A properly formatted movie script is not just about aesthetics; it’s about communication. It’s the standardized language that allows industry professionals – from directors and actors to cinematographers and editors – to efficiently and accurately translate your vision from the page to the screen.
Why Script Format Matters
The crucial question: How to format a movie script? The answer is simple: consistently and according to established industry standards. While there’s room for stylistic flair within dialogue, adhering to format guidelines is non-negotiable. It demonstrates professionalism, allows for accurate page counting (a crucial factor in budgeting and scheduling), and ensures your script is easily readable and understandable by everyone involved in the filmmaking process. Ignoring format signals amateurism and can lead your script directly to the rejection pile, no matter how brilliant the story.
Imagine you’re a director trying to visualize a scene. Proper formatting instantly tells you where the scene takes place (LOCATION), who is present (CHARACTER NAMES), what they’re doing (ACTION), and what they’re saying (DIALOGUE). It’s a visual shorthand, a blueprint that allows creative energy to be focused on artistry, not deciphering your intent.
The Core Elements of Script Formatting
At its heart, screenplay formatting is about clarity and consistency. It uses specific margins, fonts, and capitalization rules to present information in a standardized way. Here’s a breakdown of the key elements:
Page Layout
- Font: Courier New, 12-point. This is the industry standard and should be non-negotiable.
- Margins: Left: 1.5 inches; Right: 1 inch; Top: 1 inch; Bottom: 1 inch. These margins are crucial for page count accuracy.
- Page Numbers: Top right corner, half an inch from the top of the page. Exclude the title page.
Scene Headings (Slug Lines)
- Format: INT. LOCATION – DAY/NIGHT or EXT. LOCATION – DAY/NIGHT
- INT./EXT.: Indicates whether the scene takes place indoors (INT.) or outdoors (EXT.).
- LOCATION: A brief but descriptive name of the location (e.g., COFFEE SHOP, JOHN’S APARTMENT – LIVING ROOM).
- DAY/NIGHT: Indicates the time of day. Other options include “MORNING,” “AFTERNOON,” “DUSK,” or “DAWN.” If the timing is ambiguous, use “DAY” or “NIGHT.”
Action Lines
- Description: Written in present tense, action lines describe what is happening visually on screen. They should be concise and descriptive, painting a picture for the reader.
- Capitalization: Capitalize character names the first time they appear in an action line.
- Length: Keep action lines relatively short. Break up long paragraphs for readability.
Character Names
- Format: Centered and capitalized.
- Placement: Directly above the dialogue.
Dialogue
- Placement: Begins directly below the character name.
- Parentheticals: Brief instructions for the actor, placed below the character name and above the dialogue, enclosed in parentheses (e.g., (angrily), (whispering)). Use sparingly!
Transitions
- Placement: Flush right margin.
- Common Transitions: FADE IN:, CUT TO:, DISSOLVE TO:, etc. Use transitions sparingly. A simple “CUT TO:” is generally sufficient. Avoid unnecessary transitions that clutter the script.
Script Formatting Software: Your Best Friend
While you can format a screenplay manually using a word processor, it’s highly recommended to use dedicated screenwriting software. These programs automatically handle the formatting, allowing you to focus on your story. Popular options include:
- Final Draft: The industry standard.
- Movie Magic Screenwriter: A reliable and affordable alternative.
- Celtx: A free option, but with limitations.
- WriterDuet: A collaborative, cloud-based option.
- Fade In: A powerful and affordable alternative to Final Draft.
These programs offer features like automatic scene numbering, character name completion, and spell-checking, all designed to streamline the writing process. They also ensure your script adheres to industry standards, which is crucial for professional submissions.
Common Script Formatting Mistakes to Avoid
- Ignoring Margins and Font: This is the most common mistake and instantly marks you as an amateur.
- Overusing Transitions: Too many transitions can make the script feel choppy and forced.
- Writing Unfilmable Action: Avoid overly descriptive or internal thoughts. Focus on what can be seen and heard on screen.
- Using Camera Directions: Unless you are also directing the film, avoid specifying camera angles and movements. Let the director do their job.
- Incorrect Slug Line Format: The wrong format or missing information can be confusing.
- Too Many Parentheticals: Overusing parentheticals can be seen as directing the actor and is generally frowned upon.
Frequently Asked Questions (FAQs) About Script Formatting
FAQ 1: What is a “Wryly” and should I use it?
