Article; NIGERIA CANNOT SURVIVE WITHOUT THE IGBO – FEMI ARIBISALA

Out of the three major ethnic groups in Nigeria, the Igbo have by far the worst politicians. Among the different ethnic groups in Nigeria, the Igbo are without a doubt, one of the most remarkable. So remarkable, indeed, that some have even traced their ancestry to biblical Israel, as the far-flung descendants of Jacob, the Jewish patriarch.

Gad, Jacob’s seventh son, is said to have had three sons who settled in South-eastern Nigeria. These sons; Eri, Arodi and Areli, are believed to have fathered clans in Igbo-land and to have founded such Igbo towns as Aguleri, Arochukwu, Owerri and Umuleri.
Igbo genius Even the bitterest adversaries of the Igbo cannot but admit that, as a people, they are very resourceful and ingenious. Indeed, this has often been the cause of their envy and dislike by others. However, more enlightened non-Igbo Nigerians see this as a cause for celebration.

While today, the centre-point of Nigeria’s manufacturing is situated in the Lagos/Ogun axis, there is no doubt that the real locomotive of Nigeria’s indigenous industrialization lies farther afield in Aba and in the mushrooming cottage-industries of the Igbo heartland. In one of the paradoxes of Nigerian history, the terrible civil war provoked homespun industrialization in the South-East. Military blockade left the Igbo with little alternative than to be inventive in a hurry. While Nigeria as a nation failed woefully to harness this profitably after the war, it has nevertheless ensured that the Igbo are at the forefront of Nigeria’s economic development today.

Indeed, the way we disregard “made in Aba” today is the same way we disregarded “made in Japan” yesterday. For those of us who believe against the odds that Nigeria is the China of tomorrow, we equally recognize that the ingenuity of the Igbo is an indelible part of the actualization of that manifest destiny.

Hall of fame
The Igbo have been a great credit to Nigeria. They have given us a great number of our favourite sons, including international statesman Nnamdi Azikiwe; military leader Odumegwu Ojukwu; regional leader Michael Okpara; vice-president Alex Ekwueme; mathematical genius Chike Obi; literary icon Chinua Achebe; world-class economist Pius Okigbo; world boxing champion Dick Tiger; international statesman Emeka Anyaoku; and world-class artist Ben Enwonwu.

Permit me to include in this illustrious list even some of my very good Igbo friends: Pat Utomi, Ojo Madueke, Olisa Agbakoba, Joy Ogwu, and Stanley Macebuh. Let us get one thing straight: Nigeria would be a much poorer country without the Igbo. Indeed, Nigeria would not be Nigeria without them. Can you imagine the Super Eagles without the Igbo? Not likely! Who can forget Nwankwo Kanu, Jay Jay Okocha and our very own Emmanuel Amuneke? Can you imagine Nollywood without the Igbo? Impossible! Just think of Stella Damascus-Aboderin; Rita Dominic and Mike Ezuruonye. And then there are the diaspora Igbo who many are unaware are of Igbo descent, including concert singer and actor Paul Robeson; Oscar award-winner Forest Whitaker; mega-pastor T.D. Jakes; Olympic champion Christine Ohuruogu; and BAFTA actor award-winner Chiwetel Ejiofor. You may well wonder why I have found it necessary to present this small litany of Igbo who-is-who. I think it is important to emphasise how the Igbo have been very vital to the Nigerian project. They have more than represented Nigeria creditably in virtually all walks of life. This makes it all the more absurd that this same people have been consistently denied the position of executive president of the country in all but six months of Nigeria’s 54 year history.

Civil-war legacy
Of course, a major reason for this was the 1967-1970 civil-war which had the Igbo on the losing side. But that was over 40 years ago. If there is really to be “no victor, no vanquished” in anything more than mere rhetoric, then the rehabilitation of the Igbo back into post civil-war Nigeria will not be complete until an Igbo man finally becomes president of the country. That imperative should be of interest to every Nigerian nationalist, committed to the creation of one Nigeria where everyone has a deep sense of belonging. The problem, however, is that the Igbo themselves seem to be their own worst enemies in this regard. They appear to be doing their very best to ensure that this inevitable eventuality continues to be denied and delayed. The Igbo need to forgive Nigerians. No one who lived through the horrors that precipitated the secession of Biafra and led to the civil-war cannot but admit that the Igbo were abused and mal-treated in one of the worst pogroms ever. It was not just that they were senselessly massacred in their own country; it was that they were butchered. I remember vividly gory pictures of scores and scores of the Igbo with hands chopped up and with legs amputated.

And then there were the ravages of the three-year civil-war itself, resulting in the death of millions of Igbo; many through starvation and attrition. The end of the war brought no respite, as the Igbo were pauperized by fiscal decrees that wiped out their savings and their properties were blatantly sequestered by opportunists. All this is more than enough to destroy the spirit of any group of people. But God has been on the side of the Igbo. It is a testament to their resilience that, in spite of this terrible affliction, they have survived, bounced back and have even triumphed in Nigeria. Forty years have now gone by. The Igbo may never forget what happened to them and, indeed, should never forget. But it is past time for them to forgive.

