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-
-\documentclass[makeidx]{report}
-
-%
-% Special characters
-%
-\renewcommand{\{}{{\tt\char`\{}} % a typewriter left brace
-\renewcommand{\}}{{\tt\char`\}}} % a typewriter right brace
-\newcommand{\tie}{{\tt\char`\~}} % a typewriter tilde
-\newcommand{\bs}{\char`\\} % a backslash
-\newcommand{\tm}{\mbox{$^{\rm TM}$}\null} % trademark
-
-%
-% Indexing
-%
-\newcommand{\pindex}[1]{\protect\index{#1}}
-\newcommand{\idx}[1]{#1\pindex{#1}}
-%\typein{Type `\protect\makeindex' to create a new \jobname.idx file.}
-\makeindex
-
-%
-% Products with special typesetting requirements
-%
-\newcommand{\ST}{{\tt Script}\-\TeX\null} %version
-\newcommand{\vernum}{1.04} %version
-\newcommand{\version}{\ST~\vernum} %version
-\newcommand{\BibTeX}{{\sc Bib}\TeX\null}
-\newcommand{\INITEX}{{\tt INITEX\@}}
-
-%
-% Mark-up commands
-% (Versions ending in x also create index entries.)
-%
-\renewcommand{\P}[1]{{\em #1\/}}
-
-\newcommand{\book}[1]{{\sl #1\/}}
-\newcommand{\bookx}[1]{{\sl #1\/}\pindex{#1@{\sl #1}}}
-
-\newcommand{\cs}[1]{{\tt\bs#1}}
-\newcommand{\csx}[1]{{\tt\bs#1}\pindex{#1@{\tt\protect\bs #1}}}
-
-\newcommand{\filename}[1]{{\tt #1}}
-\newcommand{\filenamex}[1]{{\tt #1}\pindex{#1@{\tt #1}}}
-
-\newcommand{\film}[1]{{\sl #1\/}}
-\newcommand{\filmx}[1]{{\sl #1\/}\pindex{#1@{\sl #1}}}
-
-\newcommand{\person}[2]{\mbox{#1} #2}
-\newcommand{\personx}[2]{\mbox{#1} #2\pindex{#2, #1}}
-
-\newenvironment{digression}{\begingroup \small}{\endgroup}
-
-%
-% Things like file names and e-mail addresses tend to be too long for good
-% line breaks. We don't want to hyphenate them, so we use \. to allow
-% line breaks after the periods.
-%
-\renewcommand{\.}{\discretionary{.}{}{.}}
-\hyphenation{man-u-script}
-
-
-%
-% Title information
-%
-\title{\ST: \\ A \TeX\ Macro Package for \\ Screenplays and Scripts}
-\author{\personx{Adrian}{McCarthy}}
-\date{\copyright\ 1992-2002}
-
-\begin{document}
-
-\sloppy % It's better than lines that are too long.
-
-\maketitle
-\tableofcontents
-
-\chapter{Preface}
-
-The purpose of this document is to describe
-\version,\index{ScriptTeX@\ST}\index{ScriptTeX@\ST!version} a
-package of \TeX\index{TeX@\TeX} macros for formatting scripts and
-screenplays. The tone here is informal, but this is intended to be
-complete documentation. The first part of this document is aimed at
-those who wish to use the macros as they are, and the second is for
-those who wish to understand the details of how the macros operate.
-
-The purpose of this document is {\em not\/} to be an all-encompassing
-how-to-write-scripts tutorial; the bibliography at the end of this document
-should point you in the right direction if that's what you're looking for. On
-the other hand, this document does have some stylistic details presented as a
-justification of why \ST\ behaves certain ways when a ``better'' way may seem
-to exist.
-
-\begin{digression}
-\index{document conventions|(}
-
-\filenamex{Typewriter text} is used to indicate file names, macro
-names, user-typed input, and computer output. \filmx{Slanted text} is
-used for the names of television series, movies, and books. In this
-document, punctuation is always placed outside quotation marks unless
-it is to be considered part of the ``\idx{quoted material}''. My bias
-for the modern spellings of {\em dialog,\/}\index{dialog vs
-dialogue@{\em dialog\/} vs.\ {\em dialogue}} {\em
-prolog,\/}\index{prolog vs prologue@{\em prolog\/} vs.\ {\em
-prologue}} and {\em epilog\/}\index{epilog vs epilogue@{\em epilog\/}
-vs.\ {\em epilogue}} are evident in this document, but the macros
-allow the traditional {\em -gue\/}~spellings\index{gue spellings@{\em
--gue\/} spellings}, too.
-
-\index{document conventions|)}
-\end{digression}
-
-\chapter{Overview}
-
-I would like to begin this overview by stating the motivation and goals of the
-package. If you find yourself thinking, ``Why in the world did he design
-\ST\ this way?'', please read this section again.
-
-In some regards, a script is a script is a script. All scripts have acts,
-scenes, stage directions, and dialog. It would be nice, therefore, to have a
-consistent set of \TeX\ macros for scripts. The format of a script, however,
-varies depending upon the target media~--- stage, screen, published. Yet, the
-basic elements do not change. The first release of \ST\ supported
-manuscript-style screenplays; this version has support for simple stageplay
-format.
-
-\index{ScriptTex@\ST!design goals|(}
-And therefore my design goals for \ST\ were:
-
-\begin{itemize}
-
-\item
-There should be a simple set of macros which can format to the strict
-manuscript requirements expected by agents and producers.
-
-\item
-The macros should be general enough to support other sorts script formats
-without changing the source file. Other script formats considered included:
-shooting scripts, stageplays, and published screenplays.
-
-\item
-In the same vain as \LaTeX, the macros should be geared toward describing the
-chunks of text rather than formatting them, so \ST\ macros like \cs{scene},
-\cs{dialog}, and \cs{stage} are roughly analogous to \LaTeX's
-\cs{chapter}, \cs{section}, and \cs{subsection} macros.
-
-\end{itemize}
-
-Since I am also a programmer with an interest in tools to help writers, I added
-the requirement that the files should be easy to parse, so that other
-script-specific tools could be designed to read them.
-
-With these goals in mind, \ST\ began to take shape. Rather than starting from
-scratch, \ST\ relies on several facilities of plain \TeX\@. A later version
-may become a \TeX\ format in its own right.
-
-\index{ScriptTeX@\ST!design goals|)}
-
-\chapter{Writing a script with \ST}
-
-The macros for preparing a script with \TeX\ are now presented in what the
-author hopes is a logical order. To best understand these, it is recommended
-that you read along with a copy of the \filenamex{stdemo.tex} source and a
-formatted copy of the \idx{demo file}.
