Script-of-the-Week: Seinfeld “The Summer of George”

by Alec Berg and Jeff Schaffer (71 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Quick set ups and punch lines.  Many scenes enter late and end early.

• Screen Visibility: Minimal to nothing.

• Formatting: Minimal description.  Days/Nights are numbered. In parenthesis (LIGHTBULB) when George comes up with an idea.  Dialogue is double-spaced.

• Dialogue: Witty.  Strong Seinfeld episode displaying the epitome of the show’s humor and banter.  Seinfeld at its best.

• Action: Minimal action described. Note that Kramer’s signature entrances are not indicated.

• Act Structure: ACT ONE, Scene A, B, C, D, E, (no F), G, H, (No I), J, K, L, (M omitted), N, (no O).  ACT TWO, P, (no Q), R, S, T, (no U), V, W, (no X), Y, Z, AA, BB, CC, CC-A, CC-B, CC-C, DD, EE, (no FF), SHOW CLOSE GG.

Script-of-the-Week: Seinfeld “Soup Nazi”

by Spike Feresten (67 pages)

Writing Awards: Nominated for an Emmy in writing and a WGA award.

Points of Interest:

• Pacing: Quick.  Jokes start immediately.

• Screen Visibility: Absolute minimum.

• Formatting: Capitalized action with double-spaced dialogue (makes for a longer script). Entrances and Exits are underlined.

• Dialogue: Sharp, witty, Seinfeld.

• Action: Sparse description of characters coming and going.

• Act Structure: Act ONE, Scene A, B, C, D, E, (no F), G, H, (No I), J, K, L, M. Act TWO, Scene N, (No O), P, (No Q), R, S, T, (No U), V, W, (No X), Y, Z, AA, BB, CC.

Script-of-the-Week: The Practice “Part I”

by David E. Kelley (52 pages)

Writing Awards: None that I could find

Points of Interest:

• Pacing: Tight pacing with minimal dialogue but maximum punch.

• Screen Visibility: Minimal description of locations and sparse but adequate description of some characters.

• Formatting: Starting with FADE IN, and then REVEAL to show the location.  (voice of reason) (give me a break) in parentheses to describe the characters tone.  WHIP PAN’s used from one scene to another. Single space action and dialogue.

• Dialogue: There are quite a few scenes where two characters speak -- and more than a few words -- at the same time, or at least that’s how it’s represented in the script.

• Action: Some action lines are quite sparse. Example as a line introducing a new scene, “Eugene there with Rebecca” that’s it.

• Act Structure: Part I, Act I, Act II, Act III, Act IV.

Script-of-the-Week: Coach - Pilot

by Barry Kemp (51 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Teaser sets a tone that is not necessarily funny, but with potential to be so.  First laugh seems to appear at the end of the monologue on 3 and then another laugh of page 7.  Presumably most of the humor is in Nelson’s gestures and expressions.

• Screen Visibility: Longer than usual description of locations.  Likely due to the fact that it’s the pilot episode.  Characters are describe by mannerisms rather than appearance.

• Formatting: Capitalized action and double-spaced lower-case dialogue.

• Dialogue: Long monologue on the first 3 pages.

• Action: Minimal action is described.

• Act Structure: Teaser. Act One, Scene A, B.  Act Two, Scene C, D, E.