We are sorry
This is one voice in the Nigerian wilderness saying to the Igbo from the depth of his heart: we are sorry. We are sorry for the way we mistreated you. We are sorry for the way we abused you. We are sorry for starving your children to death. We are sorry for killing your loved ones. We are sorry for stealing your properties. We are sorry for making you feel unwanted in your own country. Please forgive us. It is time to forgive us. It is way past time for the Igbo to forgive Nigerians. We beg you in the name of God. There was a civil war in the United States, but the defeated South rose from the ashes. Five of the last nine presidents of the United States have been from the South, including Jimmy Carter from Georgia, George Bush from Texas and Bill Clinton from Arkansas. The time is overdue for an Igbo president of Nigeria, but it is not going to happen as long as the Igbo continue to hold a grudge against Nigeria and Nigerians. There is no question about it: the Ibos cannot elect a president of Nigeria on their own. To do so, they have to join forces with others. They have to form alliances with people from other parts of Nigeria. That is not going to happen as long as the Igbo continue to bear a grudge against practically everybody else. The Igbo have a gripe against virtually all the people they need. They have this tendency to antagonise their possible alliance partners. They keep dredging up the past, refusing to let sleeping dogs lie. Until they drop these gripes, they are not likely to realise their dreams.

Demonising Yorubas.
For example, the Igbo have this tendency to demonise the Yorubas. It is alarming when reading the Vanguard blogs today to see the animosity often expressed between Igbo and Yoruba contributors. The hatred is most unhealthy. Insults are traded with abandon. What is the point of this? For how long will the Igbo demand emotional retribution from every Yoruba for the betrayal of Awolowo? Most of the contributors were not even born when the civil-war took place more than a generation ago. There is now even transferred aggression against Babatunde Fashola, who made the blunder of repatriating some destitute Igbo from Lagos back to their home-states. The man has apologised for the infraction. He should be forgiven. Blunders are not the exclusive preserve of the non-Igbo. The Igbo have made more than a few themselves and will yet make others. Paradoxically, the redemption of the Igbos to prominent national office moved apace under President Obasanjo; a Yoruba man. Recognising that Igbos are some of the most seasoned, competent and experienced public-servants, Obasanjo relied heavily on their expertise.

Thanks to him, we got Ngozi Okonjo-Iweala at Finance, Charles Soludo at Central Bank, Obiageli Ezekwesili at Education, Ndidi Okereke at the Stock Exchange, and Dora Akunyili at NAFDAC. Indeed, Igbo statesmen came into more prominence under Obasanjo than did Yoruba statesmen. But for some strange reason, this does not seem to have succeeded in assuaging the ill-feeling of the Igbos toward the Yorubas.

Bad politicians
Within the framework of Nigerian politics, the Igbo also have a fundamental problem. Out of the three major ethnic groups in Nigeria, the Igbo have by far the worst politicians. They have no recognizable leaders, and have no discernible strategy as to how to negotiate power at the centre. As a result, the Igbo have tended to be short-changed at the federal level. Traditionally, the inconsequential ministries, such as the Ministry of Information, have been zoned to them. The Igbo need to work out a plan that will take them to "Aso Rock". First, they need to choose and groom a de-tribalised leader of the Azikiwe mould who can be sold to non-Igbos. Then, they need to give him undiluted support. At the moment the internal politics of the Igbo militates against this. The Igbo seem to hate themselves as much as they hate others. They seem to fight themselves with as much venom as they fight others. Every potential Igbo leader seems to have more enemies within than without. This must not be allowed to continue. The Igbo need to help themselves in order that their friends can help them. In this centenary of Nigeria’s amalgamation, as we embark on the arduous process of crafting our future through a National Conference, we salute the Igbo for their fortitude and implore them to stake their claim in Nigeria. Nigeria cannot survive without the Igbo.

Movie Trailer- "Mentally" By James Abinibi

James Abinibi releases the trailer for his feature film 'Mentally', Produced, written and Directed by James Abinibi, it stars Fran Donga, Toyin Aimakhu, Yaw, Rotimi Salami, Jude Chukwuka, Soma, Senator Comedian, Sunkanmi Omobolanle, Adekunle Gold, Woli Ariole, Chris Okagbue, Etinosa Idemudia, Eric Didie, Kunle Afod, e.t.c.

Synopsis
The movie is placed on the life of a young man Akin, who gave deaf ears to his mother's warnings, decides to relocate to Commercial city Lagos where his former school mate Emeka, promised him of opportunities as he soon as he comes to lagos through which he can have a better source of livelihood. His first experience in Lagos gave him a clue of where he had transported himself to, but was an eye opener that makes him rethinking back to his mother's words as the choice he has made of going to the big city Lagos.

Watch the Trailer Below:

Mary Ogochukwu- Talent in the Blood

Just about few months, the social media has been lighted up with some painting by an African talented one by name Mary Ogochukwu.

