Screenplay Formatting

Screenplay Formatting

In Hollywood, form take priority

There are several types of scripts and differing formats
for each type. Obviously no one wants it to be easy. Script formats,
as with manuscript formats, have evolved to help with the production
of a work. While writers might feel limited by the proper formatting,
it helps pace a script and plan how to translate to screen or stage.

Screenplay Formats

We realize most people looking for script formats want
screenplay forms. Unlike stage scripts, screenplays need to be perfectly
formatted. We believe you should use a good word processor template or
specialized software for screenplay formatting. Be careful — readers
will reject scripts based on the oddest of formatting errors.

The font used is 12-point Courier. (You can use Courier, Courier New,
or the closest typeface on your computer.) The font and formatting enable
rough estimates of script lengths. The format also helps actors follow
lines.

Some in the film industry adhere to tradition when preparing scripts.
With Courier, or any monospaced typeface/font in which the letters are
a set width, many screenwriters still use “typewriter” rules
for punctuation. If the punctuation has a period at the baseline, follow
it with two spaces (except in abbreviations). Otherwise, use a single
space. When you use a computer with
“proportional” fonts, the rule is always use a single space — so
it can be difficult to remember typewriter formats.

The Screenwriter’s Bible, by David Trotter, has the following rules for screenplay formats:

• Do not include any artwork, even on the cover.
• Do not include storyboards or illustrations unless requested, in
  which case they are separate from the script.
• Do not justify or hyphenate the text.
• Avoid camera and editing notes —
  they’re ignored anyway.
• Do not date, even on the title page.
• Do not include lists of characters, set, etc., unless requested.
  (Most software prepares these, which are included with queries in some
  cases.)

Use U.S. letter-sized paper. Do not use A4 if you plan to submit to
an American production company. Make sure the paper is
“bright white” (80+) and 20–24 pound stock. We’ve
seen recycled beige paper submitted —
a serious no-no.

Screenwriting Software Options

The easiest way to start formatting a screenplay is to use dedicated software
designed for the task. The following list offers some alternatives:

• Final Draft: The choice of most Hollywood productions and the software recommended by the WGAw.
• Movie Magic Screenwriter: A great program, popular among East Coast production companies and writers.
• Scrivener: A personal favorite, Scrivener can export a draft screenplay into Final Draft. While I prefer Scrivener and could use it alone, the Final Draft support is essential for professionals
• Mariner Montage: Not bad, but also not a standard in the industry.
  The program has some quirks.
• Celtx: Free, which is a great price, but also not a standard format.
• Microsoft Word: I created my own templates to use in Word, which work
  well enough for small projects and student exercises. Download screenplay.dotm for current versions of Word; screenplay.dot for older Word versions.

Some Specifics

The preceding software helps writers, but there are specific
elements of a script that should be explained in detail. Before formatting
a script, we suggest purchasing a good book on screenwriting.

Headings

The Screenwriter’s Bible uses the word “heading” to describe script elements that indicate scenes or sets of shots. Think of any major change in setting or focal point as a heading.

Scenes

As indicated in the table, a scene element has up to
four parts: camera perspective, location, time, and extra details. Most
major scene headings only consist of the first three.

In place of DAY or NIGHT, you can use SAME, CONTINUOUS, LATER to indicate tha passage of time within the setting from a previous scene. If the scene has not changed, then simpy use LATER on its own line.

(CONTINUED) was included at the bottom of any page within a scene. Of course, most pages include a portion of a scene that is continued so many writers put (CONTINUED) at the bottom of every page except the last. The top of every page included CONTINUED:, unless a scene started at the top of the page.

Secondary

In the “old days” the dramatic movements
within a scene were labeled with SHOT. Do not use SHOT anymore; indicate changes with simple one or two word focal points. A focal point is where the camera might zoom or even cut. Secondary scene headings have replaced camera direction in spec and draft scripts. The rooms of a house might be secondary shots, as we follow a character.

John rushes down the hall, dodging flames. He crashes through a door into

MOLLY’S BEDROOM

where he searches for MOLLY.

The scene has not changed, but John is in a new part of the house, where
the camera must follow. Notice
“Molly” is capitalized. From this we can assume it is the
first mention of Molly in the script.

