns of the script on. They're going to write certain things in their notes, depending on the scene number. So let's say it's number one. The production art department are going to need to build Monica's apartment on. Then let's say it's Chandler and Ross drinking coffee in number to the props department set Decker going to need to get coffee, etcetera. What we need to do is have these seen numbers on, then go to production and then when it's ready only when it's ready, you then lock thes pages. And then what happens then is that whenever it then gets changed, it becomes a revision, which will go into later. So that's how you use seen numbers. Next up is reports on the way to get to these is just click on tours and then reports and you'll get a whole list of them there, and I'll give you a very quick run through because this is the sort of thing that is good for you to just have a look at yourself. So if we could con seem, report half better order. Okay, you'll see the scenes. We've got the people in them the longest. Seen the length of them, etcetera. I'm just going to run through these as quick as I can. Location report is going to give us where the scenes are central. Perk the apartment blah, blah, blah. How many occurrences next one is going to be character report where you can select a specific character. So, for example, let's choose Monica. Okay, And then it's gonna tell us more specific knowledge on Monica How many times she speaks, the percentage even off how much of the script that is, if you feel like you've got a character who should be a real hero in the script, but you think that they've got little dialogue, you can look at the character reporting. See, actually there, only speaking 5% of the time on their one of the biggest characters in there, Maybe you need to bump up their part in the show. Likewise for actors. If you are a writer and an actor wants to take apart potentially, but they think it's too small in the script, you might be able to actually go well. Actually, it's 50% off the dialogue in the whole movie, so it's quite a handy little tool. It even has the dialogue of Monica all the way through quite a good little tool. The next report is the cost Report Tools report. Cast report on This gives you a list of everybody in the script in the TV show in the film , whatever. On how many dialogues Ilgar speaking scenes, etcetera. You can see where earlier we added Phoebe's boyfriend as a non speaking role, and they've got nothing but also noticed that, stupidly, I left in Joey on the phone earlier when I was illustrating a different point and smart typos. Remember, this is a character. Make sure that you delete this. Obviously, when you're moving forward with your script, that's why reports could be handy. They can flag up little issues like that that you wouldn't have noticed anyway. The next report is script not report, obviously, We don't really have any of these, so you can choose the different types and bits of information you want to see from the script notes. Okay, we've got our Joey joke not funny, pleasing of alternative, really handy for when you're working of writers and you're giving the notes and things like that. The next report you can mock up is the statistics report. So if we open that, you'll find a very expansive report going down the page. Not that this includes everything from number of words in the script number of paragraphs, a breakdown off characters as well. It's really the most handy one, in my opinion, it has a lot of stuff all together in the statistics report, even has a feature off profanity breakdown. If you're working within certain restrictions on age limit for the movie and things like that, obviously this comes later down the line. It's even got on element breakdown. So, for example, in a Michael Bay movie, action is probably gonna be an awful lot of it where in an Hour and Sorkin movie dialogue is going to be a lot of it, and that is the statistics report. Finally, we have the tags report on. I'm not going to go into that in a moment because it leads us on to the next lesson, which is tags themselves. 23. Epilogue - Tags: tags or something that a used later on in the production process to break down a script by H ODIs and various others toe access. Then we go on the Navigator tab and then tags. I want to make sure it's pinned, and then you want to go into the production and then tags mode. So every time I now click on the script, for example, SOFA is going to open this dialog box, and I can choose various things that make up a film or television show. In this case, we've got SOFA, so I want to choose prop tag, and that creates the tag over here on the right hand side. Likewise, a TV double click props tag. Likewise with Monica DoubleClick. She's cost member tag. But what is the purposes of this? Basically, when a script is going into production or you're making yourself or however you want to work it out, you're going to need to see exactly what you need to make that film or that television show happen. On the tags mode helps you create a long list of everything within different scenes. So we've got props which the art department care about, and the producers. The producers always care because you have to pay for it. We've got cast members. And also, if you look on the list of various other things, stunts can be expensive vehicles. If you're doing mission impossible, things like that would be an awful of vehicles. Camera, wardrobe, makeup animals is a very difficult subject matter. If you have to get in a difficult animal into a scene sound our department blah, blah, blah. I always goes all the way down right to the bottom, with comments just for some general stuff. And knowing how tags work is a really handy thing to know when you're moving later into your final draft. Korea finally, as a no on tags, there is a handy feature where you can double click on, then click onto cast members and tag all so it will tag every time that Joey is in the script. So here we've got sixth instances off Joey, okay, and then in it goes into the tags. So on the central perk, seen Number two, we haven't done any tags, so in the Navigator there's nothing there. But then, if we go to number one, we've added everything in their likewise. Joey is in scene three. So if we go to seeing three in the Navigator, there's jumpy, really good tool for breakdowns. 