Mary Ogochukwu is from the southeastern part of Nigeria in Africa, she has been known by many of her great impact in paintings she has done, she has done picture art of couple of Nigeria Celebrities and International celebrities, not to mention few, Mary has made a portray of singer Mr Flavour, phyno, Rihanna, and Comedienne Emmanuella.

We have found out some hiding picture art from the talented young lady, which she made newly.

See pictures below...

Mary Ogochukwu, I say is a pure display of the simple statement "I am African, not because I was born a African but because Africa is born into me."

The Young lady has been an inspiration to some young talented artists in the southeast region in Nigeria, letting them know that Art is Life and not just a Showcasing. Many young artist are coming up with some inspirational impact Mary has dropped on the table.

Movies To Watch Out For In The Cineplex

The Cineplex is really getting interesting this Month, And where are the lovers of movie... The ISO BLOGGERS movie team has made a list of lovely movies this weekend... here are some movies to watch out for this weekend.

  Action/Thriller
  "Hunter'so Prayer" The story tells the tale of how an assassin helps a young woman avenge the death of her family.
The movie stars Sam Worthington,Odeya Rush, Allen Leech and many amazing actors.

 Drama
"Alter Ego" is a Nigerian film that  follows the story of Adaora Igwe, a lawyer who specializes in defending less privileged sexually abused victims.
 She uses unorthodox methods to see that sex offenders and molesters are punished in or outside of the court....You can also watch the Thriller of our Home Page
Starring Omotola Jalade -Ekeinde, Wale Ojo, Kunle Remi and many amazing actors

  Thriller/Drama
 "TRACE" :  Uyi and Ivory Michael are newly-wed couple in a seemingly perfect marriage. On the day of their first wedding anniversary they receive a mysterious package which casts a shadow of doubt over the fidelity of their marriage. 
Now, past secrets are brought to the surface and the couple must come to terms with these startling new revelations or risk being torn apart forever…

Cast: Blossom Chukwujekwu, Yvonne Enakhena, Gregory OJ, Bayray Mcwizu

Little Tips About Script Writing

"These short article is an advanced one that works for both the people already into 

the life of screenwriting and those new to the field."

What Exactly Is a Script?

A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Why "outlines"? This because film is a highly collaborative
medium and the director, cast, editor, and production crew will, based on your
"outline", interpret your story their way when it is filmed. They may consult you, or 
they may not. 
But consulting the scriptwriter is a very important role, because you are just the script 
writer but a script analyst--playing the role of the script analyst is when your script has 
been accepted to be filmed, you work hand to hand with the film Director on placing 
right the actors and their on-set behavior. It has been discovered that many Film- 
industries doesn't consider the role of the Script Analyst important, On our next post, 
we will share why it is important to have a Script Analyst in place not just only a 
director. 

Other writers may be brought in or you may be asked to re-write the entire thing. 
That's life, in the world of screenwriting. But because so many people are involved 
in the making of a film, a script must conform to standards that all involved parties understand and thus has a specific format or layout, margins, notation, and other conventions. This document is intended to overview the typical elements used screen-
play writing.

It is crucial to remember that film is a VISUAL medium. You don't tell your audience 
your story, you SHOW them. You must learn to write a screenplay VISUALLY. Write 
what they will SEE and what they will HEAR. You might love your characters and 
know what they are thinking, but the discipline of screenplay writing is how to show 
it on a screen. When it happens, it may be just done with a look, often improvised 
on the movie set. So just write the pictures, sounds, and speeches, and leave the rest 
for the filmmakers.
Mind you, Scripts have to look a certain way, in a way that you present your work 
like an insider. 

The sheer volume of submissions makes it so that if ANYTHING about your script 
looks strange it's headed to the Recycle bin. If you don't know the game they won't 
play. 

What Makes Good Story?

Let's hazard a guess. The movies you loved most featured characters that swept 
you up, who captivated your emotions, got you involved. The audience viewing 
a movie not only wants to be interested in and care about the people they see on 
the screen, they want to be PASSIONATE about them, whether they like them or 
not. Great heroes and heroines inspire us; great villains make us want to jump into 
the screen!

There is always something at stake in a good movie. Not just something someone 
wants, something that must be acquired, no matter what the risk, as in Indiana Jones 
and the Raiders of the Lost Ark. Or something highly desired by as many main 
characters as possible, like the small black statue in The Maltese Falcon. Some times 
it can be an intangible thing, like the freedom of a people in Lawrence of Arabia, like 
the play of timeless love in King of Heart, and The Seek some times the bad ganging 
in Slow country. All these things drive the character's quest, even gives the hero 
superhuman strength. It can be something personal (romance) or for the good of all 
(saving the world from aliens) but it must be powerful and grow more desperate as 
the story unfolds.

There are always obstacles, which provide that catchword that actors love so much -- 
CONFLICT. This is the heart of drama. Someone wants something and people and 
things keep getting in the way of them achieving the goal. At times, the obstacles can 
be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad 
battle to achieve the same goal--the acquisition of the last popular action figure for 
sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical, spiritual or emotional that have to be in 
your story or you don't really have a story. In most good stories, the protagonist will 
also have an inner obstacle, some mental or even spiritual problem, that will be 
resolved by the time s/he reaches the outward, physical goal of the story. Some people 
call this inner demon a "ghost," while others call in a "wound."

