Film is undoubtedly one of the most wide-reaching vehicles for sending a message, and the genre is often analyzed in terms of its use of visuals to evoke a response from an audience. Typically, if anyone receives credit for the implementation of visual rhetoric in a film, it is the director, whose vision affects the story and message being conveyed. However, crafting visual elements begins long before a director undertakes creative power of a production. A screenwriter must consider how a film will look in the early stages of developing a story for the screen. My presentation will cover the importance of visual rhetoric for screenwriters, despite the fact that they work with words to create their scripts. Many authors (Andersen, 2016; LaGrandeur, 2003; Markel, 1998; Hill & Helmers, 2004) offer evidence that visual rhetoric is not limited to visual media; vivid language and metaphor are only a couple of ways that alphabetic texts can evoke images in a reader’s mind. I will discuss what authors have said about visual rhetoric and how the concepts can be applied to screenwriting, a genre not yet largely discussed by the fields of composition or creative writing. Screenplay format incorporates verbal cues for the visual elements of the film. The structure presents information visually with specific margins and spacing to organize the information clearly. Techniques such as capitalization, inserts, and grammatical choices are used to illustrate where the camera should be pointed. These should be used with vivid language to depict scenes visually. Screenwriters communicate their stories to a production team, which has the responsibility of bringing the story to life; therefore, a screenwriter must take care to ensure that the story is conveyed effectively. Strong visuals in a script will help the production team envision something resembling what the screenwriter intended.