How To Format A Screenplay

Figuring out how to format a script correctly can stall

many writers before they ever type their first FADE IN:
(or, in most cases, never type FADE IN: - this element is
no longer commonly used.)

To write this article, we spoke with screenwriters,

teachers, professional readers, software companies, and
screenwriting festival judges. We read some excellent books
such as The Screenwriters Bible, Elements of Style for
Screenwriters, and The Cole and Haag series. Heres the
secret to a properly formatted script:

There is no 100% absolutely correct way to format a script!

Thats right. Despite the rants and ravings of a few, there

is no one way that a script must be written. This
flexibility doesnt mean that you can submit a script in
Red, Bookman, 14 pt. Font that is all Right Justified.
There are some rules which you must adhere. But, by and
large, if your script looks properly formatted, few readers
are going to pull out their ruler to make sure that every
margin on each page is exactly right.

Begin by reading several scripts that were made into

movies. Try to find spec scripts before they became
shootings scripts. (Shooting scripts typically have the
scenes numbered and might have other studio/director
markings.) Do you notice how every spec script DOESNT look
exactly the same? But each looks consistent, and easy to
read and follow. As you read the script, notice how its
easy to follow. There is lots of white space; and
sluglines, action lines, character, and dialogue lines are
clearly marked.

Most software programs allow you to "fudge" your formatting

by squeezing in a few more lines here and there, adding a
few pixels of space between your lines, or letting you
change the styles to our own format. The key is that your
script shouldnt look completely out of place.

The average 120-page script uses a particular screenwriting

element (Slugline, Dialogue, Character, (MORE),
(CONTINUED), etc.) 700 - 1500 times. Its the sheer volume
of formatting that makes a software program so handy - you
can think about your story and not about the number of
times to hit the space bar.

One of the common mistakes of a beginning screenwriter is

the lack of white space. Its almost as if he or she has
discovered a toolbox and is determined to use every tool at
least three times. Action lines become two or three
paragraphs. Witty one-liners become a two-page monologue.
Characters dont speak, they (hurriedly) or (lazily) speak
or JUMP at the sound of anothers voice. A well-written
script doesnt need extensive direction from the writer. If
your script is well-written with appropriate dialogue and
explanation, the actors, readers, and directors dont need
further direction.

Remember that many readers, agents, and festival judges

arent just reading your script. Theyre reading your
script alongside a dozen others. You have to make their job
easier by writing an easy-to-read and easy-to-follow
script.

ScreenStyle.com suggests the books The Screenwriters Bible

or the Elements of Style for Screenwriters as an easy way
to learn all the details of formatting a script. There are
also lots of websites that have FREE Scripts to view on-
line or to download. Remember that each computer often
formats an incoming article or script differently; unless
you have a physical script or are using a program like
Adobe Acrobat Reader any script you download off the
internet will most likely not be correct.

The Screenwriters ToolBox

FADE IN/FADE OUT

The use of FADE IN is no longer commonly used. The

beginning of a script is obvious to any reader so FADE IN
can be slightly redundant. FADE OUT is also no longer
required; however, it can be useful as a way to signify the
end of a complex scene that has many different locations.

FONT

There are a few rules that cant be broken - one is the

proper Font - 12 Point Courier. This cant be broken.
Again. 12 Point Courier. Every word, every line, must be
written in 12 Point Courier.
SLUGLINES

Sluglines are also called Scene Headings, Headings, and

Scene Captions. They tell the reader where the scene takes
place. Sluglines can be identified with the use of INT.
(Interior) or EXT. (Exterior) at the beginning to tell the
reader if the scene is taking place inside or outside. A
slugline looks something like this:

INT. SCREENSTYLE OFFICE - DAY

This slugline answers three important questions. 1. Where

are we? 2. What time is it? 3. Are we inside or outside? In
most cases, you can use DAY or NIGHT but there are times
when you might want to use DUSK, EVENING, MORNING, etc.

Why not give a particular time of day? If you want to show

a particular time of day e.g. Noon, 3 p.m., Midnight, its
important that you work this into the script by showing a
visual indicator of this time- a clock, the sun hanging
overhead, a child going to school, etc. If you dont SHOW
the time, there is no way for the audience to know what is
the time. Theyre not reading the sluglines in your script!

If youre writing a scene that shifts between several rooms

in the same building or places that are close to each
other, you dont have to introduce each new place by using
INT./EXT. and/or the time of day (DAY, NIGHT).

Remember the above slugline - INT. SCREENSTYLE OFFICE -

NIGHT

If we switch scenes within the office we can always write

an action line to switch physical locations inside the
office:

Jeff snaps his briefcase shut and puts on his coat. He

steps into - -

THE HALLWAY

Why dont we have to use INT. or NIGHT in this new scene

heading? Because were already in the office, we can
understand the character stepping into a hallway. Using
INT./EXT. and TIME OF DAY for every Scene Heading is
redundant. Remember - reduce clutter!
(However, you must be careful when you dont clearly
identify the exact location and time of a scene. Movies are
rarely shot in sequential order of the written scenes and
the director needs to be able to establish each scene from
the script.)