You need a hook. That's a songwriting term that describes that thing that catches 
the public's attention. A popular Nollywood term is a "High Concept." A better idea 
might be a simple "What if?" In Galaxy Quest, for example, the concept is "What if 
the washed-up actors from the crew of a cancelled but still popular sci-fi TV show 
are pressed into a real war in space by aliens who think the TV show broadcasts 
they received were documentaries?" OR " What if the cause of the hero's problem is 
himself but the viewer would be thinking it's his friend or any other character in the 
movie, while his problem is himself--So Funny" That is it, you make your Story Alive 
with A good enough "what if?" will set your script apart from the pack. 

N.B, It is why people will leave the comfort of their homes and spend up to $15 (about- 
5000 Nigeria Naira) their hard-earned bucks at the local 'cineplex'--(blend of Cinema 
and Complex).

Nollywood buys genres. Agents, managers, and producers are drawn to and specialize 
in specific genres so approaching them with something they can recognize is a good 
idea. Successful stories have a fresh face but are identifiable. You know what makes 
your idea unique, but can you describe it quickly to others? Is it a fast-paced thriller, romantic comedy, action adventure?

 Written By: ISOBLOGGERS Scripting Tips Team

SUBSCRIBE ACTING\SCRIPTING TIPS  FOR MORE....

Script Writing Glossary

GLOSSARY:

A Page

A revised page that extends beyond the original page, going onto a second page. 

(i.e. Page 1, 1A, 2, 3, 3A)

Abbreviations

shortcuts used in scripts such V.O., O.C.

Above-the-line

In film, those costs that occur before filming, this includes salaries of the talend and creative team 

(director, producer, screenwriter), plus any rights required for adapted scripts. Sometimes, above-the-line 

can also refer to the people included in the above-the-line payment category.

Act

A large division of a full-length play, separated from the other act or acts by an intermission.

Act/Scene Heading

Centered, all CAPS heading at the start of an act or scene. Act numbers are written in Roman numerals, scene 

numbers in ordinals.

Acting Edition

A published play script, typically for use in productions in the amateur market or as reading copies. 

Often has a list of prop list or set design sketches.

Action

The moving pictures we see on screen. Also, the direction given by a director indicating that filming begins.

ad lib

Dialogue in which the characters or actors make up what they say in real time on the movie set or on stage. 

From the Latin ad libitum, "in accordance with desire."

Against

A term describing the ultimate potential payday for a writer in a film deal. $400,000 against $800,000 means 

that the writer is paid $400,000 when the script is finished (through rewrite and polish); when and if the movie 

goes into production, the writer gets an additional $400,000.

Agent Submission

A method of play submission, in which a theater requires that a script be submitted by a recognized literary agent.

Alan Smithee

A fictional name taken by a writer or director who doesn't want their real name credited on a film.

Angle

A particular camera placement.

Approved writer

A writer whom a television network trusts to deliver a good script once hired.

Arbitration

Binding adjudication by members of a Writers Guild of America committee regarding proper onscreen writer credit of a 

movie; arbitration is available only to WGA members or potential WGA members.

Artistic Director

A theater company's chief artistic officer and usually the last stop before a play is selected for production.

Associate Artistic Director

An artistic officer of a theater company, frequently a director and often second to the Artistic 

Director, integrally involved with its artistic decisions.

At Rise Description

A stage direction at the beginning of an act or a scene that describes what is on stage literally "at rise" 

of the curtain, or more commonly in contemporary theater, as the lights come up.

Attached

Agreement by name actors and/or a director to be a part of the making of a movie.

Audio/Visual Script

A dual column screenplay with video description on the left and audio and dialogue on the right, used in 

advertising, corporate videos, documentaries and training films.

b.g.

Abbreviation for "background" (i.e. In the b.g., kids are fighting).

Back Door Pilot

A two-hour TV movie that is a setup for a TV series if ratings warrant further production.

Back End

Payment on a movie project when profits are realized.

Back Story

Experiences of a main character taking place prior to the main action, which contribute to character motivations 

and reactions.

Bankable

A person who can get a project financed solely by having their name is attached.

Beat

A parenthetically noted pause interrupting dialogue, denoted by (beat), for the purpose of indicating a significant 

shift in the direction of a scene, much in the way that a hinge connects a series of doors.

Beat Sheet

An abbreviated description of the main events in a screenplay or story.

Bill

The play or plays that together constitute what the audience is seeing at any one sitting. Short for "playbill."

Binding

What literally holds the script together. As a writer submitting your manuscript, you might use either brads 

with cardstock covers or one of a number of other pre-made folders (all available from The Writers Store).

Black Box

A flexible theater space named for its appearance.

Blackout

A common stage direction at the end of a scene or an act.

Book

The story and the non-musical portion (dialogue, stage directions) of a theatrical musical.