-
-First of all, you need the command to include the \ST\ macro definitions.
-Assuming you want the standard screenplay definitions, put ``\csx{input}
-\filenamex{scrnplay.tex}'' at the beginning of your file.\index{including
-macro definitions} Stageplays should begin with ``\csx{input}
-\filenamex{stagplay.tex}''. To format your file, refer to your local system
-guides for how to feed your file to \TeX\@. You may have to make a local copy
-of \filenamex{scrnplay.tex}.
-
-\section{The basic components}
-
-In accordance with the stated goals, there are only a few basic control
-sequences, and they are easy to master.
-
-To begin a new act, type~--- you guessed it~---``\csx{act}''. This control
-sequence does not require any parameters. The exact action of this macro will
-depend on the setting of the variations, but in general it finishes up the
-previous act, increments the act number, and begins the next act. Depending
-upon the combination of variants you may have selected, the scene counter may
-be reset to zero.
-
-After starting a new act, you usually have some opening
-transition\index{transitions!opening} like ``fade in''. To specify an
-opening transition, use the sequence:
-``\csx{open}\{\P{transition-type}\}'', where \P{transition-type} is a
-short phrase like ``{\tt fade in}''. Similarly, closing
-transitions\index{transitions!closing} are specified like
-``\csx{close}\{{\tt fade out}\}''. Normal transitions between
-scenes\index{transitions!between scenes} are indicated by
-``\csx{trans}\{\P{transition-type}\}''. Whether or not punctuation
-belongs at the end of the \P{transition-type} is open for
-debate.\index{transitions!punctuation} Many authors use ``Fade in:'',
-``Cut to:'', and ``Final fade out.'' while others omit the punctuation
-completely. Both forms are acceptable, but be consistent throughout
-the script.
-
-Following the transition is the new scene, headed up by the \idx{scene line}.
-An example should suffice: ``{\tt \csx{scene}\{int.\bs\ subway train --
-night\}}''. The \idx{backslash} after the abbreviation ``{\tt int.}''
-(\idx{interior}) lets \TeX\ know that the period shouldn't be followed by two
-spaces since it wasn't the end of a sentence. If you forget it, it isn't a big
-deal. If you remember it sometimes and not others, you may wish to use the
-\csx{int} and \csx{ext}\index{exterior} shortcut control sequences listed in
-Table~\ref{scstbl}. The \idx{scene number} will automatically be incremented.
-
-If you're still with me, we've made it to the heart of the matter: \idx{stage
-directions} and \idx{dialog}. Normal paragraphs (except those marked with the
-\csx{dialog} macro discussed below) are considered to be stage
-directions automatically. If you wish to explicitly
-indicate a paragraph as stage directions, you may type ``\csx{stage}''. (In a
-previous unreleased version, the \csx{stage} macro was required.)
-
-Dialog\index{dialog} begins with \csx{dialog}\{\P{character}\}, where
-\P{character} is the person speaking. Subsequent text is then treated as
-dialog until the next paragraph (indicated by a \csx{par}, \cs{stage}, another
-\cs{dialog}, or a blank line in the input file).
-
-With a few more minor macros, you should be off and running.
-
-Within stage directions, you should use: \csx{sound}\{\P{effect}\} to indicate
-sound effects; \csx{introduce}\{\P{character}\} to mark the first time a
-speaking character appears; and \csx{extra}\{\P{person}\} to mark the first
-appearance of a non-speaking character (i.e., an extra). Some combinations of
-script type and variation in use will cause these special pieces of text to be
-emphasized.
-
-In dialog, you may occasionally need to use \idx{parenthetical directions},
-those little clues to the performers as to the emotion and gestures which
-should accompany their \idx{dialog}. The syntax is: \csx{paren}\{\P{clue}\}.
-Only use this macro in the main text of a dialog block; do not use it as part
-of the text of the \P{character} parameter to the \csx{dialog} macro or
-anywhere else.
-
-In dialog and stage directions, you may need to use \idx{emphasis}.
-The syntax is: \csx{em}\{\P{words}\}, and it may be used anywhere
-normal text is expected. Note that this is not identical to the
-\LaTeX\index{LaTeX@\LaTeX} syntax for emphasizing text. In the
-typewritten manuscript, emphasis is shown by underlining the text. In typeset
-documents, emphasis is indicated by a change in font.
-
-There is one more macro you'll need to know. Put ``\csx{bye}''
-at the \idx{end of the source file}. This will make sure the final page is
-ejected.
-
-\section{Slightly advanced components}
-
-There are a few peculiar situations, which, although they occur rarely,
-require special attention.
-
-\index{ellipses|(}
-
-For better or for worse, ellipses are used often in dialog. Experienced
-users of \TeX\index{TeX@\TeX} and \LaTeX\index{LaTeX@\LaTeX} know that ellipses
-require special spacing to look right. \ST\ provides \csx{ldots} as an
-abbreviation for a properly spaced three-dot ellipsis. Four dot ellipses don't
-seem to be used in screenplays, despite what your English teachers may say. In
-the typewriter style of a screenplay manuscript, you can get away with just
-typing ``{\tt ...}'', but it isn't recommended. If you ever do other sorts of
-scripts with \ST\ or other sorts of writing with \LaTeX, the \csx{ldots} habit
-is a good one to have.
-
-Ellipses present another minor problem: poor \idx{line breaks}. If a
-character's words trail off into an ellipsis, it's generally a good
-idea to use a tie\index{tie@tie (\protect\tie)} between his/her last utterance
-and the dots of doom. (For those of you new to this, a tie is treated
-just like a space, except \TeX\ won't break a line there. To type a
-tie, use the tilde\index{tilde@tilde (\protect\tie)|see{tie}} character like
-this: ``{\tt I'll be back\tie\csx{ldots}}''.) As with using
-\csx{ldots}, you can probably get away without following any of these
-ellipsis rules, especially in a typewriter-style manuscript, but it's
-a nice touch.
-
-In screenplays, when one character jumps in and finishes a line for
-another character (think of Dave and Maddie in \filmx{Moonlighting}),
-ellipses are used. You may have a strong temptation to use
-dashes,\index{dash!misuse of} but the authorities say that
-\idx{ellipses} are the appropriate tool. If you have such a
-situation, use ``\csx{leadin}\{\P{last-words}\}'' around the first
-character's last few words and \csx{pickup} before the second
-character's first words. See the example file.
