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Celtx: Open Source Screenwriting Beginner's Guide

You're reading from   Celtx: Open Source Screenwriting Beginner's Guide Celtx won't write your script for you, but it will ensure it has the format and features demanded by the film industry. Learn to use Celtx along with insider secrets of screenwriting and script-marketing into the bargain.

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Product type Paperback
Published in Mar 2011
Publisher
ISBN-13 9781849513821
Length 376 pages
Edition Edition
Tools
Concepts
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Toc

Table of Contents (22) Chapters Close

Celtx: Open Source Screenwriting Beginner's guide
Credits
About the Author
About the Reviewers
1. www.PacktPub.com
2. Preface
1. Obtaining and Installing Celtx FREE CHAPTER 2. All those Wonderful Writing Features 3. Visualizing Productions Ahead of Time 4. Tools for Getting Organized 5. Tooling Up for Scriptwriting 6. Advanced Celtx 7. Writing Movies with Celtx 8. Documentaries and Other Audio-Visual Projects 9. Raising the Curtain on Plays 10. Audio Plays, Podcasts, and Other Great Sounds 11. WAP! POW! BANG! Writing Comic Books with a Punch 12. Marketing Your Scripts List of Recommended Books on Screenwriting and Productions and Online Resources Celtx's New Web Look and Smartphone Apps Future Development of Celtx Pop quiz—Answers

Play elements


Go to the stage play script we created earlier. You'll find it in the Project Library window. Just double-click on the name and the script opens in the main script window of the Celtx screen, as shown in the following screenshot:

Like all scripts in Celtx, we have the proper script elements to format our stage play. These are Act, Scene, Stage Direction, Character, Dialog, Parenthetical, and Transition. As in other types of Celtx projects, they are found in the drop-down menu at the top of the main script window, as shown in the following screenshot:

Unlike my example of formatting a screenplay in Chapter 7, where I used the Text element for the FADE IN: and FADE OUT: (beginning and end), we will not find a use for Text inside a play script. Ignore it, if you will, and following is how the other seven come into (pun as ever, intended) play.

Again (as I have in the two previous chapters), let me emphasize that every line in the script must be in one of these elements. We tag all...

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