Brads

Brass fasteners used to bind a screenplay printed on three-hole paper, with Acco #5 solid brass brads generally 

accepted as having the highest quality.

Bump

A troublesome element in a script that negatively deflects the reader's attention away from the story.

Button

A TV writing term referring to a witty line that "tops off" a scene.

Cable

A cable television network such as HBO, or cable television in general.

Cast

The characters who are physically present in the play or film. These are the roles for which actors will be needed. 

When we talk about a role in a stageplay as being double-cast with another, it means that the same actor is expected to play both roles. 

This happens in film as well (e.g. Eddie Murphy), but only rarely.

Cast Page

A page that typically follows the Title Page of a play, listing the characters, with very brief descriptions of each.

Center (Stage)

The center of the performance space, used for placement of the actors and the set.

CGI

Computer Generated Image; a term denoting that computers will be used to generate the full imagery.

Character

Any personified entity appearing in a film or a play.

Character arc

The emotional progress of the characters during the story.

Character name

When any character speaks, his or her name appears on the line preceding the dialogue. 

In screenplays, the name is tabbed to a location that is roughly in the center of the line. 

In playwriting, typically the name is centered, but with the advent of screenwriting software 

that automatically positions the character name correctly, it has become acceptable to use a similar 

format for character names in stageplays.

Cheat a script

Fudging the margins and spacing of a screenplay on a page (usually with a software program) in an attempt 

to fool the reader into thinking the script is shorter than it really is.

Close Up

A very close camera angle on a character or object.

Commission

A play for which a theater company gives a playwright money to write, typically with the understanding that the 

theater will have the right of first refusal to premiere it.

Complication

The second act of a three-act dramatic structure, in which "the plot thickens," peaking at its end.

Conflict

The heart of drama; someone wants something and people and things keep getting in the way of them achieving the goal. 

At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties.

Continuing Dialogue

Dialogue spoken by the same character that continues uninterrupted onto the next page, marked with a (cont'd) in a stage play.

Continuous Action

Included in the scene heading when moving from one scene to the next, as the action continues.

Copyright

Proof of ownership of an artistic property that comes with registering your script through the United States Register of Copyrights.

Copyright Notice

Placing © Your Name on the Title Page of a script.

Courier 12 pitch

The main font in use in the U.S. by both publishers and the Hollywood film industry.

Coverage

The notes prepared by script readers at literary agency, film production company, theater company or script competition. 

Coverage is typically divided into three sections: plot synopsis, evaluation / discussion of the quality of the writing, and a 

recommendation that either passes on the script or kicks it on to the next level. Typically, coverage is for internal use and 

almost never shared with the writer.

Designer

Theater professional whose job it is to envision any of the following elements in a play: costumes, sets, lights, sound or properties.

Development

The process of preparing a script for production.

Development Hell

The dreaded creative death malaise that occurs when the development process lasts too long.

Dialogue

The speeches between characters in a film or a play.

Direct Solicitation

When a theater contacts a playwright or his agent about submitting a script. Theaters that use this 

method typically do not want the playwright to initiate the contact.

Direction, Stage Direction

(See Stage Directions in Revised above.)

Director

In a stageplay, the individual responsible for staging (i.e. placing in the space or "blocking") the 

actors, sculpting and coordinating their performances, and making sure they fit with the design elements 

into a coherent vision of the play. In a musical, there will typically be a separate musical director responsible 

for the musical elements of the show. In a Dramatists Guild contract, the playwright has approval over the 

choice of director (and the cast and designers). In film, the director carries out the duties of a stage director 

and then some (e.g. choosing the shot list), with considerably more say-so over the final product.

Downstage

The part of the stage closest to the audience, so named because when stages were raked (slanted), an actor 

walking toward the audience was literally walking down. Called "Down" for short.

Draft

A version of a play. Each draft of rewrites/revisions should be numbered differently.

Dramatists Guild of America

The professional organization of playwrights, composers and lyricists, based in New York.

Dual Dialog

When two characters speak simultaneously

Emphasized Dialogue

Dialogue that the playwright wants stressed, usually identified with italics.

Establishing Shot

A cinematic shot that establishes a certain location or area.

Evening-Length Play

A play that constitutes a full evening of theater on its own (a.k.a. Full-Length Play).

Event

What precipitates a play. For example, Big Daddy's birthday is the event in Cat on a Hot Tin Roof.

Exposition

The first act of a dramatic structure, in which the main conflict and characters are "exposed" or revealed. 

Also, any information about the characters, conflict or world of the play.

EXT.

Outdoors.

Extension

A technical note placed directly to the right of the Character name that denotes HOW the character's voice is heard. 

For example, O.S. is an extension that stands for Off-Screen.

f.g.

Abbreviation for "foreground" (i.e. In the f.g., kids are fighting).

Feature Film

A movie made primarily for distribution in theaters.

Film Festival

A festival of short and/or feature-length films shown over the course of between a few days to a few weeks. 

Festivals are places for films and filmmakers – particularly in the case of independent films – to gain exposure and critical 

buzz and, in many cases, distribution. Perhaps the two best-known festivals in the world are Sundance and Cannes.