-
-\index{ellipses|)}
-
-Admittedly, the \csx{leadin} and \csx{pickup} macros are pretty boring in
-screenplays. In a stageplay format, the effect is typographically more
-interesting (although it could still use work), thus this pair of macros is
-provided to help you when its time to adapt\index{adaptation} your Tony
-Award-winning stageplay to film.
-
-\section{Variants}
-
-\index{variants|(}
-
-Within the general category of screenplays, there are a few variations which
-are appropriate to specific types of scripts.
-
-Teleplays generally show the act breaks and numbers since that's where they
-slip the \idx{commercials} in. Although motion picture scripts are built
-around acts too, the act breaks are not explicitly shown. \ST\ provides the
-variations \csx{TV}\index{variant!TV} and \csx{movie}\index{variant!movie}
-which can be placed at the top of the source file. Besides suppressing the act
-breaks, \csx{movie} also prevents the \idx{scene number} from
-being reset at the beginning of each act. In either case, it is recommended
-that you use the \csx{act} macro (and its cousins which are described later in
-this section).
-
-As previously stated, situation comedies\index{situation comedy} are
-double-spaced. If your script is a situation comedy put
-``\csx{sitcom}''\index{variant!situation comedy} near the top of your
-file. This macro also implies \csx{TV}.
-
-A script may also be printed various ways depending upon its progress
-through the life-cycle of a production. If you want to print a copy
-just for \idx{proof-reading}, use \csx{proof}.\index{variant!proof}
-This macro will put the \idx{date}, \idx{draft}, and \idx{title} on a
-\idx{footline} on each page. On the other hand, if this is the copy
-you plan to send out into the real world, use
-\csx{manuscript}\index{variant!manuscript} which turns off the
-footlines and \idx{scene number}s. If you're fortunate enough to have
-your screenplay produced {\em and\/} you get to maintain control of
-the \idx{shooting script}, use \csx{shoot}\index{variant!shooting
-script} which turns on the display of \idx{scene number}s.
-
-\index{margins|(}
-
-Manuscripts are generally typed only on one side of the page and are
-bound\index{binding manuscripts} with one or two brass brads through
-holes punched in the paper. \ST\ makes the left margin wider to
-accommodate the holes and brads. If, however, you are printing your
-draft copies on both sides of the paper, use
-\csx{twoside}\index{variant!two-sided}, and \ST\ will alternate which
-margin is widened.
-
-\index{margins|)}
-
-One final variant that effects the overall output is the previously mentioned
-\csx{jlbrooks}\index{variant!J.L. Brooks} macro which causes \ST\ to perform
-``creative margin release''. It is not recommended for use on submitted
-manuscripts, but if you want to save a few sheets when printing drafts, this
-might help.
-
-By the way, the default\index{defaults} for the variants\index{variant!default}
-above are \csx{TV} and \csx{proof}.
-
-\index{variants|)}
-
-\section{Mutant cousins}
-
-\index{mutant cousins|(}
-
-A few of the basic controls discussed in a previous section have mutant cousins
-with specific applications.
-
-Television shows often begin with a mini act called a \idx{teaser}, a three- or
-four-minute audience grabber shown before the first
-commercial.\index{commercials} Similarly, some shows have a couple pages after
-the last act called a \idx{tag} where everything is neatly wrapped up or the
-episode's running gag is finally put to death. These constructs are identical
-to acts except for the name. \ST\ provides \csx{teaser}\index{mutant
-cousins!teaser} and \csx{tag}\index{mutant cousins!tag} which can be
-used for these situations in place of \csx{act}.
-
-\ST\ also provides \csx{prolog}\index{mutant cousins!prolog} and
-\csx{epilog}\index{mutant cousins!epilog} which might be more
-appropriate for a miniseries. These two also make the transition between
-stageplays and screenplays require less thought.\index{adaptation}
-
-You might want to consider \csx{open}\index{mutant cousins!opening} and
-\csx{close}\index{mutant cousins!closing} to be mutant cousins of \csx{trans};
-you wouldn't be the only one.
-
-\begin{digression}
-
-If you absolutely have to have your acts named\index{act names}
-differently than the automatic names like ``Act One'', ``Teaser'', and ``Tag'',
-then you can call \csx{acthead}\{\P{your-title}\}. Be aware that this routine
-will increment the internal \idx{act counter}.
-
-\end{digression}
-
-If after the last act, you would prefer to the line ``\idx{The End}'' to the
-standard ``End of Act \P{n}'', you can use \csx{theend}\index{mutant
-cousins!ending} before the \csx{bye}.
-
-\index{mutant cousins|)}
-
-\section{Shortcuts and synonyms}
-
-\index{shortcuts|(}
-\index{synonyms|(}
-
-The macros presented to this point are general enough to handle almost any
-screenplay manuscript. As a result, certain sequences are so common that it
-would be convenient to have abbreviations. The source file may also be
-rendered more readable by the appropriate use of synonyms. These shortcuts and
-synonyms don't really require any sort of explanation, so I'll just list them
-in Table~\ref{scstbl}.
-
-\begin{table}
-\begin{center}
-\begin{tabular}{ll}
-\hline
-\csx{beat} & \csx{paren}\{{\tt beat}\} \\
-\csx{cut} & \csx{trans}\{{\tt cut to}\} \\
-\csx{dialogue}\{\P{character}\} & \csx{dialog}\{\P{character}\} \\
-\csx{dissolve} & \csx{trans}\{{\tt dissolve to}\} \\
-\csx{epilogue} & \csx{epilog}$^*$ \\
-\csx{ext}\{\P{scene}\} & \csx{scene}\{{\tt ext.\bs\ }\P{scene}\} \\
-\csx{fadein} & \csx{open}\{{\tt fade in}\} \\
-\csx{fadeout} & \csx{open}\{{\tt fade out}\} \\
-\csx{int}\{\P{scene}\} & \csx{scene}\{{\tt int.\bs\ }\P{scene}\} \\
-\csx{os} & \csx{paren}\{off screen\}$^\dagger$ \\
-\csx{prologue} & \csx{prolog}$^*$ \\
-\csx{shot}\{\P{subject}\} & \csx{scene}\{\P{subject}\} \\
-\csx{tv} & \csx{TV} \\
-\csx{vo} & \csx{paren}\{{\tt voice over\}} \\
-\hline
-\multicolumn{2}{l}{$^*$~These use the {\em -gue\/} spelling in the act name.