Inserts

Use INSERT - {description} to indicate a zoom to a letter, article, headline, or other material the audience should realize is important. After the insert, indicate BACK
TO SCENE. If the insert is of a letter or other printed matter, indent the contents as you would dialogue. Some writers indicate the insert is printed with quote marks.

INSERT - NEWSPAPER CLIPPING

“The badly-burned body of divorce
attorney John Smith was found in
the remains of his 1968 Porsche.”

BACK TO SCENE

Montages

Use MONTAGE - {description} when a series of scenes and shots is too long or does not reflect the screen time desired. A montage can indicate passing time or how simultaneous events relate. Indicating BACK TO SCENE is optional by style, as a montage usually transitions to new scene. Use BACK if the montage ends at the setting where a scene starts.

MONTAGE - JOHN AGING

— Birth of baby. John’s father passing out cigars.

— Kindergarten classroom. Young John painting.

— Art gallery. John’s first solo show.

— John in senior center, struggling to hold a paintbrush.

BACK TO SCENE

Series

A SERIES OF SHOTS is a way to speed-up or slow down a scene. A series ends on a dramatic note, while a montage usually transitions into the drama. A series transitions to a scene, so close with BACK TO SCENE.

SERIES OF SHOTS

A) John drops his paintbrush, slumps.

B) Nursing assistant enters, to see John.

C) Ambulance leaves Happy Meadows.

D) Mary sits, crying while looking at the half-finished
canvas. The paint is running.

BACK TO SCENE

Flashbacks

You can indicate flashbacks as either a heading element
or as part of a scene. If the flashback is an action narrative, use the
element form FLASHBACK - {description}. If the flashback is a scene, use the scene heading style, with the fourth part being FLASHBACK. After a flashback, indicate BACK TO PRESENT DAY.

FLASHBACK - JOHN PAINTING IN PARIS

John, in his mid-30s, is painting scenes in Paris. He
notices a young woman cross his view of the scenes. It
is MARY, his future wife.

BACK TO PRESENT DAY

Dreams

Indicate DREAM and DAYDREAM as you do a flashback. Avoid VISION; DREAM is used for those psychedelic moments… unless it’s a flashback. (That’s a joke.) Seriously, try to avoid using too many artistic techniques in the script. Let the story suggest what a director needs.

Description

Description is important, since film is a visual medium,
but let the director and cinematographer make the detail decisions. Keep
narrative concise, using only what is necessary to tell the story.

Characters

On first reference in narration, a CHARACTER NAME is in all caps. You should do this for all major and minor characters, but not nessarily incidental characters. If a character speaks, use caps. After the first mention, use normal proper case.

Keep character descriptions short and generalized. Do not try to imply
a specific person, a common mistake.

JOHN DAVIES sits in the activities room of the HAPPY 
MEADOWS assisted-living facility. John is trying to
paint a tree outside the window. He was a famous 
painter, but now struggles to hold a paintbrush. He
is frustrated, mumbling insults at himself.

Do not describe clothing, precise characteristics, or other details
unless they are important to the story. A script needs to be “flexible” because
it might sit for a long time before being produced.

“Visible Text”

Use uppercase for signs and other text you want the audience
to see.

There is a poster on the bulletin board announcing
GALLERY TOUR SATURDAY.

Sounds

Put sounds in uppercase, instead of using SFX:.

The phone RINGS and a KNOCK sounds at the door.

Camera/Editing

Do not include obvious camera angles in a spec or draft
script. Do not play director unless you are an established filmwriter
with a precise vision. When necessary, MATCH CUT: and DISSOLVE
TO: are right-aligned.

Dialogue

Never allow less than two lines of dialogue to appear
at the bottom of a page. Try not to break any sentence. If dialogue must
continue, use (MORE) at the bottom of the page and (cont'd) to the right of the character’s name on the next page.

 MARY 
I was only 19 when we met, and 
there was much I didn’t know about
art or artists.
 (MORE)

MARY (cont’d)
John promised to teach me about
art. He taught me more about
artists.

VO and OS

For voice overs (VO) and off-screen (OS) dialogue, place the indicators to the right of the character’s name.

 JOHN (VO)
It was an exciting time to be in 
Paris. Everyone seemed to be 
there.