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A slug line is different from a
scene heading. Slug lines direct our attention to
what's important within a scene. They add punch, and can be used to heighten the pacing.
That being said, they can become annoying if used excessively. Camera angles
written as slug lines, such
as “REVERSE SHOT,” are usually superfluous. Even close-ups are to be
avoided, unless they reveal some detail that is vital to the story.
Slug lines cannot be used to change the location or the
time of day. It’s possible to bridge a small gap in time within a scene
through the use of a slug line, but it must focus on some
character or detail. As discussed in the section on scene
headings, it’s not enough to simply write
“LATER.”
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Written in ALL CAPS, the slug line may consist of
just the character or characters we see in the shot: |
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PARKER
weaves her way through the crowded pub.
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This actually reads better
than writing it as a camera direction, such as "ANGLE ON PARKER."
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Each slug line is its own
element. Action or description cannot appear next to it on the same
line, but
must follow the slug line in a new paragraph. |
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While scene headings usually
have two blank lines above them, slug lines always have just one. |
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If we wish to cut to a
character named Ned in the bleachers of a football game, for example, we’d
insert “NED” (without the quotes) as a shot element or slug line. In
this particular instance, it would also be acceptable to break the sequence
into separate scenes, using “BLEACHERS” in the scene heading. |
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When a shot
originates from a particular character’s point-of-view, it’s customary to
break it out with its own slug line. This slug line must state
the character by name and refer to what the character sees. It’s not
enough to simply write “SHAMUS’ P.O.V.,” for example (using periods because
it’s an abbreviation), without also specifying in the slug line what Shamus
sees: |
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SHAMUS' P.O.V. - THE KILLER
emerges from the shadows,
his blade glinting in the light
of a street lamp.
BACK TO SCENE
Shamus turns back, quickens his pace.
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After describing a p.o.v.
shot, we usually return to the scene (to get the character's reaction) by means of the slug line "BACK TO SCENE." |
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If an entire scene is viewed
from a particular character’s perspective, this can be
indicated by means of a separate scene heading appended with the
modifier “SUBJECTIVE CAMERA”: |
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INT. DINING ROOM - DAY - SUBJECTIVE CAMERA
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Point-of-view shots and subjective camera shots are usually reserved only
for principal characters, as they tend to generate empathy.
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If the point-of-view is
through a camera viewfinder, a telescope or a set of binoculars, it’s
usually processed in post-production with an overlay. This should be
designated by means of a matte: |
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OSWALD'S P.O.V. - LIMOUSINE - SCOPE MATTE
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One type of slug line is an
insert, a detail shot in which no recognizable actor appears. As with
all slug lines, an insert is written in ALL CAPS. It must also
reference the detail within the slug line: |
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INSERT - NEWSPAPER HEADLINE
"STRIPPER SOUGHT IN MAYOR'S MURDER" emblazoned above a cheesecake photo of Wendy Wilden.
BACK TO SCENE
Wendy folds the paper, glances furtively around the bar.
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After describing the insert,
we again return to the scene by means of the slug line "BACK TO SCENE." |
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The use of split screen (often
designated by means of a slug line) should be left to the discretion of the
director. A split screen in a script often just leads to confusion,
especially when the slug
lines refer to left or right screen instead of a setting. |
 
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