- \pindex{gue spellings@{\em -gue\/} spellings}}\\
-\multicolumn{2}{l}{$^\dagger$~Actually becomes \csx{paren}\{{\tt off stage}\}
-in stageplay formats.}\\
-\end{tabular}
-\end{center}
-\caption{Predefined shortcuts and synonyms.}
-\label{scstbl}
-\end{table}
-
-\index{shortcuts|)}
-\index{synonyms|)}
-
-\section{Title pages\index{title page}}
-
-\ST\ can also produce pretty title pages, just tell \ST\ the basic information:
-your script's title and your name. Put ``\csx{title}\{\P{script-title}\}'' and
-``\csx{author}\{\P{author's-name}\}'' at the top of your source file. The
-macro \csx{maketitle} will then produce a title page.
-
-There is a little more to the title page story, however. If you are writing a
-spec script\index{spec(ulation) script} or an episode of a \idx{television
-series}, you should also indicate the name of the series with the
-\csx{series}\{\P{series-name}\} construct.
-
-To show a copyright notice on the titlepage, specify
-\csx{showcopyright}\{\P{year}\} before the \cs{maketitle} macro. To keep your
-old scripts looking up to date, you might want to use \cs{number}\cs{year} for
-the \P{year} parameter.
-
-Your address and/or phone number (or that of your agent) can be included by
-using \csx{address}\{\P{address}\}. Separate the lines of the \P{address}
-with double backslashes (\csx{\bs}).
-
-Despite what agents want to see, I like to have \idx{draft} numbers and
-\idx{date}s on my drafts. You can include this information by using
-``\csx{draft}\{\P{draft-number}\}'' and ``\csx{date}\{\P{draft-date}\}'' before
-the \csx{maketitle} command. If the selected variant is
-\csx{proof},\index{variant!proof} the draft and date information will be
-printed. If, however, the \csx{manuscript} variant\index{variant!manuscript}
-is in force, the draft and date information is ignored. If you don't supply
-the date, \ST\ will assume \csx{today} which expands to the date that you are
-running \TeX\@.
-
-\chapter{Breakdowns}
-
-\index{breakdowns|(}
-
-The original release of \ST\ included the ability to produce cast lists and
-scene breakdowns. They looked terrible, weren't useful, and generally caused
-all sorts of problems. Therefore, the breakdown features have been removed from
-\ST\ and will probably not return.
-
-I apologize if you came to rely on the breakdown features. The user-level
-macros supporting the breakdowns will now cause a warning message to be
-displayed, but should not otherwise hinder the formatting of your scripts.
-
-\index{breakdowns|)}
-
-\chapter{Hints}
-
-If you are having problems with \ST, these \idx{hints} might be helpful.
-
-Many of \ST\ macros only work properly when used in the right context. Strange
-output is often due to using a macro in weird place. If you are familiar with
-\LaTeX, it may be sufficient to say that variants, revision information, and
-the \cs{make}\ldots macros are analogous to \LaTeX's preamble except that \ST\
-doesn't make the distinction between the preamble and the body explicit. Here
-are the rules of what can go where:
-
-\begin{quote}
-\begin{itemize}
-
-\item You must use ``\csx{input} \filenamex{scrnplay.tex}''\index{including
-macro definitions} or ``\csx{input} \filenamex{stagplay.tex}''\index{including
-macro definitions} before any \ST\ macros.
-
-\item If \TeX\ complains that the font \idx{cmpica} or \idx{cmpicai} cannot be
-found, you will need to edit \filename{scrnplay.tex} to change the
-definitions of {\tt mainfont} and {\tt emfont} to {\tt cmtt}.\index{cmtt}
-
-\item Variants\index{variants!position of} (such as \csx{twoside}, \csx{proof},
-and \csx{TV}) should come next.
-
-\item Revision information\index{draft}\index{date}\index{title}\index{author}
-must come before \csx{maketitle}.
-
-\item Finally comes the main body of the script formed with the basic
-components.
-
-\item Use \csx{paren} {\em only\/} in dialog.
-
-\item The macro \csx{cleanup} should only come after all of the body of the
-script. \csx{cleanup} is optional since \csx{bye} will take care of it.
-
-\item Nothing should come after \csx{bye}.
-
-\end{itemize}
-\end{quote}
-
-\chapter{How the macros work}
-
-At least some of the techniques used in \ST\ should be documented beyond the
-few cryptic sentences in the source. (In fact, once it is well-documented
-here, the source should probably be stripped of comments to speed up the
-\csx{input} process.) These sections assume a good familiarity with \TeX\@.
-
-\section{Emulating a typist}
-
-One of the trickiest things I've had to do with \TeX\ is make it emulate a
-typewriter. Here are the techniques used to do this in \ST.
-
-Previous versions of \ST\ used \idx{Computer Modern Typewriter Type}
-(\idx{cmtt})\index{typewriter text} by default for typed screenplay formats.
-This version, however, uses a pica font called \idx{cmpica} and an underlined
-cousin called \idx{cmpicati} created by \personx{Don}{Hosek}. The advantages
-these fonts is that they automatically transform \TeX\ typing conventions
-like ``{\tt ``---''}'' into ``{\tt "--"}'' and they provide better underlining.
-
-\begin{digression}
-If you do not have these fonts available at your site, you can edit
-\filename{scrnplay.tex} to change the definition of {\tt mainfont} and {\tt
-emfont} to cmtt, but I encourage you to try to get Don Hosek's fonts. They
-are available from most \TeX\ distributions.
-\end{digression}
-
-The typewriter fonts are fixed pitch, and the inter-word spaces can't stretch
-or shrink. In case the user changes to a different font, \ST\ uses
-\csx{spaceskip} and \csx{xspaceskip} to make sure that the spaces are fixed
-width. Everything is scaled in terms of lines and columns by defining
-\csx{lineskip} and \csx{charwid} once the font is selected. \csx{lineskip} is
-set to 12 big points to make sure that there are 6 \idx{lines per inch}.
-
-The changing margins of screenplay format are achieved by adjusting
-\csx{leftskip} and \csx{rightskip} appropriately. \csx{rightskip} also takes
-into account the ragged right margin by having a stretchability of 8 character
-widths. (The ``hot zone'' on a typewriter is generally 8 characters wide, so
-lines are usually broken between the margin bell, which signifies the beginning
-of the hot zone, and the actual right margin.) To emulate a typist even more
-exactly, setting \csx{hfuzz} to some slightly positive multiple of character
-widths might be appropriate. To stretch things out when the \csx{jlbrooks}
-variant is in effect, \ST\ does increase \csx{hfuzz} (as well as stretch all of
-the line lengths).
-
-Hyphenation\index{hyphenation} is a fact of life in the realm of
-screenplay manuscripts, as are ``club\index{club line}'' and
-``widow\index{widow line}'' lines. Additionally, we want \TeX\ to
-just fill each line as much as possible without worrying too much
-about the aesthetic look of the entire paragraph. To achieve this,
-\ST\ sets \TeX's battery of penalty and demerit factors to zero and
-increases \csx{pretolerance} so that we're more likely to hyphenate
-than have a really short line.
