Transitions Skill

Invocation Triggers

Apply this skill when:

• Adding scene transitions

• Formatting transition elements

• Understanding transition conventions

• Controlling pacing through transitions

Transition Format

Standard Transitions

Transitions are uppercase, ending in TO: , with blank lines before and after:

INT. OFFICE - DAY

Sarah sets down the phone.

                                                  CUT TO:

EXT. STREET - NIGHT

Rain falls on empty sidewalks.

Forced Transitions

Force any line as a transition with > :

FADE TO BLACK.

SMASH CUT TO:

MATCH CUT TO:

Common Transitions

Standard Cuts

Transition Usage

CUT TO:

Standard scene change

SMASH CUT TO:

Abrupt, jarring cut

MATCH CUT TO:

Visual match between scenes

JUMP CUT TO:

Time jump, same location

INTERCUT:

Alternating between locations

Fade Transitions

Transition Usage

FADE IN:

Opening of script

FADE OUT.

End of script/act

FADE TO:

Slow transition

FADE TO BLACK.

Fade to darkness

FADE TO WHITE.

Fade to white

Dissolve Transitions

Transition Usage

DISSOLVE TO:

Soft transition, time passage

RIPPLE DISSOLVE TO:

Dream/memory transition

CROSS DISSOLVE TO:

Overlapping dissolve

Time Transitions

Transition Usage

TIME CUT:

Same location, time jump

LATER:

Time passage indication

CONTINUOUS:

No time break

When to Use Transitions

Modern Convention: Less is More

In modern screenwriting, most transitions are implied. A new scene heading creates a cut automatically.

Use transitions sparingly:

• End of major sequences or acts

• Deliberate stylistic choice

• When the type of cut matters to the story

When Transitions Add Value

End of Acts:

Sarah stares at the evidence. Everything she believed was a lie.

                                                  FADE OUT.

                                                  END OF ACT ONE

Jarring Juxtaposition:

JOHN I'll never leave you.

                                                  SMASH CUT TO:

INT. DIVORCE COURT - DAY

John signs the papers.

Visual Matching:

Sarah's eye fills the frame.

                                                  MATCH CUT TO:

The moon, full and pale, hangs over the city.

Dream/Memory Sequence:

Sarah closes her eyes.

                                                  RIPPLE DISSOLVE TO:

INT. CHILDHOOD HOME - DAY (FLASHBACK)

When NOT to Use Transitions

Between normal scenes:

// Wrong - unnecessary INT. OFFICE - DAY

Sarah works at her desk.

                                                  CUT TO:

INT. COFFEE SHOP - DAY

She meets John for lunch.

// Right - implied cut INT. OFFICE - DAY

Sarah works at her desk.

INT. COFFEE SHOP - DAY

She meets John for lunch.

Special Transition Patterns

Intercut

INT. SARAH'S APARTMENT - NIGHT

Sarah paces with her phone.

INT. JOHN'S OFFICE - SAME

John answers.

INTERCUT - PHONE CONVERSATION

SARAH We need to talk.

JOHN I'm listening.

Pre-lap

Audio from next scene starts before we cut:

JOHN (PRE-LAP) Sarah? Sarah, can you hear me?

                                                  CUT TO:

INT. HOSPITAL ROOM - DAY

Sarah's eyes flutter open.

Flash Cut

Very brief shots:

FLASH CUT:

• A face in the crowd
• The gun
• Sarah's hands, shaking

BACK TO SCENE

Opening and Closing

Script Opening

FADE IN:

EXT. SEOUL - NIGHT

The city glitters in the rain.

Script Closing

Sarah walks into the light.

                                                  FADE OUT.

                                                  THE END

Act Breaks (Television)

Sarah discovers the body.

                                                  FADE OUT.

                                                  END OF ACT TWO

                                                  ACT THREE

FADE IN:

INT. POLICE STATION - DAY

Validation Checklist

• Transitions are uppercase

• Standard transitions end in TO: or .

• Blank line before transition

• Transitions are right-aligned (handled by Fountain)

• Used sparingly, only when necessary

• FADE IN: at script start

• FADE OUT. at script/act end

• Forced transitions use > prefix