A “wryly” is a parenthetical direction placed after a character name and above the dialogue. For instance, JOHN (wryly). Its purpose is to indicate the tone or intention behind the dialogue. However, modern screenwriting tends to discourage overuse of “wrylies.” It’s generally better to convey the subtext through the dialogue and action itself, trusting the actor and director to interpret the scene. Use them sparingly, only when absolutely necessary to clarify intent.
FAQ 2: How do I format phone conversations?
There are several accepted methods, but the most common and clearest are:
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Dual Dialogue: Present the conversation side-by-side, with each character’s name above their dialogue. This is visually engaging but can be challenging to format manually.
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INTERCUT: Use the “INTERCUT” slug line to indicate a back-and-forth conversation between two locations. For example:
INT. JOHN'S APARTMENT - NIGHT JOHN answers his phone. JOHN Hello? INTERCUT - PHONE CONVERSATION INT. MARY'S OFFICE - NIGHT MARY is at her desk, on the phone. MARY John, it's Mary. I need your help. INT. JOHN'S APARTMENT - NIGHT JOHN What's wrong? -
(O.S.) and (V.O.): Use (O.S.) – Off Screen – for dialogue spoken by a character who is present in the scene but not on camera, and (V.O.) – Voice Over – for narration or dialogue from a character who is not present in the scene at all. For phone conversations, use (O.S.) after the character’s name if they are talking from another location.
FAQ 3: How do I indicate a montage?
Use a montage heading to describe a sequence of short scenes that are linked thematically or narratively, often set to music.
MONTAGE
- John works tirelessly at his desk.
- He grabs coffee to stay awake.
- He stares blankly at the computer screen.
- He finally types the last line of code.
END MONTAGE
FAQ 4: What’s the difference between (O.S.) and (V.O.)?
(O.S.) stands for “Off Screen” and indicates that the character speaking is present in the scene but not visible on camera. (V.O.) stands for “Voice Over” and indicates that the character speaking is narrating or speaking from a different time or place, not physically present in the scene.
FAQ 5: Should I include camera angles in my script?
Generally, no. Unless you are also directing the film, avoid specifying camera angles, movements, or shots. Your job as the screenwriter is to tell the story; it’s the director’s job to visualize it. Describing the action in a compelling way allows the director to bring their own artistic vision to the project.
FAQ 6: How do I handle music and sound effects?
Indicate music cues and significant sound effects in ALL CAPS, single-spaced within the action lines. Be specific enough to convey the desired effect, but don’t be overly prescriptive.
The door creaks open.
CREAKING HINGES
A low, ominous HUM fills the room.
FAQ 7: What about flashbacks and dream sequences?
Indicate a flashback or dream sequence with a clear heading:
FLASHBACK:
INT. CLASSROOM - DAY - FLASHBACK
[Action follows]
END FLASHBACK
Or:
DREAM SEQUENCE:
INT. COFFEE SHOP - NIGHT - DREAM SEQUENCE
[Action follows]
END DREAM SEQUENCE
FAQ 8: How long should a scene be?
There’s no hard and fast rule, but shorter scenes are generally preferred in modern screenwriting. Aim for scenes that advance the plot or develop character efficiently. A scene that drags on for too long can lose the reader’s interest.
FAQ 9: What’s the ideal page length for a feature film script?
A good rule of thumb is one page equals one minute of screen time. Therefore, a feature film script typically ranges from 90 to 120 pages.
FAQ 10: How do I format character entrances and exits?
When a character enters a scene for the first time, their name should be capitalized in the action line. Exits don’t usually require specific formatting unless the exit is significant to the plot.
John enters the room. He nods to MARY, who is already sitting at the table.
FAQ 11: How do I format multiple scenes taking place in the same location?
If multiple scenes occur in the same location but at different times, use (LATER) in the scene heading.
INT. JOHN'S APARTMENT - NIGHT
[Action follows]
INT. JOHN'S APARTMENT - (LATER)
[Action follows]
FAQ 12: What if I want to emphasize something in the action lines?
While bolding, underlining, or italics are generally discouraged, you can CAPITALIZE a word or short phrase for emphasis. However, use this sparingly as overusing it can detract from the overall readability.
By understanding and consistently applying these formatting principles, you’ll not only create a professional-looking script but also effectively communicate your story to the industry, increasing your chances of success. Mastering the art of script formatting is an investment in your career as a screenwriter.