-
-The result is pretty good (apologies to Knuth). Anyone but a typist who was
-looking for something wrong would not be able to detect weirdness, and the
-aforementioned typist would probably remark that the output is too consistent.
-
-\section{Mark madness}
-
-\index{marks|(}
-
-Marks are the biggest nightmare in \ST. Each mark has seven parts used
-and an eighth part which is reserved for a feature whose implementation is
-still being worked out. Each part of the mark is a token list of stuff that
-needs to be done in certain situations. The parts are separated by \csx{or}s so
-that the $n\/$th part can be selected with \csx{ifcase}$n$. The parts are:
-
-\begin{quote}
-\begin{itemize}
-
-\item[0.] The text to generate the act/scene header. In the
-\filenamex{scrnplay.tex} format, it is the hanging \idx{scene number}
-followed by a period and a space. (Some variants don't use this part at all.)
-
-\item[1.] The text ``(CONTINUED)\index{continued@(CONTINUED)}'' if this scene
-is continued from the previous page.
-
-\item[2.] The text ``\P{character} (CONT'D)\index{contd@(CONT'D)}'' if the
-current dialog by \P{character} may be continued onto the next page.
-
-\item[3.] A call of \csx{nukeline} to make room for the
-``(MORE)\index{more@(MORE)}'' text which is used if dialog is split.
-
-\item[4.] The text ``(MORE)\index{more@(MORE)}'' if the current dialog
-continues onto the next page.
-
-\item[5.] A pair of \csx{nukeline}s to make room for the ``\idx{CONTINUED}''
-text at the bottom of the page if the current scene continues onto the next
-page.
-
-\item[6.] The ``\idx{CONTINUED}'' text for the bottom of the page if the
-current scene continues onto the next page.
-
-\item[7.] Reserved for the up-coming \idx{revision page} feature.
-
-\end{itemize}
-\end{quote}
-
-\noindent It is easier to understand this list if you look at a formatted
-screenplay to see how the scene and dialog splits are handled from page to
-page. Putting the \csx{nukeline}s into separate parts of the mark is necessary
-because they must be done before the body of the page, but the text doesn't
-come until afterwards. In retrospect, it might be possible to combine items~1
-and~6, but that would come at the cost of generality and clarity.
-
-The \csx{output} routine\index{output routine} actually uses the \idx{marks}.
-At first blush this may not seem too tricky, but there is an important
-subtlety. The ``(MORE)\index{more@(MORE)}'' and ``\idx{CONTINUED}'' lines at
-the bottom of the page actually encroach into the space intended for the bottom
-of the page. The \csx{nukeline}s help keep track of how much extra space we
-need at the bottom. When the time comes, the box \TeX\ has handed the
-\csx{output} routine must be \csx{vsplit}, so that a few lines at the bottom are
-usually deferred to a later page. The local setting of \csx{vbadness} to
-``infinity'' suppresses the ``underfull vbox'' messages that come from the
-split. \csx{vbadness} is restored (implicitly by \TeX's grouping rules) before
-the \csx{shipout} occurs.
-
-The splitting of the box further complicates keeping track of the mark. No
-longer is \csx{topmark} valid, since it might have come from lines that were put
-back when the previous page was output. It is not a mistake that
-\csx{splitbotmark} is used when \csx{topmark} seems to be the logical intent.
-\TeX\ assures us the \csx{splitbotmark} is null if no \csx{vsplit} has yet
-occurred, so there is no special case for the first page.
-
-The macros for the basic components may seem to use penalties in odd ways.
-This is to assure that a split doesn't occur between a mark and the relevant
-block. In some cases, they may be redundant, but the intent was to guarantee
-proper operation in this early release and then to optimize later.
-
-The current value of each part of the last mark is carried around in a set of
-seven macros. This is necessary since certain basic components don't know how
-to set all of the components of the mark. Close inspection will probably
-reveal possible optimizations in this regard, but again the intent was to keep
-it general for the first release.
-
-\index{marks|)}
-
-\chapter{Distribution and local changes}
-
-\index{ScriptTex@\ST!distribution|(}
-
-This document, the \ST\ macro files, and the demonstration document are
-copyrighted by the author. You may make and distribute copies as well as
-prepare derivative works for non-commercial purposes. All other rights are
-reserved by the author.
-
-Feel free to re-distribute this document as well as the files described herein.
-I request, however, that you try to keep the files together (i.e., don't break
-up the package).
-
-If you make local hacks, please change the
-version\index{ScriptTeX@\ST!version} number by appending a
-letter to it, e.g., ``\vernum-A''. Be aware that ``\vernum-A'' at one site
-will quite possibly be different than ``\vernum-A'' at another. I would like,
-however, users to feel confident that ``\vernum'' is ``\vernum'' is ``\vernum''
-everywhere. I also prefer local hacks don't propagate too far. If you have a
-change that is generally useful, I would love to hear about it and integrate it
-into the ``official'' package.
-
-This document is written for \LaTeX\@. There is a companion example file
-called \filenamex{stdemo.tex} which demonstrates the use of this macro package.
-Table~\ref{filetbl} lists the files which constitute \ST.
-
-\begin{table}
-\begin{center}
-\begin{tabular}{ll}
-\hline
-\filenamex{scrnplay.tex} & macro definitions for screenplay manuscripts \\
-\filenamex{scrnwrit.bib} & \BibTeX\index{BibTeX@\BibTeX} source for this
- documentation \\
-\filenamex{stagplay.tex} & macro definitions for stageplays \\
-\filenamex{stdemo.tex} & \ST\ demonstration file \\
-\filenamex{stdoc.tex} & \LaTeX\ source for this documentation \\
-\hline
-\end{tabular}
-\end{center}
-\caption{The components of~\version.}
-\label{filetbl}
-\end{table}
-
-\index{ScriptTex@\ST!distribution|)}
-
-\appendix
-
-\chapter{\idx{Script formats}}
-
-This appendix describes the formats for the various types of scripts currently
-supported by \ST.
-
-\section{\idx{Screenplay manuscript format}}
-
-Screenplay manuscripts are typed, not typeset. With computers becoming even
-more ubiquitous, aspiring scriptwriters are more likely to be submitting
-nice-looking documents formatted with Macintoshes\tm\ and PC's and the like.
-For better or worse, agents take typewritten manuscripts more seriously,
-according to \personx{Richard}{Walter} in \book{Screenwriting: The Art, Craft
-and Business of Film and Television Writing}~\cite{rw:sacb}. Therefore, \ST's
-screenplay manuscript format looks typewritten.
