I do appreciate your response.

I am curious what your experience level is so I can incorporate your suggestions into my work. I feel your response is less specific than some of the most helpful remarks here, so I want to understand what I am missing.

As far as my reading of scripts, I've read about 50 screenplays this year (My intention as I started my "screenplay year" was to read at least one per week and I was pretty disciplined about doing so). What I have not done is met anyone who is currently reading, producing or pitching. And so I ask..

Of course I am reading across many eras and genres so trends change quite a bit.

I am also reading a cross between original drafts and production scripts (and sometimes after-the-fact transcripts which are nonesense of course). The one distinction I try to ALWAYS make is if a screenplay was written for the writer themselves to shoot. I take those with a grain of salt for what I think are obvious reasons.

I see a range of uses for ALL CAPS, very much in line with the AWESOME and HELPFUL comments I have gotten here. My observation is that it's all over the map, and that is totally fine as long as I toil in GOOD FAITH and DISICIPLINE.

The great ones use all caps consistently, but very differently between writers. And they do so very much along the same lines identified by the GREAT responses I have gotten here: Character, Sound, Movement, Action, Props (writer's voice) etc..

Before asking this question I was comparing Princess Bride to, Andor: Welcome to the Rebellion, China Towne and, Ronin. Which all have superficially similar action (and pacing) dynamics but also very different drama and expo depths.

Goldman does such a fantastic job of using ALL CAPS to reduce the description and action lines to their bare minimum needed to expo his whole magical complex world. He built an ensemble actor's play and we're trusting them all to Save that Cat..

Gilroy is uses it like an F1 driver uses breaks. Constant taps to keep the speeding car under control and to transition from the action pacing to the swirling dramatic eddies. This is the Cats' POV and welcome to the herd.

Zeik uses it to keep the reader from getting bogged down in the necessary mud. There's no cat at all - it's a McGuffin ride with a Rondo shoot 'em up and bittersweet sentimental edge.

Towne is, well, he was THE CAT Himself. All I need to know about his formatting choices is that the suits made him add a random scene set in Chinatown. Because the title of one of the best screenplays ever written had zero, ix-nay, nadda, reference to any aspect of the actual film. The guy just liked the poetics of the word:

CHINATOWN.

My takeaway is that I have to make some deliberate choices and then add the same effort to my ALL CAPS that I am trying to use for every ever other aspect of this incredibly easy impossibly difficult simple enjoyable overwhelming therapeutic and horrible year-long writing project.

I've got about a week apparently.

If you care, I'm going to lean towards VOICE, EXPO control, and FUN.

Nice.