US - Screenplay format - General guidelines

A screenplay consists of a front and back cover of heavy beige index stock. The pages
of the screenplay are printed on white 8 1/2" x 11" bond paper. They are only printed
on the front side.

The script is three-hole punched on the left and bound together with Acco No. 5
round-head brass fasteners. These are the ones with two flat legs coming out of the
head, 1 1/4" long, that you bend out to fasten the script together. Some people use the
longer No. 6 or No. 7 fasteners. Only use two fasteners in the first and third of the
three-hole punches.

Producers, financiers and agents like to be able to copy scripts and pass them around.
Using this type of binding makes it easy. You want to be so lucky as to have agents
copying your screenplay and passing it around to their associates.

Here are some specific screenplay format guidelines to be sure your script looks
professional.

 Don't include any artwork, illustrations or designs.

 Don't number the scenes until you get to the preproduction step.
 Only use 12-point Courier font.
 Never justify the right margin.
 Never use bold or italics.
 Print using a laser printer or quality ink-jet for legibility.
 Don't put any dates on your script or designations such as "First Draft" if you
are sending this to professionals.
 Don't include a character list, scene list, synopsis or budget.

If you follow all the guidelines of accepted screenplay format each page of your
screenplay will become one minute of film time, on average. It's not always true but
it's close enough and has become a rule of the film industry.

A movie should be 90 to 120 minutes in length. Shorter than 90 minutes and people
don't feel they got their money's worth. Longer than 120 minutes and people have to
go to the bathroom. (If you want to make a three hour epic wait until you're Peter
Jackson.)

By the rule of one page equals one minute of screen time you should end up with a
script that is 90 to 120 pages in length. Comedies tend to be toward the short end of
the range, people can only laugh for so long, and dramas tend to be longer.

Professionals who have read thousands of scripts tend to instantly reject any script
that isn't in the standard screenplay format without even reading it. They assume that
if the author doesn't even know how to format a screenplay they probably don't know
how to write interesting stories either. My experience confirms that belief.

It's not hard to learn and follow the rules, so just do it and don't look like an amateur.
The title page
There should be one screenplay title page just after the index stock cover sheet. The
only things on the title page are the title, author(s) and contact information.

The title of your screenplay should be Centered on the first page about 1/3 of the way
down from the top. It can optionally be in all upper-case and/or in quotes and/or
underlined. The word "by" is centered under the title then your name is centered under
that. It should look like this:

"The Great Script"

by

Sam Filmmaker

If there is more than one author working together put the ampersand "&" character
between the names:

"The Great Script"

by

Sam Filmmaker & Susie Filmmaker

If more than one writer have worked on the script, not working together or at the same
time, then the names are separated by the work "and":

"The Great Script"

by

Sam Filmmaker and Susie Filmmaker

Now put your name, address, phone number and e-mail address in the lower right
corner of the page:

100 Main Street

Hollywood, CA 90028
213 555-1234
[email protected]

Don't put a company name here even if you have a company. It looks pretentious and
gives the impression that the script has been purchased by a production company.
Film Development - The Screenplay

Screenplay format, part 2

The script pages

Margins

Commercial screenwriting software understands the correct margins and as long as

your screenplay elements are tagged with the right styles they will be formatted
correctly. Just for completeness here are the accepted margin specifications.

The blank margin on the pages should be 1" all around except on the left where the
three-hole punching requires a 1 1/2" margin. Therefore the left margin of the typing
will be 1 1/2" from the left side of the paper. Since 12-point Courier font gives you
exactly 10 characters per inch measuring horizontally, the typing will start 15 spaces
from the left side of the paper.

Most elements of the script start at the left margin and are left justified (ragged right).
The main exceptions are:

Character's names are 37 spaces (3.7 inches) from the left margin.

Actor's instructions are 31 spaces (3.2 inches) from the left margin and should not
exceed 20 characters per line before wrapping to the next line.

Dialog starts 25 spaces (2.5 inches) from the left margin and should not exceed 35
characters per line before wrapping to the next line.

Page numbers should appear in the upper right just inside the blank margins and there
should be a double space before the script continues, except the first page should not
have a page number. If you later decide to insert some material after the script has
been distributed you should insert pages numbered 55A, 55B, and so on so all the
pages don't have to be recopied and confuse everyone.

Many members of your crew and the actors in particular will fill their script with
personal notes about what has to happen at certain points or how to play a scene. By
not renumbering and reprinting all the pages they don't need to throw away or
manually renumber the pages with all their notes.