FLASHBACK

A scene from the past that interrupts the action to explain motivation or reaction of a character to the immediate scene.

Font

The look of the printed text on the page. For screenplays, Courier 12 point is the standard (a fixed font which in practical terms 

means that an l or an m, although the m being wider, occupy the same width of space). For stageplays, while Courier 12 point is often 

used, Times Roman and other proportional spaced, clearly readable fonts are also acceptable. (Proportional spaced fonts make adjustments 

for skinnier letters; text usually takes less space.) – this has been edited.

Formula

More commonly used in the world of film than for describing the stage, it usually refers to a "sure-fire" method of structuring a script 

(i.e. it must include certain elements and arrive at a certain ending). For example, there have been a slew of movies where a group of misfits 

are thrown together and ultimately become the David that slays Goliath on the athletic field (e.g. The Bad News Bears).

FREEZE FRAME

The image on the screen stops, freezes and becomes a still shot.

Full-Length Play

Also known as an Evening Length Play, a play that constitutes a full evening of theater.

Genre

The category a story or script falls into - such as: thriller, romantic comedy, action, screwball comedy

Green Light

A project OKed for production.

Header

An element of a Production Script occupying the same line as the page number, which is on the right and .5" from the top. 

Printed on every script page, header information includes the date of a revision and the color of the page.

Heat

Positive gossip about a project on the Hollywood grapevine.

High concept

A brief statement of a movie's basic idea that is felt to have tremendous public appeal.

Hip pocket

A casual relationship with an established agent in lieu of a signed, formal agreement of representation.

Hook

A term borrowed from songwriting that describes that thing that catches the public's attention and keeps them interested in the flow of a story.

In the Round

A type of theater space in which the audience is, usually in a circular configuration, on all sides of the playing area.

Indie

A production company independent of major film studio financing.

INT.

Indoors.

Intercut

A script instruction denoting that the action moves back and forth between two or more scenes.

Intermission

A break between acts or scenes of the play to allow for set changes, and for the audience to go to the 

bathroom, stretch and buy concessions.

Interrupt

When one character cuts off another character's dialogue, sometimes marked with an ... but better 

marked with an em dash (--).

Left

On stage, the actors' left, assuming they are facing the audience. Short for Stage Left.

Lights Fade

A common stage direction to end a scene or an act.

Line Reading

When a director or playwright gives an actor a specific way to perform a line of dialogue.

Literary Manager

The artistic officer of a theater in charge of at least the first stages of reviewing scripts for possible production. 

She may have dramaturg responsibilities as well.

Literary Office

Usually headed by the literary manager and often staffed with interns and in-house or freelance readers. 

Typically the place to direct script submissions and inquiries.

Locked Pages

A software term for finalized screenplay pages that are handed out to the department heads and talent in 

preparation for production.

Logline

A "25 words or less" description of a screenplay.

Lyrics

The words that are sung by characters in a musical.

M.O.S.

Without sound, so described because a German-born director wanting a scene with no sound told the crew to 

shoot "mit out sound."

Manuscript

A script before it has been published.

Manuscript Format

The ideal submission format in the United States and in a number of other countries, with character names 

centered and CAPS before their dialogue, and indented stage directions.

Master Scene Script

A script formatted without scene numbering (the usual format for a spec screenplay).

Match Cut

A transition in which something in the scene that follows in some way directly matches a character or 

object in the previous scene.

Miniseries

A long-form movie of three hours or more shown on successive nights or weeks on U.S. television networks.

Montage

A cinematic device used to show a series of scenes, all related and building to some conclusion.

Movie of the Week

Also known as an "MOW," a movie made primarily for broadcast on a television or cable network.

Multimedia

Writing and filmmaking encompassing more than one medium at a time which, script-wise, usually 

refers to CD-ROM games or Internet-based programming.

Multiple Casting

When an actor plays more than one character.

Musical

A play in which songs and music are an integral part of the dramatic structure.

Musical Numbers Page

A page in a musical script, usually following the Cast Page, that lists the musical numbers, divided 

by act, and the characters that sing in them.

Notes

Ideas about a screenplay shared with a screenwriter by someone responsible for moving the script forward 

into production, which the screenwriter is generally expected to use to revise the screenplay. A similar paradigm 

exists on stage, with notes coming most often from the dramaturg or director. A key difference between stage and film 

is that the playwright still owns his script and has final say on revisions. Writer can hire consultants to receive feedback 

(notes) to help improve the script, prior to submitting it to an agency, production company or theater.

Numbered Scenes

Numbers that appear to the right and left of the scene heading to aid the Assistant Director in breaking down the scenes 

for scheduling and production.

O.C.

Abbreviation for Off Camera, denoting that the speaker is resident within the scene but not seen by the camera.

O.S.

Abbreviation for Off Screen, denoting that the speaker is not resident within the scene.

Off

Short for offstage. Typically written as (off) next to a character name when a character speaking dialogue is 

offstage while she speaks.