ACTION LINES

Action Lines are immediately written after Sluglines. They

set the scene for what is about to happen.

Action Lines explain in visual terms what happens in the

scene. Action Lines are probably written in more ways than
any other element of a script. Some teachers stress brevity
JEFF picks up the book. Other teachers stress the Action
Line is the one place to really tell the story JEFF slowly
picks up the weathered, brown leather book. He turns it
over in his hands and carefully peels apart the pages.

Whats important to remember is the term ACTION. This is no

place to describe a Characters feelings or what theyre
thinking. If it cant be shown visually in the film, it
doesnt belong here.

CHARACTER

A Character is first introduced in an Action Line. Upon

first introduction, the Characters Name is capitalized.
Throughout the script, refer to the Character with the same
name so as not to confuse the reader. Immediately after the
Character Name comes the Dialogue.

DIALOGUE

Dialogue is what the character speaks. Beginning writers

often write too much dialogue for their characters. While
there are certainly notable exceptions, remember that a
film is often driven by the interaction or conflict between
characters. Sharp and well-written dialogue between
characters is often what interests us a boring lengthy
monologue doesnt work.

CAPITALIZATION

1. Sluglines must always be capitalized

EXT. BARBECUE RIB SHACK - DAY

2. Character names should be fully capitalized when they
first appear.

FRED WINSTON steps out of his wrecked car and tosses his
cigarette.

After the characters are introduced, their name no longer

needs to be capitalized.

3. Character Names when written before Dialogue need to

be capitalized throughout the entire script.
4. Sounds are often capitalized throughout descriptive or
action lines to bring emphasis to these sounds. This
element can be distracting if used too much.

A gun shot CRACKS across the street and WHIZZES through the
air.

VOICE OVER
A Voice Over is a common element of a screenplay when a
character speaks but is not on screen. Often a Voice Over
is used when a Character narrates the opening of a film or
we hear a Characters thoughts.
When two characters are speaking on the phone, the
character that is not physically in the scene has his or
her dialogue formatted as a voice over.
A Voice Over is formatted simply by writing (VO)
immediately to the right of the Character Name.
JEFF (VO)

OFF SCREEN
You use Off Screen when the Character is physically in the
scene but not on camera. The camera may be focusing on one
character and continues to focus on the same character. The
formatting is the same as Voice Over.
JEFF (OS)

DIALOGUE DIRECTIONS or PARENTHESES

There are times when a writer wants to show how a character
speaks. This should be done very rarely for two reasons. An
actor or a director does not want the writer to tell them
how to speak the lines. More importantly, if the dialogue
is written well, it wont be necessary to show how the line
is spoken. Nonetheless, if its critical to your script you
describe the dialogue in a parentheses immediately under
the Character Name.
JEFF
 (irritated)
What are you doing?

CAMERA DIRECTIONS
Try not to use camera directions such as CLOSEUP or THE
CAMERA ZOOMS IN. These directions can be insulting to those
touchy directors who want to make their own camera
decisions. The use of camera directions are also a poor
replacement for good writing. Rather than CLOSEUP write
that Jack arches his eyebrows or Jane purses her lips.

SPACING AND MARGINS

ScreenStyle.com does not sell any software programs that
dont use proper formatting.
The left side of your script should have about 1 " of
margin. The right side of the script should have " to 1"
of margin. The top and bottom margins of your script should
be 1".

Sluglines and Action (Descriptive) Headings are spaced

1 " from the left side of the page.
Dialogue should be spaced 2 " from the left margin.
Thats 1" from the Slugline or Scene Heading margin.
Characters name should be 3.7" from the left margin.
Parentheticals or Dialogue Directions should be 3.1"
from the left margin.

JUMP CUTS, SMASH CUTS, and CUT TO:

In the past, writers used different ways of describing a
CUT TO a new scene. Sometimes writers get excited and write
SMASH CUT TO: or JUMP CUT TO:. This is not necessary. A new
Slugline or Scene Heading shows the reader that its a new
scene. The use of CUT TO: is not necessary

CONTINUED and MORE

(CONTINUED) and (MORE) are terms that are used to show that
the character from the previous page continues to speak on
the next page. As long as you use CHARACTER names before
each section of dialogue, its obvious to the reader that
the same person is speaking. The use of (CONTINUED) and
(MORE) in a script is fading fast. Your script doesnt need
them.

PAUSE or BEAT
A pause in a characters dialogue is indicated by using the
term BEAT. There are times when you want to show that the
character waits a bit before speaking.
 JEFF
(beat)
I guess youre right.

FLASHBACKS
It can be tough to find a recent screenwriting book that
doesnt criticize Flashbacks as amateurish, overdone, and a
sign of a weak script. Nonetheless, some of the best films
of all time use flashbacks and they continue to be used.
There doesnt seem to be one common way to write a
Flashback. Perhaps the easiest way is to indicate a shift
in time via the Slugline or Scene Heading.
INT. JEFFS FAMILY HOME EVENING - FLASHBACK
Then when its time to leave the flashback:
INT. JEFFS OFFICE DAY PRESENT DAY

SUMMARY
Now you know the secret. Formatting a screenplay isnt
difficult but it is important. Good luck with your
screenwriting.