Screenplay elements
The first page begins with a transition "FADE IN:". The only transitions you should
use are FADE IN: at the beginning and FADE OUT: at the end. Other transitions are
recognized such as CUT TO:, FADE TO: JUMP CUT TO:.
Once upon a time it was common for writers to specify choices that are decided by the
director, cinematographer or editor in an attempt to show the story more visually. No
one does it anymore and it's considered bad form. Leave out anything that indicates
camera movement or film editing directions.

The start of your screenplay

FADE IN:

You many next choose to have an establishing shot as the first thing to prepare the
audience for where the story will take place.

A harsh beam of light cuts across the big city on a cold, grey
morning. A lone female jogger runs along the waterfront.

OR

EXT. NEW YORK CITY - DAY - ESTABLISHING

A harsh beam of light cuts across the big city on a cold, grey
morning. A lone female jogger runs along the waterfront.

Generally you don't want to indicate the opening credits because they will be worked
out in the final edit. If you have a particularly wonderful idea that will tie the credits
into the beginning of the story then you can indicate where credits start and end like
this.

ROLL CREDITS.

A harsh beam of light cuts across the big city on a cold, grey
morning. A lone female jogger runs along the waterfront.

END CREDITS

Screenplay scene headings

The master scene headings describe the place and time of each scene that is part of
your story. The first word, "EXT." or "INT.", indicates if the scene is exterior
(outdoors) or interior (inside a structure). Next is the name of the location followed by
a hyphen and an indication of the time when this scene occurs. The most common
times are "DAY" or "NIGHT".

Note that scene headings are always uppercase.

EXT. THE OPEN PASTURE - DAY

Indicating if the scene is indoors or outdoors helps the cinematographer decide how
much of what kinds of film to buy. As more and more films are shot digitally this
become less important to know.

By giving the scene a location title it is easier to group scenes that will be shot at the
same place together while making the schedule. Movies are almost never shot in the
order they appear in the screenplay. It is much more efficient to group all scenes that
occur in the same location together and film them at them same time. This pattern is
only broken when an important actor's schedule requires them to shoot all their scenes
within a certain timeframe.

Indicating the time of day also helps in scheduling when scenes will be shot. Daylight
scenes can be shot together while night scenes are saved for filming at night or using
special techniques to simulate night-time.

You can also use CONTINOUS or SAME to indicate that one scene follows right
after a previous one in the same location. Sometimes LATER is used to indicate the
location is the same but there has been a passage of time.

Avoid using MORNING, NOON, TWILIGHT, LATE EVENING or other precise

indicators as they are usually unnecessary and make the job of scheduling more
difficult.

It is preferred to add a fourth element to the scene heading if greater precision is

absolutely necessary for a reader to understand the scene.

INT. HOTEL LOBBY - NIGHT - SAM'S DREAM

Screenplay secondary headings

Master scenes that are broken into sub units or have sequences that occur in different
places within a basic location may require secondary headings. So, for example, this
scene heading:

INT. SAM'S LIVING ROOM - NIGHT

could be followed by this "slug line" subheading:

BEHIND THE SOFA

If the scene remains the same but there is a laps of time then indicate it with this scene
heading:

INT. SAM'S LIVING ROOM - LATER

Or simply include a "slug line" subheading:

LATER

If you need to move the emphasis to one of the characters you should write:

SAM

removes a knife from his pocket.

BRAD

drops to his knees and begins to cry.

You can use a similar technique if the action is moving from one area of a location to
another.

INT. PARKING STRUCTURE - NIGHT

Sam lunges with his knife but Brad deflects the blade and makes a mad
dash for the parking structure exit. He bolts through the door into a

PARK

with Sam in close pursuit.

Screenplay action description

Screenplays generally consist of Headings, Action (or Description) and Dialog.

Action paragraphs (or narrative description) is always left aligned. Double space
between the paragraphs.

Action is written in the present tense because films always take place in the present as
they are viewed. Only describe what absolutely needs to be described with an absolute
minimum of adjectives.

In action paragraphs less is always better. If the description is of an old farm house
then just call it an old farm house. Do not precede it with a long string of detailed
adjectives. The director and set designer's jobs are to put together the set that will fit
with the story.

Sam stops his truck in front of the old farm house. A dog runs out to
greet him, wagging its tail.

Each action paragraphs should describe one "beat" of the story or one image.

NEVER write something that can't be represented on the screen. Something like the
following is not acceptable

Sam's calm expression hides the seething anger that will soon
explode.
He silently cocks the gun hidden in his pocket.

