El formato de guion explicado: los 7 elementos de un guion
El formato de guion explicado para principiantes: la regla de una página por minuto y los siete elementos de los que está hecho todo guion. Y cuatro errores de formato que hay que dejar de cometer hoy.
En esta lección aprenderás
- Por qué un guion es un plano de construcción, no una novela ni una lista de planos
- La regla de una página por minuto y por qué todos los guiones usan Courier 12 puntos
- Los siete elementos: encabezado de escena, acción, nombre del personaje, diálogo, acotación, transición y plano
- Cómo se coloca cada elemento en una página real, con la primera página de The Night Ferry
- Cómo un guion limpio alimenta el resto del pipeline de ScreenWeaver
- Cuatro errores de formato de principiante y cómo evitarlos
El formato de guion es el estándar que sigue todo guion, y esta lección lo explica desde cero. Un guion es un plano de construcción que le dice a un equipo, o hoy a un pipeline de IA, lo que vemos y oímos, en orden. La primera regla es la más útil: una página equivale más o menos a un minuto en pantalla, y por eso todos los guiones usan Courier 12 puntos y los mismos márgenes.
Aprendes los siete elementos de un guion y luego los ves en la primera página de The Night Ferry: un encabezado de escena en mayúsculas, alineado a la izquierda, la acción en presente, el nombre del personaje hacia el centro y el diálogo en una columna más estrecha. En ScreenWeaver nunca ajustas un margen: eliges el elemento y la página hace la maquetación. La lección termina con cuatro errores de formato habituales en principiantes y un matiz sobre el número de páginas.
Transcripción completa
Transcripción de la narración en inglés.
0:04A screenplay is not a novel, and it's not a list of shots. It's a blueprint, a document that tells a whole team, or today a whole AI pipeline, what we see and what we hear, in the order we see and hear it. And like any blueprint, it follows a standard.
0:21The first rule of that standard is the most useful one. One page is about one minute of screen time. That's why every screenplay uses the same font, courier 12 point, and the same margins. A 90 -page script is roughly a 90 -minute film. Our three pages of The Night Ferry will run about three minutes.
0:41A screenplay page is made of only seven kinds of lines. The scene heading tells us where and when. The action line tells us what we see and hear. The character cue names who speaks. The dialogue is what they say. The parenthetical is a short note on how a line is said. The transition, like cut to or fade out, marks the passage between scenes, and the shot element calls out a specific angle when it truly matters.
1:09Let's look at page one of The Night Ferry. Exterior, the jetty, night. That's a scene heading, in capitals, flush left. Below it? Rain on black water. A single lamp swings above an old ferry. Action. Full width, in the present tense. Then Maya, in capitals, indented toward the middle. A character cue. And under it? Wait, please, I need to cross tonight. Dialogue, in a narrower column.
1:38Each element has its own position on the page, and that position is not decoration. It lets a reader scan a page in seconds. Headings on the left, names in the middle, dialogue in a column. Producers, actors, directors, all read scripts this way.
1:54Here's the good news. In Screenweaver, you never handle any of that. You choose the element in the toolbar, or with the keyboard, and the page puts the text where it belongs. You focus on the story, the format takes care of itself.
2:08There's one more reason the format matters in Screenweaver. The rest of the pipeline reads it. Every name before a line of dialogue becomes a character. Every place in a scene heading becomes a location. Later, every scene becomes a set of shots in the storyboard. A clean script is not just easier to read, it builds your whole production.
2:31Before we move on, the four most common beginner mistakes. One, camera directions everywhere, like we pan to, or close up on. Leave the camera to the storyboard. Write what we see. Two, numbering scenes by hand. Don't. Numbering comes later in production. Three, writing we see before every image. Just write the image. Rain on black water, not we see rain on black water. And four, novel style description, with thoughts, memories, and backstory. If it can't be filmed, it doesn't go on the page.
3:09And a nuance about the one -page, one -minute rule. A page of fast dialogue plays quicker than a minute. A page of dense action, slower. Over a whole script, it evens out, which is why producers still use it to estimate the length of a film from its page count.
3:26In the resources, you'll find a one -page format cheat sheet, with the seven elements and an example of each. Keep it next to you for the next lectures. Next, we zoom in on the first element of every scene, the scene heading.