Are you writing a script or a screenplay ?

Is there a difference bet ween the terms script and

Exhibit A: Script

Exhibit B:Screenplay
The short answer is that they usually mean the same thing and are interchangeable, but it can get
confusing when youre talking about different mediums. Its always best to be as specific as possib le
when discussing your script/screenplay we want to know if this is for a movie, a TV show, a short, a
webis ode or a stage play.
One of my pet peeves is when people say my movie when theyre talking about their screenplay. Its not
a movie yet, its a screenplay. Or a script. Or both.
So which is it?!
The short answer is this
All screenplays are scripts, but not all scripts are screenplays. To clarify
A screenplay is always written to be played on a screen movie, television or comput er screen. But a
script may also apply to a stage play, a video game, a radio program or comput er programming script, so
make sure youre clear in your pitch.

Now to make matters a bit more complex, you have to know about the term spec, which applies to a
screenplay or script that is written to be sold to an outside buyer without any upfront money paid to the
writer; i.e., its written on speculation, the hope that the thing will sell so the writer can stop slinging
mochaccinos for a living. Thats easy to understand, but keep in mind that a spec can apply to a feature
(movie) script or to a television script (which are most often broken into two categories: sitcom or onehour drama).
So, lets say you finally get that successful Manager on the phone and they ask, Can I read your best
spec? you better know if they want your single -camera sitcom or your sci-fi thriller feature! This is why its
best to do your homework before you market your work, and compile a targeted list of agents, managers,
producers and studios that make your type of script. Reps tend to focus on either film or TV, but not both,
so use your best online resources, like IMDbP ro or HCD to educate yourself before you call or email.
One last thing: youre not a scriptwriter, youre a screenwriter. No one uses the term scriptwriter. And
scriptwriter sounds too close to script writ er, whic h can denote a computer programmer. This becomes a
problem on the internet. Check out the Google search for script the first result is the Wikipedia
definition for comput er programming and the second is Script Magazine. See what I mean? (Wait, did
someone say Script Magazine? Did that very same someone mean the publication that had nic e things to
say about that cutting-edge screenwriting book, Story Maps: How to Write a GREAT Screenplay?).
And, for the record, Ive never heard anyone in the industry use the term teleplay, either, but maybe I just
dont hang in the hippest circles (or live in 1984).
Heres a list of more industry lingo for your perusal. Crucial terms for the screenwriter to know (that I
definitely did not copy from another site)
SPEC A screenplay written on speculation with the goal of selling it when its complete. Can also be
used as a verb, as in, are you going to spec that idea or pitch it?
PITCH A verbal telling of a movie idea. With an original idea, the goal is usually to get someone to pay
you to write the script so you dont have to spec it. You also pitch to get assignments.
ASSIGNMENT A job that involves doing a draft on a project the studio already owns, such as a rewrite
or adaptation.
OPEN WRITING ASSIGNMENT (OW A) An assignment for which the studio is actively looking for a
writer.
OPEN DIRECTI NG ASSIGNMENT (ODA) An assignment for which the studio is actively looking for a
director.

TAKE Your unique perspective on an idea. Example: That writer pitched a great take on the book
adaptation. Crucially important to get an assignment.
SAMPLE SCRIPT A script sent out as a writing sample to show what the writer is capable of. Usually
not intended to sell (it may even have already been made). Ought to be in the same genre as the job the
writer is trying to get.
PITCH BOOK (aka: Look Book) A book with phot os and art oft en culled from outside sources,
sometimes original that is used to show the tone and look of a movie during a pitch. Common for
director pitches, rare for writer pitches.
SIZZLE REEL A short film, usually no more than three minutes, of footage us ually culled from outside
sources that gives a sense of the tone and style of a project. Common for director pitches, rare for writer
pitches.
GENERALS (Meetings) Get-to-know-y ou meetings without a specific purpose. Usually you get these
because someone read a script of yours that they liked but didnt want to buy. You should always have a
casual pitch for your next idea ready. Example: I spent all week doing generals.
HIGH CONCEPT A movie idea that can be easily summarized in a compelling sentence. Execs like this
because it means the movie will be easy to sell. If they get it in one sentenc e, so will the public.
LOW CONCEPT (aka: Small Concept) A movie idea that requires lots of expla nation to make its
appeal apparent.
EX ECUTION DEP ENDENT An idea that depends on quality execution to be successful. Hard to sell as
a pitch, probably must be spec-ed. Most low conc ept ideas are exec ution dependent.
LOGLINE A one-s entenc e description of the movie concept that captures what it is. A lot easier to
create for a high concept movie. Often used on Tracking Boards and Coverage.
TRAILER MOMENT A really cool moment or line of dialogue that you can easily imagine in the movies
trailer. You want at least a couple of these in your pitches and you better have several in your screenplay.
FRANCHIS E A concept or property that is big enough in scope to spawn sequels, merchandising,
comic books, video games, etc. Studios like these.
BABY WRITER A new writer. Usually in TV.
SET PIECE A big spectacular scene, usually comedy or action. Example: The script is full of huge set
pieces but has no character development.
PRODUCERS POLIS H/COURTESY POLISH Polite term for a free revision done without pay based on
producers notes before turning a draft in to the studio. Used to be customary to do a single pass that
involved a day or two of work. Nowadays has been abused to mean multiple major rewrites from writers
who know how hard the market is right now.
DIFFICULT What producers and development execs call writers who stand up for themselves.
PACKAGING When an agency puts together multiple elements of a movie script, director, stars and
sometimes even financing before taking the project to the studio. Agencies get a fee from the studio for
doing this. Usually only the biggest agencies can package a movie.
BOUTIQUE AGENCY/MANAGEMENT CO. Smaller agency often specializing in only a few areas (For
example: TV writers and directors or comedy).

I hope that helps clear up some questions for you, intrepid screenwrit er. Heres some links if youre
interested in learning more about my method and how I can help you to develop a GREA T screenplay.
Good Luck and Happy Writing,

http://actfourscreenplays.com/screenwriting-blog/script-screenplay/

http://scriptwrecked.com/2009/11/20/5-key-differences-between-spec-and-shooting-scripts/