24. Epilogue - Revisions: The final thing to learn in this epilogue, with some more advanced final draft tips, is revisions on what our revisions will. Basically, when you're creating a script, it will go through various different drafts. But ultimately, when it's going to be filmed, it will be re drafted and redrafted until it becomes the white shooting script. And this means is being locked in. This is the one they are going to film, but obviously they are going to be some changes, and the way these changes occur is through colors. So every time there is a revision of the script post the white shooting script, it's going to have a color allocated to it. The 1st 1 would be blue, so the first revision is essentially called Blue. And the reason that it's this way is that let's say it's a bit different now because people have them online. But you print your script and you've got 100 and 20 page film of white pages. You want to be able to see what's been revised. So what happens is you print that onto blue pages. Any revisions from this first set will be printed onto blue pages, so you can see them through the script. Clever. And then this process carries on through various other colors. Pink green, lots of weird named ones, like buff Golden Rod on various others. And that is how it works. So I'm going to teach you now how the revision process works. So we get to our script, we go to production on. We want toe, turn on just as an extra bit. Obviously. Make sure these pages are locked at this point. Lock pages. Would you like to turn on revision mode? Yes. So production, then room revision mode. Just double check. And we go into revisions here. And this is going to give us quite complicated dialogue. Box off how revisions work on. We don't need to go into all of the separate bits. Things like the color of the text. Don't worry about that for a minute. Basically, down here, you've got the blue revisions, so you need to choose what your revision set is up here. So we've got Blue, which is the 1st 1 And then, as I said, it was pink, yellow, green, golden rod, blah, blah, blah. We're going to want to change the dates here, so we wanted to be 1/15 off July. I know that's in US style from making it British 15th of July 20 And that's when these revisions are being made. The revision mark next aware things have been done and changed is the little star Asterix and then the rivers and page color is obviously blue. We don't want to change the color of the text. So we're gonna leave that the same And we don't want to bold anything or underlying any changes either. One thing I really like tohave check throughout the revision making process is this one here Show revision page colors. If we take that, I'll show you. Now we click. OK, If I make any changes that change, you'll notice that the little Asterix star here appears on the page gets this blue sideline border so that we know something has been edited. Likewise, if we go on here, change is gonna do that, Little Asterix. So let's just got out of that now. If we go back to production and then revisions if we wanted to, then move to pink revisions. You then have to go to the next revision set next pink revisions. 15 Are you seven 20? Show revision page colors is ticked. Okay, so now whenever we change anything so we get to page to change, this page is going to become pink. Does that make any sense on when we go to print it? Make sure that you actually turn off revision mode and you've turned off shore revision page colors because otherwise it will print it as that color. We only want it to be with the Asterix. The reason why is that we print it onto pink or blue paper. We don't want it to be blue in the background. And if you go to print revisions and you've got that ticked, it would just try and print it with blue ink rather than printing onto blue paper, which we don't want. Finally, if you want to have the name of the revision here, the top of the page, for example, pinks, we go to document header and footer and then check that we've got the revisions title here , and that's how the revisions work. Realistically, you're probably never going to need to use that, and it's more of a production facing thing, but it's great for you to understand how to do it in final draft 25. Conclusion: So there we have it. You've reached the end of the course and you've learned how to write your first screenplay or television show. In final draft, we've learned how to get the basic elements onto the page. How to write a scene with scene headings, dialogue and characters involved, taking it all the way through the features of final draft that help your creativity like beat board and story map on ultimately working all the way down, as if your script was going to go to production and how it works with budgeting, tagging and revisions in the final processes off a film being made. I really hope you've learned a lot with this course and I hope to see you in another writing tutorial another time. Thank you.