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As a screenwriter, you have some interesting choices to make regarding orientation, and they depend on the perspective you want to offer to your audience.

You can make the audience all observers, so that the results of the different scenes with the different character interactions are known to the audience, but not to the characters.

You can deeply engage the audience by giving them the perspective of one or more of the characters, so that the plot lines in the story are known to one or more characters, but not to all of them.

When you are an expert screenwriter, you can mix these orientations, but that can be confusing. Some instructors will urge you to pick one and stick to it. Again, mixing them up is only for the truly expert crafts-persons.

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Q: What is the orientation of a script?
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