-
-The layout of a typewritten manuscript has few variations. The \ST\ macros
-have been designed to emulate those conventions that seem to be most universal.
-Details like lines per page, \idx{page number}, \idx{scene number}s, and
-margins have all been based on half a dozen screenwriting books and a few
-actual screenplays. Whenever there was an inconsistency, I went with the
-majority.
-
-The screenplay format is so evolved that~--- averaged out over a half-hour TV
-show, a two-hour movie, or a four-night miniseries~--- one page is one minute
-of screen time. This may sound absurdly arbitrary, but it seems to hold true.
-One page averages to one minute. Agents and producers realize that this is
-only a rule-of-thumb, but this rule does drive decisions. Production costs are
-often estimated from the page-count, so it is important that the conventions
-are followed.
-
-There is an exception to the page-a-minute rule: situation
-comedies\index{situation comedy}. Sitcoms are typed double-spaced, so
-one sitcom page is 30~seconds. In all other aspects, though, sitcoms
-are formatted just like other teleplays.
-
-\begin{digression}
-
-As an amusing aside, \personx{James L.}{Brooks}, in his foreword
-to the published screenplay of \filmx{Broadcast News}~\cite{jlb:bn}, explains
-that he often bribed studio typists to shrink the margins to make his too-long
-scripts come closer to ``acceptable'' page-counts. This anecdote is the
-inspiration of the \csx{jlbrooks} macro in \ST.
-
-\end{digression}
-
-If you are serious about submitting your work to agents, you are
-better off knocking their socks off with a good story than your own
-interpretation of manuscript format.
-
-The basic layout is simple. A scene begins with a line,\index{scene line} in
-all caps, which indicates the location and usually the time of day. (In a
-\idx{shooting script}, each new camera angle is considered a scene, so the
-scene lines in the middle of a sequence often simply indicate the main subject
-of the shot, such as a particular character.) Stage directions\index{stage
-directions} and descriptions are typed like normal paragraphs without
-indentation.
-
-Dialog\index{dialog} begins with the character's name, all in caps, roughly
-centered on a line by itself (no colons or other punctuation). The character's
-words are set as narrow paragraphs, again without indentation. Parenthetical
-directions\index{parenthetical directions} which indicate the mood or
-mannerisms of the character as he/she speaks are set even narrower and inside
-parentheses.
-
-Transitions\index{transitions} like ``dissolve to'' and ``cut to'' are done in
-caps near the right margin. Opening and closing transitions such as ``fade
-in'' and ``fade out'' are placed at the left margin.
-
-Note, overuse of \index{transitions} and \index{parenthetical directions} is
-usually considered bad form. A simple ``cut to'' is redundant, since that can
-be inferred from the beginning of the new scene. Occasionally, it is
-appropriate to use a ``dissolve to'' to signal a {\em long\/} passage of time
-or to introduce a flashback. Parenthetical directions alsost always amount to
-directing on paper, which is another no-no. When a character speaks to a
-specific person in a group, a parenthetical direction may be used to avoid
-ambiguity. If you want to sell your script, don't give into the temptation of
-padding your script with zillions of useless transitions and parenthetical
-directions.
-
-Blank lines\index{blank lines} separate almost everything. Pages are
-numbered\index{page number}s in the upper-right corner of the page.
-If a scene crosses \idx{page break}, as they often do,
-``\idx{CONTINUED}'' should be placed at the bottom of the page, in the
-same style as a transition, and the page-number line of the following
-page should be marked ``CONTINUED'' at the left. If \idx{scene
-number}s are used (rare in manuscripts), then they are set hanging in
-the left margin next to the scene lines and the top ``CONTINUED''
-designations. If a character's dialog spans a page break, the first
-part is labeled ``(MORE)\index{more@(MORE)}'' in the same style of
-parenthetical directions, and the following page repeats the
-characters name with the designation
-``(CONT'D)\index{contd@(CONT'D)}''.
-
-Text marked with the \csx{sound}, \csx{introduce}, and \csx{extra} macros will
-be set in all-caps in shooting scripts. In all other formats, \csx{sound} is a
-no-op.
-
-This has been a loose description of the format, with which one should be able
-to read a screenplay. The actual placement of these blocks is strictly
-prescribed in terms of lines and columns. Some books even list different tab
-settings for pica and elite typewriters. Since the \idx{Computer Modern
-Typewriter Type}, ``\idx{cmtt}'', isn't really pica or elite, I have scaled
-things in terms of character widths, which will cause nearly identical line
-breaks as someone following the standard conventions with a standard size
-type.\index{typewriter text} Baselines\index{baselines} have been set to
-12~big points rather than 12~points in order to get a true 66~\idx{lines per
-page}. I shall put off other such details to the description of the workings
-of the macros.
-
-Another set of cold rules for screenplay manuscripts is those that apply to the
-title page. Most of these rules are of the ``do not'' variety. The ``do''
-rules are easier to enumerate: (1) put the name of the script in all caps
-centered on the page; (2) put the name of the author a few lines below the
-\idx{title}. The ``do not'' rules essentially say, ``Don't put anything on the
-title page other than the title and the author's name''. If you disagree with
-these rules, see the \personx{Richard}{Walter} book listed in the bibliography;
-he explains why you shouldn't have the date or draft information, the author's
-address and telephone number, or even the words ``written by'' before the
-author's name. Except for the draft and date fields, \ST\ will place the other
-pieces of information on your title page if you have defined them. Draft and
-date will also appear if the \csx{proof} variant is in force.
-\personx{Michael}{Hauge} recommends that you include a copyright notice on the
-title page, but always use the current year to keep your old scripts looking
-fresh.
-
-\section{Stageplay format}
-
-The layout of the stageplay format was fairly arbitrary. Published formats for
-stageplays seems to exhibit more flexibility than the screenplay manuscript
-format.
-
-Act and scene designations are always shown. Acts and scenes are counted in
-Roman numerals: uppercase for acts, lowercase for scenes. Acts always begin
-on a new page. The heading line on each page contains the title and the act
-and scene number.
-
-Scene lines and stage directions are typeset in an italic font. Dialog uses
-the same margins as the rest of the text. The speaking character is set in
-small caps with hanging indentation. The dialog itself in roman type, and
-parenthetical directions are italicized like stage directions.
-
-The transition macros \csx{open}, \csx{close}, and \csx{trans} should
-be used to indicate key curtain and lighting changes, such as
-``\csx{open}\{{\tt curtain up}\}'' and ``\csx{close}\{{\tt
-blackout}\}''.
