bybren-llc 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