Slug Lines and Beats 

by Dave Trottier

NOTE: This is the first in a series of three articles, all posted on the same day.

You’ve often hear the terms slug, slug line, mini-slug, and beat in reference to screenwriting.  Let’s first explore the slug family.

Most common formatting error

I have no quarrel with the sluggish terms used every day by screenwriters and other industry pros, including top writers. They’re perfectly okay. My main interest is in assisting you, the developing writer, to understand the elements those terms reference and how those elements are used, which is why I prefer the term scene heading over slug. 

The most common formatting errors I see in developing writers’ screenplays are with confusing or improper scene headings.  That implies a possible lack of understanding of what they actually are and how they should be used.  

Sometimes calling something by its correct name rather than its nickname helps you understand its use. I’m sure that is one reason you will find the term scene heading rather than slug line used in the software applications Final Draft and Movie Magic Screenwriter. Incidentally, the term slug line originated in journalism, while the term scene heading is purely a screenwriting term.  Let’s discuss why.  

Scene headings

A heading of any kind identifies the content of what follows, just like the heading you see above this paragraph.  

A scene heading, thus, identifies something about the content of a scene: primarily, the camera placement (interior or exterior), the location, and the time (usually DAY or NIGHT).  

INT. HOTEL – DAY

The above is called a master scene heading because it identifies the master or primary location of the scene.  Any location within the interior of the hotel would be a secondary location. Thus, you can use a secondary scene heading to identify that secondary location. For example, here is a secondary scene heading:

LOBBY

We’re still in the master (or primary) scene, but at a specific location (the lobby) within the broader master (or primary) location (the hotel).  You could call it a secondary scene or a miniscene if you wish. Some screenwriters refer to it as a mini-slug.  

This understanding of the difference between master and secondary scenes really comes in handy when you want to describe an action sequence such as a car chase.  Just identify a broad master location in your master scene heading; for example, the streets of San Francisco. That’s a big location. Thus, we have this master scene heading:

EXT. STREETS OF SAN FRANCISCO – DAY 

Now, you can use secondary scene headings such as McQUEEN’S CAR, BLACK VETTE, A SIDEWALK BIZARRE, AN INTERSECTION, and so on.  These secondary locations are all part of the master (or primary) location, the streets of San Francisco. If the chase continues beyond the streets of San Francisco, you will need to type a new master scene heading for the new location.

You can do something similar for an air battle; for example: EXT. SKY ABOVE IRAQ – DAY.  Having established the master scene, anything in the sky above Iraq (including different fighter jets) is a secondary location.

Please review my second article “The All-Time #1 Formatting Goof” for more on this topic. I hope you’ll find it helpful.

I should mention that there is a third type of scene heading.  It’s a special heading and is used for montages, flashbacks, series of shots, and so on.  But that’s a subject for another day.  

Beats

Beat is a theatrical term, but it is often used in screenplays. You see it a lot in produced screenplays by established writers; and, as with the term slug line, it’s perfectly okay to use.  No problem.  Again, I have no issue with it. 

Even so, I have a suggestion regarding its use for the developing screenwriter who has to prove himself by writing a fascinating script.  You see, an established writer does not have to prove herself. The developing writer—you—does. Here’s one strategy you can use.

Beat  means pause. In my view, that pause often (but not always) provides an opportunity to characterize your character or the action of your scene, so instead of beat, you could write “He strokes his gun” or “She dabs her eye with her hankie.” You get the idea. That simply makes the scene a little more interesting and provides a little more character information.

Please review my third article “An Unbeatable Strategy” for more on this topic and a clear example.  

A final word

In any case, use terms that work best for you. As long as you understand the purpose of a formatting or writing device and what it really is, then you can more easily figure out how to use it in a variety of situations, and avoid being slugged and beaten by it.  Best wishes and keep writing.

About Dave Trottier

As an award-winning teacher and in-demand script consultant, Dave loves working with writers.

He has helped hundreds of writers break into the writing biz, and has sold or optioned ten screenplays (three produced). He is also the author of eight books, including The Screenwriter’s Bible (now in its 7th edition).

Additionally, he writes a column as Dr. Format for Script Magazine and hosts the helpful web site keepwriting.com.