-
-The \csx{leadin} and \csx{pickup} macros measure and stagger the text to
-emphasize the flow of the dialog from one character to the next.
-
-\chapter{Known problems and limitations}
-
-\index{bugs|(}
-
-Most of these problems are minor annoyances.
-
-\begin{itemize}
-
-\item Using certain macros in the wrong context, such as a \csx{paren} in
-stage directions or a variation switch too far down from the top can cause all
-sorts of weird things to happen. (``Doctor, it hurts when I do this!''
-``Don't do that.'')
-
-\item If your script has an inordinate number of acts, the \idx{act number}
-will shift from being spelled out (``Act Nine'') to uppercase Roman numerals
-(``Act XXIV''). This threshold, however, should be high-enough to handle even
-week-long \idx{miniseries} without enter the Roman numeral phase.
-
-\item The \csx{leadin} and \csx{pickup} macros don't work quite right
-in stageplay format. A future release will provide better support.
-
-\end{itemize}
-
-\index{bugs|)}
-
-\chapter{Glossary}
-
-\begin{description}
-
-\item[``\idx{A-pages}''] Pages in a screenplay (usually a shooting script)
-which have been inserted during the course of a revision.\index{revision page}s
-To avoid renumbering the entire script, additional pages are numbered with the
-number of the previous page and a letter. For example, if page 92 has grown
-into three pages, the page sequence would be: \ldots\,,~91, 92, 92-A, 92-B,
-93,~\ldots\,.
-
-\item[\idx{club lines}] If a paragraph is split across pages between the first
-and second line, the first line is a club line.
-
-\item[\idx{dialog block}] A screenplay format construct consisting of the
-character's name and his/her words along with the associated parenthetical
-direction.
-
-\item[\idx{extra}] A character in a script who has no dialog.
-
-\item[\idx{koala}] An Australian marsupial that eats bushes, shoots, and leaves.
-
-\item[\idx{manuscript}] [in the context of this document:] A typed script of
-the form submitted to an agent or producer.
-
-\item[\idx{master scene}] A scene in a script that is written in terms of all
-of the action that takes place in the given locale at a particular time rather
-than a shot-by-shot description of the same events. Manuscripts are generally
-written as master scenes which, if the script is produced, later broken down
-shot-by-shot into the \idx{shooting script}.
-
-\item[\idx{parenthetical direction}] Parenthesized items embedded into a
-character's dialog which indicate the mode, timing, and gestures for that
-speech.
-
-\item[\idx{scene line}] The line in all caps at the beginning of a scene which
-identifies the location and time of the scene. In a \idx{shooting script}, the
-scene line often indicates the primary subject of the shot.
-
-\item[\idx{screenplay}] A script for a television show or motion picture
-production.
-
-\item[\idx{shooting script}] A script that has been prepared for production by
-breaking each sequence down shot-by-shot. A shooting script is generally
-prepared by the director (sometimes in association with the author) from the
-author's original manuscript.
-
-\item[\idx{spec(ulation) script}] A script written on speculation for an
-existing television series. Spec scripts are rarely sold, but they may lead to
-a regular staff-position for that series.
-
-\item[\idx{stage directions}] Blocks of text which describe scenes and
-characters and there actions. Stage directions also indicate sound\index{sound
-effect} and \idx{special effect}s.
-
-\item[\idx{stageplay}] A script for a theatrical production.
-
-\item[\idx{teleplay}] A script specifically for a television show or made-for-TV
-movie.
-
-\item[\idx{widow line}] If a paragraph is split across pages between its
-penultimate and last lines, the last line is a widow line.
-
-\end{description}
-
-\chapter{Macro summary}
-
-This summary lists the \ST\ macros which are intended for authors to use.
-
-\section{Basic components}
-
-\begin{description}
-
-\item[\csx{act}] Begins a new act.
-
-\item[\csx{bye}] Ejects the last page, closes the auxiliary files, and performs
-other housekeeping duties.
-
-\item[\csx{cleanup}] Ejects the last page and closes the auxiliary files. After
-\csx{cleanup} you may safely use the \csx{makecastlist} and \csx{makescenelist}
-macros.
-
-\item[\csx{close}\{\P{transition-type}\}] Outputs a closing transition
-like ``FADE OUT'' for use at the end of an act.
-
-\item[\csx{cut}] Shortcut for ``\csx{trans}\{{\tt cut
-to}\}''.\index{shortcuts!cut}
-
-\item[\csx{dialog}\{\P{character}\} \P{speech}] Begins a new dialog
-block for the specified \P{character}. His/her words and parenthetical
-directions (\P{speech}) should follow. The dialog block ends at the next
-paragraph break.
-
-\item[\csx{dissolve}] Shortcut for ``\csx{trans}\{{\tt dissolve
-to}\}''.\index{shortcuts!dissolve}
-
-\item[\csx{em}\{\P{words}\}] Emphasizes the \P{words} (by underlining
-them in manuscript format).
-
-\item[\csx{extra}\{\P{person}\}] Used to indicate the first appearance of a
-particular non-speaking character.
-
-\item[\csx{introduce}\{\P{character}\}] Used to indicate the first appearance of
-a speaking character.
-
-\item[\csx{open}\{\P{transition-type}\}] Outputs an opening transition
-like ``FADE IN'' for use at the beginning of an act.
-
-\item[\csx{paren}\{\P{clue}\}] Places a parenthetical direction inside a
-dialog block. Never use this macro outside the context of the \P{speech}
-parameter in a dialog.
-
-\item[\csx{scene}\{\P{scene-line}\}] Begins a new scene.
-
-\item[\csx{sound}\{\P{effect}\}] Indicates that \P{effect} is a \idx{sound
-effect}. Never use this macro outside the context of stage directions.
-
-\item[\csx{stage}] (optional) Begins a block of \idx{stage directions}.
-
-\item[\csx{trans}\{\P{transition-type}\}] Indicates the type of
-transition between scenes.\index{transitions}
-
-\end{description}
-
-\section{Slightly advanced components}
-
-\begin{description}
-
-\item[\csx{acthead}\{\P{act-name}\}] Begins a new act named \P{act-name}. This
-macro is used in the guts of \csx{act} and its mutant cousins. In general, using
-this routine directly is not recommended unless you know what you are doing.
-
-\item[\csx{ldots}] Expands to a three-dot ellipsis.\index{ellipses}
-
-\item[\csx{leadin}\{\P{last-words}\}] Prepares the dialog to be
-interrupted by the next character. See \csx{pickup}.
