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In general and if used judiciously, yes.

If including something like emotion gives your screenplay flavor and helps paint a better picture of your character or scene, include it. But keep in mind that while it may help the reader, the viewer can’t see “happy;” you have to express that through the actions and dialogue as well.

Accordingly, places like character or setting introductions, the purposes of which are to establish tone or underlying description, are prime for such detail.

ARTHUR GETMAN, 14, sits 15-inches from a 60-inch plasma TV, weeks worth of meals stuck in his braces. His glasses are five years out of style and very bent out of shape, most likely because he doesn’t take them off when he watches TV in bed at night. The two years he’s spent at the bottom of the middle school social hierarchy have weighed heavy on his soul, but you wouldn’t know it by looking at him; when he’s playing PS3, he may as well be a God.

Источник: You can include emotion in character description. | Screenwriting.io.

Sweepstakes pitching (also know as a “bake-off”) is when a studio or producer brings in many different screenwriters to pitch on the same project before deciding which one to hire (“the winner”).

In most cases, sweepstakes pitching occurs when the studio owns a licensed property — such as a character or board game — for which there is no obvious narrative. Thus, screenwriters pitching their take are really coming up with a vision for the movie as a whole, unlike the more straightforward adaptation of a novel or foreign film.

In bake-offs, the studio is often asking, “Is there even a movie here?”

Sweepstakes pitching is controversial in the screenwriting community. Screenwriters will often spend days or weeks of preparation on a project for which their odds of landing the job is slim. (And in some cases, the studio may opt to hire no writers at all.) In this way, some screenwriters feel they are being exploited as unpaid research-and-development.

Another concern is idea contamination — or theft. Because studios or producers end up hearing multiple takes from multiple writers, they may end up using elements from a pitch without hiring the writer who created them.

Источник: Sweepstakes pitching is a quantity-based approach. | Screenwriting.io.

A scene is a unit of story that takes place at a specific location and time. If one of these changes, you have a new scene.

This is two scenes:

INT. PETE’S ROOM – NIGHT

He turns off the lamp and quietly nestles himself under the covers…

INT. PETE’S ROOM – DAY

A SCREECHING alarm wakes him abruptly.

This is also two scenes:

EXT. BACKYARD – NIGHT

Masks pulled down, they insert the pick into the lock. They turn the torque wrench and enter…

INT. LAUNDRY ROOM – CONTINUOUS

They creep quietly, cat-like.

The specific, minutiae of the definition of a scene can vary slightly from person to person, so make sure you get clarification if necessary (if an executive is giving you notes on an example like the above, for instance, and says “Lose this scene, but not the one after it.”).

Источник: What constitutes a scene? | Screenwriting.io.

As with all formatting advice, the idea is to clearly express your vision without interrupting the flow of the screenplay.

One easy way to show one character interrupting another is to use double-dashes or an elipsis to indicate the first character’s dialogue is being interrupted.

SETH

How about —

ERIN

No.

Both doble-dashes and ellipses indicate an unfinished thought, but double-dashes are usually the safer bet for interruption, as they indicate an abrupt cutoff, while an elipsis implies the idea trailed off.

Another option is to include the parenthetical “interrupting” if clarification is necessary.

SETH

Looking through our other options…

ERIN

(interrupting)

No. Still no. None of those.

Источник: In dialogue, how do you express that one character is interrupting another? | Screenwriting.io.