A film can only show what can be seen. If Sam's expression is calm then the audience
can't know that he is angry. If he is about to explode then that needs to be described
when it actually happens, never in a statement about the future. Finally, if the gun is
hidden in his pocket how can the film show him cocking it? Everything described
must be something that is visible and happening now.

The first time a character appears their name should be capitalized and accompanied
by a minimal description of the character.

SAM, a weathered cowboy, steps into the bar.

Screenplay Dialog

Dialog consists of three elements: the Character Name, optional Actor's Direction, and
the Characters speech.

SAM
(gasping for air)
Help!

Screenplay inserts

An INSERT is used to bring some element of the scene into full frame. Some
examples would be a clock face, a letter or newpaper article, a book or a sign.

Violetta lifts the letter in her trembling hand

INSERT - THE LETTER

"My Dearest Violetta,

I have left Vienna and count the minutes
until we will be reunited."

BACK TO SCENE

She drops the letter on the floor.

Screenplay flashbacks, dreams

The use of dreams and flashbacks are universally considered bad writing today.
However, if you must, here is how to do it.

FLASHBACK - SAM AS A YOUNG BOY

A 10-year old Sam sits fishing by a river bank. Sally sits down
beside him
and tries to kiss him. Sam screams in terror, drops his fishing pole
into
the river, and runs away.

BACK TO PRESENT DAY

Screenplay montages

A montage is a sequence of related shots at different locations or times all expressing

a similar idea or a passage of time. Use one of the following formats:

MONTAGE - THE LOVERS GET TO KNOW EACH OTHER

-- They have a cup of coffee at a trendy coffee shop

-- They walk down the street holding hands

-- They drive together in a convertible through the countryside

-- They hold hands, then kiss, while walking on a moonlit beach

OR

SERIES OF SHOTS

A) They have a cup of coffee at a trendy coffee shop

B) They walk down the street holding hands

C) They drive together in a convertible through the countryside

D) They hold hands, then kiss, while walking on a moonlit beach

Screenplay ending

On the last page of your screenplay you can do either one of the following. Triple
space down the page and centre "THE END".

THE END

Or place "FADE OUT." at the right margin.

Film Development - The Screenplay

Learn screenplay writing from the best

Once you've learned the basics of screenplay writing the best way for a filmmaker to
polish his/her craft is by writing as often as possible, and by reading the best of other
writers. Try to read one a screenplay a week.

Some movies have become popular teaching examples in film schools because their
screenplays are such perfect examples of how a screenplay should be written, and the
execution of the screenplay into the film was outstanding.

On this page I list some of the greatest films ever made in various genres along with a
link to the original screenplay for downloading (where available). At the bottom of
this page are links to sites where you can download lots of other original screenplays.

These movies are all highly entertaining (assuming you like the genres) and are worth
owning because they are good on so many levels. You will learn a lot about
filmmaking by studying any of these films.

A good way to study a film is as follows:

1. Read the screenplay.

1. Watch the film for emotional impact on the first viewing. Just watch it and
observe how and and what points it effects you emotionally.
2. Watch the film again observing the structure. How/when is the world of the
film is introduced? How/when are the characters introduced? Who is the
hero/villain? What is the conflict and how and when does it play out?
3. Watch the film for the character arc (how do the characters change during the
film). Do they all change?
4. Watch again trying to pick out any themes (repeated elements).
5. Watch again paying close attention to dialog. Does it sound real. How much
talking is there compared to the amount of action. Could you understand the
story if you turned off the sound?
6. Watch again paying close attention to the lighting. Pause the film from time to
time and try to figure out how they got the effect. What elements of the story
are being emphasized by the lighting in each scene?
 7. Watch again paying close attention to the visual composition. Pause the film
on each shot and see how the elements in the frame are placed. Where are the
characters in the frame. What direction is the action going. Could you do it
better?
8. Watch again paying close attention to the pacing. How fast does the story
move? Does it drag at some points? Does every scene serve a purpose? Is
every scene just as long as it needs to be?
9. Watch again paying close attention to the sound effects and music. Do they
add or annoy?
10. Watch again paying close attention to the makeup, costumes, sets and
locations.

By the time you've watched a great film ten times you will have learned a tremendous
amount about filmmaking. This exercise is worth more toward being a great
filmmaker than a year at film school.

I suggest you start with just one of these, first reading the screenplay, then watching
the movie, to see how the screenplay was brought to life. Pick one of your favorites,
or a movie you've always wanted to see, and really get to know it.