-
-\item[\csx{pickup}] Use at the beginning of a character's dialog when he/she
-is interrupting the previous character. See \csx{leadin}.
-
-\item[\csx{theend}] Causes the final ``End of Act $n$'' line to be replaced by
-``The End''. Use immediately before \csx{bye}.\index{mutant cousins!ending}
-
-\item[\csx{today}] Expands to the current \idx{date} in the form
-\P{dd-MMM-yyyy}.
-
-\end{description}
-
-\section{Variants}
-
-\index{variants|(}
-
-\begin{description}
-
-\item[\csx{jlbrooks}] Invokes the \personx{James L.}{Brooks} variant, causing
-\ST\ to squeeze a little more script onto every
-page.\index{variant!J.L. Brooks}
-
-\item[\csx{manuscript}] Invokes the manuscript
-variant\index{variant!manuscript} for ready-to-submit output.
-
-\item[\csx{movie}] Invokes the motion picture variant\index{variant!movie}.
-
-\item[\csx{proof}] Invokes the proof-reading variant. Use on preliminary
-drafts to include \idx{date} and \idx{draft} information on each page.
-
-\item[\csx{shoot}] Invokes the \idx{shooting script}
-variant.\index{variant!shooting script} Use if you're making a
-shot-by-shot breakdown.\index{scene breakdown}
-
-\item[\csx{sitcom}] Invokes the \idx{situation comedy}
-variant,\index{variant!situation comedy} i.e., it double-spaces the script and
-implies the \csx{TV} variant.\index{variant!TV}
-
-\item[\csx{TV}] Invokes the teleplay variant.\index{variant!TV}
-
-\item[\csx{twoside}] Variant which causes the left margin to shift on alternate
-pages, so drafts printed on both sides of a sheet will be easier to read when
-bound.\index{variant!two-sided}
-
-\end{description}
-
-\index{variants|)}
-
-\section{Mutant cousins}
-
-\index{mutant cousins|(}
-
-\begin{description}
-
-\item[\csx{epilog}] Mutant cousin of \csx{act}\index{mutant cousins!epilog} for
-use at the end of a \idx{miniseries}.
-
-\item[\csx{prolog}] Mutant cousin of \csx{act} for use at the beginning of
-a miniseries.\index{mutant cousins!prolog}
-
-\item[\csx{tag}] Mutant cousin of \csx{act} for use at the end of a
-television show.\index{mutant cousins!tag}
-
-\item[\csx{teaser}] Mutant cousin of \csx{act} for use at the beginning of
-a television show.\index{mutant cousins!teaser}
-
-\end{description}
-
-\index{mutant cousins|)}
-
-\section{Shortcuts and synonyms}
-
-\index{shortcuts|(}
-\index{synonyms|(}
-
-\begin{description}
-
-\item[\csx{beat}] Shortcut for ``\csx{paren}\{{\tt beat}\}''.
-
-\item[\csx{dialogue}] Synonym for \csx{dialog}.\index{synonyms!dialog}
-
-\item[\csx{epilogue}] Synonym for \csx{epilog}, except that it causes the act
-name to be ``Epilogue''.\index{synonyms!epilogue}
-
-\item[\csx{ext}\{\P{scene}\}] Shortcut for ``\csx{scene}\{{\tt ext.\bs\
-}\P{scene}\}''.\index{shortcuts!exterior}
-
-\item[\csx{fadein}] Shortcut for ``\csx{open}\{{\tt fade
-in}\}''.\index{shortcuts!fade in}
-
-\item[\csx{fadeout}] Shortcut for ``\csx{open}\{{\tt fade
-out}\}''.\index{shortcuts!fade out}
-
-\item[\csx{int}\{\P{scene}\}] Shortcut for ``\csx{scene}\{{\tt int.\bs\
-}\P{scene}\}''.\idx{shortcuts!interior}
-
-\item[\csx{os}] Shortcut for ``\csx{paren}\{\tt off
-screen\}''.\index{shortcuts!off screen}
-
-\item[\csx{prologue}] Synonym of \csx{prolog}, except that it causes the act
-name to be ``Prologue''.\index{synonyms!prologue}
-
-\item[\csx{shot}\{\P{subject}\}] Shortcut for
-``\csx{scene}\{\P{subject}\}''.\index{shortcuts!shot}
-
-\item[\csx{tv}] Synonym for \csx{TV}.\index{synonyms!TV}
-
-\item[\csx{vo}] Shortcut for ``\csx{paren}\{{\tt voice
-over}\}''.\index{shortcuts!voice over}
-
-\end{description}
-
-\index{shortcuts|)}
-\index{synonyms|)}
-
-\section{Title page information}
-
-\begin{description}
-
-\item[\csx{address}\{\P{address}\}] Specifies the address and/or phone number
-of the author or agent which will then be printed on the title page.
-
-\item[\csx{author}\{\P{name}\}] Defines \P{name} for use as the author's name
-on the title page.
-
-\item[\csx{basedon}\{\P{string}\}] \P{string} will be printed below the
-author's name to allow for comments like ``Based on a novel by John Doe''.
-
-\item[\csx{date}\{\P{string}\}] Uses \P{string} wherever the draft \idx{date}
-should be printed (if appropriate to the selected variant).
-
-\item[\csx{draft}\{\P{draft-name}\}] Makes \P{draft-name} the text used on the
-title page and in the footline (if appropriate to the selected
-variant).\index{draft}
-
-\item[\csx{maketitle}] Uses the information in specified in \csx{series},
-\csx{title}, \csx{author}, \csx{draft}, and \csx{date} commands to create a
-title page.
-
-\item[\csx{showcopyright}\{\P{year}\}] Specifies that a copyright symbol and
-the \P{year} should appear on the title page. It is sometime recommended to
-use \csx{number}\csx{year} to always keep your script looking up-to-date.
-
-\item[\csx{series}\{\P{series-name}\}] Indicates that \P{series-name} should be
-used as the name of the series on the title page and footlines.
-
-\item[\csx{title}\{\P{name}\}] Defines \P{name} to be used as the title of the
-script on the title page and footlines (if appropriate to the selected
-variant).
-
-\end{description}
-
-%
-% Bibliography
-%
-
-\addcontentsline{toc}{chapter}{Bibliography}
-\bibliographystyle{alpha}
-\bibliography{scrnwrit}
-
-
-%
-% Index
-%
-
-\addcontentsline{toc}{chapter}{Index}
-\input stdoc.ind
-
-%
-% Some random cross references
-%
-
-\index{cmtt|see Computer Modern Typewriter Type}
-\index{sitcom|see{situation comedy}}
-
-\end{document}
|