One-Act Play

Technically, a play that has only one act, but in more common usage, a play that is not an evening unto itself 

but instead usually runs no more than an hour. A common arrangement is to produce three half-hour long 

one-acts on the same bill.

One-hour Episodic

A screenplay for a television show whose episodes fill a one-hour time slot, week to week.

Opening Credits

Onscreen text describing the most important people involved in the making of a movie.

Option

The securing of the rights to a screenplay for a given length of time.

Package

The assembly of the basic elements necessary to secure financing for a film.

PAN

A camera direction indicating a stationary camera that pivots back and forth or up and down.

Parenthetical

Also known as a "wryly" because of the propensity of amateur screenwriters to try to accent a 

character's speech -- as in BOB (wryly) -- an inflection to a speech noted by a writer. 

Of course, in stageplays, all stage directions (at least in Manuscript Format) are in 

parentheses, but "directing off the page," as it's often called, is equally frowned upon.

Pass

A rejection of a property by a potential producer or an agent.

Pitch

To verbally describe a property to a potential buyer in the hope it will be bought.

Play

Sometimes known as a stageplay, it's a production which is meant to be performed 

on stage in front of a live audience.

Playwright

A person who writes stage plays.

Playwriting

The craft or act of writing scripts for the stage (i.e. the live theater).

Points

Percentage participation in the profits of a film.

Polish

In theory, to rewrite a few scenes in a script to improve them. In practice, a screenwriter is 

often expected to do a complete rewrite of a script for the price of a polish.

POV

Point of View; a camera angle placed so as to seem the camera is the eyes of a character.

Producer

The person or entity financially responsible for a stage or film production.

Production Script

A script in which no more major changes or rewrites is anticipated to occur, which is used 

day by day for filming on a movie set.

Professional Recommendation

A method of submission in which a writer may submit a full script if it's accompanied by a 

theater professional (typically a literary manager or artistic director, though sometimes a 

director is acceptable as well).

Property

Any intellectual property in any form (including a play or screenplay) that might form the basis of a movie. 

In theater, usually called a "prop," an item (e.g. a gun, spoon, hairbrush, etc.) that can held by one of the characters.

Proscenium

A type of stage in which the actors play opposite the audience, from which they are separated. Most high school 

auditoriums are prosceniums.

Published Play Format

The format typically found in an Acting Edition, meant to save space, in which the character names are on the left and 

stage directions occur on the same lines as dialogue.

Query

A method of submission in which a writer approaches a theater with a brief letter, accompanied by a synopsis and sample pages.

Rake

A stage that is slanted so that as an actor moves away from the audience, he gets higher. Few contemporary theaters have 

raked stages. It's more likely that the house (i.e. where the audience sits) will be raked.

Reader (aka Script Reader)

A person who reads screenplays for a production company or stageplays for a theater company and writes a report 

about them, often being paid per report.

Reading

A "performance" of a play in which the actors are script-in-hand. It could either take place around a table

(called a "table reading") or with some blocking or staging (a "staged reading").

Register of Copyrights

The US government office that registers intellectual property (e.g. scripts), necessary prior to filing a claim 

for copyright infringement in court.

Release

A legal document given to unrepresented writers for signing by agents, producers or production 

companies, absolving said entities of legal liability.

Resolution

The third act of a dramatic structure, in which the conflict comes to some kind of conclusion: the 

protagonist either gets it or doesn't.

Reversal

A place in the plot where a character achieves the opposite of his aim, resulting in a change from 

good fortune to bad fortune.

Revised Pages

Changes are made to the script after the initial circulation of the Production Script, which are different 

in color and incorporated into the script without displacing or rearranging the original, unrevised pages.

Right

On stage, the actors' right, assuming they are facing the audience. Short for Stage Right.

Romantic comedy

Also known as a "romcom," a comedic movie in which the main story resolves around a romance.

Scene

Action taking place in one location and in a distinct time that (hopefully) moves the story to the 

next element of the story.

Scene Heading

A short description of the location and time of day of a scene, also known as a "slugline." For example: EXT. 

MOUNTAIN CABIN - DAY would denote that the action takes place outside a mountain cabin during daylight hours.

Screening

The showing of a film for test audiences and/or people involved in the making of the movie.

Screenplay Contest

A submission opportunity for screenwriters in which a group of readers (judges) select one or more winners from 

the entered scripts. Typically, contests require entry fees that may be as high as $40-$50, but can often result in prizes as 

high as $20,000 or more for the winner(s), as well as important exposure to agents and production companies. Some 

“fellowship” opportunities effectively function as contests (e.g. Nicholl), choosing a handful of fellows (i.e. winners) from 

the pool of entrants.

Screenwriter

The most important and most abused person in Hollywood. The screenwriter writes the script that provides 

the foundation for the film, though it may go through any number of changes, both in the rewriting process before 

production, during production, and in the editing process afterward. While in the world of theater, there is usually 

only one playwright on any given play (or one collaborative team), in film there may be many screenwriters throughout 

the life of a project.

Screenwriting

The art of writing scripts for a visual medium.

