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name: transitions description: | This skill provides screenplay transition formatting and conventions. Covers CUT TO, DISSOLVE TO, FADE IN/OUT, SMASH CUT, and when to use (or avoid) transitions for pacing and story effect.

Use when: adding scene transitions, formatting transition elements, understanding transition conventions, or controlling pacing.

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:

CopyINT. 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 >:

Copy>FADE TO BLACK.

>SMASH CUT TO:

>MATCH CUT TO:

Common Transitions

Standard Cuts

Fade Transitions

Dissolve Transitions

Time Transitions

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:

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

                                                      FADE OUT.

                                                      END OF ACT ONE

Jarring Juxtaposition:

CopyJOHN
I'll never leave you.

                                                      SMASH CUT TO:

INT. DIVORCE COURT - DAY

John signs the papers.

Visual Matching:

CopySarah's eye fills the frame.

                                                      MATCH CUT TO:

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

Dream/Memory Sequence:

CopySarah closes her eyes.

                                                      RIPPLE DISSOLVE TO:

INT. CHILDHOOD HOME - DAY (FLASHBACK)

When NOT to Use Transitions

Between normal scenes:

Copy// Wrong - unnecessary
INT. OFFICE - DAY

Sarah works at her desk.

                                                      CUT TO:

INT. COFFEE SHOP - DAY

She meets John for lunch.

Copy// Right - implied cut
INT. OFFICE - DAY

Sarah works at her desk.

INT. COFFEE SHOP - DAY

She meets John for lunch.

Special Transition Patterns

Intercut

CopyINT. 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:

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

                                                      CUT TO:

INT. HOSPITAL ROOM - DAY

Sarah's eyes flutter open.

Flash Cut

Very brief shots:

CopyFLASH CUT:

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

BACK TO SCENE

Opening and Closing

Script Opening

CopyFADE IN:

EXT. SEOUL - NIGHT

The city glitters in the rain.

Script Closing

CopySarah walks into the light.

                                                      FADE OUT.

                                                      THE END

Act Breaks (Television)

CopySarah 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