Script

The blueprint or roadmap that outlines a movie story through visual descriptions, actions of characters and their dialogue. 

The term "script" also applies to stageplays as well.

Script cover

What protects the script on its travels between the writer and its many potential readers. The Writers Store carries a number of 

acceptable covers.

Script reader

(See above as Reader.)

Script Writing Software

Computer software designed specifically to format and aid in the writing of screenplays and teleplays.

Securely Bound Script

Typically, a stageplay contest's request that a script be more firmly bound than brads will do. Either it is literally bound, or it is 

securely held in a folder.

Set

The physical elements that are constructed or arranged to create a sense of place.

Setting

The time and place of a play or screenplay.

SFX

Abbreviation for Sound Effects.

Shooting Script

A script that has been prepared to be put into production.

Shot

What the camera sees. For example, TRACKING SHOT would mean that the camera is following a character or character as he walks in a scene. 

WIDE SHOT would mean that we see every character that appears in the scene, all at once.

Showrunner

A writer/producer ultimately responsible for the production of a TV series, week to week.

Simultaneous Dialogue

When two characters speak at the same time, written in two columns side by side.

Situation comedy

Also known as a "sitcom," a normally 30-minute (in the United States) comedic television show revolving around funny situations the main 

characters repeatedly fall into.

Slugline

Another name for the SCENE HEADING

SMASH CUT

A quick or sudden cut from one scene to another.

Soap Opera

Daytime dramas so named because they were originally sponsored by the makers of laundry detergent in the early days of television.

Spec Script

A script written without being commissioned on the speculative hope that it will be sold.

SPFX

Abbreviation for Special Effects.

Split Screen

A screen with different scenes taking place in two or more sections; the scenes are usually interactive, as in the 

depiction of two sides of a phone conversation.

Stage center

More commonly known as Center Stage, it is the center of the performance space, used for placement of the actors and the set.

Stage Directions

In a stageplay, the instructions in the text for the actors (e.g. entrances, exit, significant actions or business) and stage crew 

(e.g. lights fade). Also, in a musical, the person who directed the non-musical elements of the show may be credited with 

"Stage Direction" to distinguish him from the Music Director, who will be credited with "Music Direction."

Stage Left

On stage, the actors' left, assuming they are facing the audience. "Left" for short.

Stage Right

On stage, the actors' right, assuming they are facing the audience. "Right" for short.

Stock Shot

A sequence of film previously shot and available for purchase and use from a film library.

Submission

Name for a script once it is submitted to producers or agents.

Suggested Setting

A setting on stage in which a few set pieces or lighting or other technical elements take the 

place of elaborate set construction.

SUPER

Abbreviation for "superimpose" meaning the laying one image on top of another, usually words 

over a filmed scene (i.e. Berlin, 1945).

Synopsis

A two to three page, double-spaced description of a screenplay.

Tag

A short scene at the end of a movie that usually provides some upbeat addition to the climax.

Technical Demands

The extent to which a play requires specific lighting, sound, sets, etc. Plays with minimal 

technical demands are easier and less expensive to produce.

Ten-Minute Play

A complete play, with a beginning, middle and end, designed to play in ten minutes.

The Business

Show business in general; more specifically, Hollywood moviemaking and television business.

Thriller

A fast-paced, high stakes crime story in which the protagonist is generally in danger at every turn, with the 

most danger coming in the final confrontation with the antagonist.

Thrust

A stage configuration in which the playing area protrudes into the audience; the actors have 

audience on three sides of them.

Ticking Clock

A dramatic device in which some event looming in the near future requires that the conflict reach a 

speedy resolution (hence, the ticking clock).

TITLE

Text that appears onscreen denoting a key element of the movie, a change of location or date, or 

person involved in the making of the movie.

Title Page

A page of the script that contains the title and the author's contact information.

Touring Play

A play with minimal technical demands that is meant to be easily packed up and moved from 

one performance space to another.

Transition

A script notation denoting an editing transition within the telling of a story. For example, DISSOLVE TO: 

means the action seems to blur and refocus into another scene, and is generally used to denote a passage of time.

Treatment

A scene by scene description of a screenplay, minus all or most of the dialogue.

Tweak

A minor change made in a scene or portion of a screenplay or a stageplay.

Unsolicited Script

A method of script submission in which the writer sends the script, without prior contact, to the theater 

or production company. Some theaters allow this, most don't-and very few film production companies, for liability 

reasons, can read unsolicited materials.

Upstage

The part of the stage farthest from the audience, so named because when stages were raked (slanted), an actor walking 

away from the audience was literally walking up. Called "Up" for short.

V.O.

Abbreviation for Voice Over, denoting that the speaker is narrating the action onscreen.

WGA Signatory

An agent, producer or production company that has signed an agreement to abide by established agreements with the 

Writers Guild of America.

Workshop

A developmental "production" of a play, with a significant amount of rehearsal, but with less fully realized production values 

(e.g. set) than a full production.

Writers Guild of America

Also known as "the WGA." The main union for screenwriters in the United States, with chapters in Los Angeles (WGAw) and New York (WGAe).