Formatting a Screenplay: How to Put Your Story Into Screenplay Format
Formatting a Screenplay:
How to Put Your Story Into Screenplay Format
Alright — you’ve got it. The screenplay idea that will change the
world, break box office records, and win you every single Oscar. Only… you
don’t quite understand how to format a screenplay. Do you even really need
screenplay format?
Our answer? A resounding “Yes!”
Screenplay format is necessary if you want anyone to take your magnum opus
seriously, but more importantly? It’s necessary if you want your script to
become an actual finished film.
1.
Sluglines
2.
Action lines
3.
Dialogue
4.
Extensions
6.
Transitions
7.
Subheaders
8.
Shots
9.
Montage
10.
Lyrics
11.
Chyrons
12.
End of Act
How to Format a Screenplay
SCREENPLAY DEFINITION
What is a script?
A movie
script or screenplay is the blueprint for any feature film, TV
show or video game. A script includes characters actions, dialogue and
movement as well as stage direction. A shooting script is a
more precisely formatted version of the script, used in-preproduction and
production to turn the screenplay into a film.
WHY SCREENPLAY FORMAT?
Why do we need it?
It’s not just stylistic. Script
format helps the script breakdown process, which is one of the most important
steps in turning a screenplay into an actual film.
The script breakdown is when the
director, producer, and a few other key crew members review your screenplay and
mark every important element that will have to be procured.
Using a script breakdown sheet or script breakdown software, they'll note
every character that needs an actor, every costume change, every prop that
needs to be found or built.
Think of it like this: Your
script is the blueprint for the show everyone is about to spend twelve hours
per day, five days a week working on.
So if you don't write INT.
UNDERGROUND DUNGEON, and you want a scene to be set in an underground dungeon,
you're the only one to blame when your location manager doesn't find a nice
underground dungeon for...whatever you're writing.
This is why proper screenplay
format will make this process immensely easier. Don't you want to make this
painless for the nice crew people? They're turning your script into an actual
movie!
StudioBinder's screenwriting software can make
this process a little more automated, but it’s still important that you
understand what the different elements mean.
Using these elements correctly is
essential to proper script writing format. This is true for everything from
short film scripts to million-dollar blockbusters.
SCREENPLAY FORMATTING
1. Sluglines
Sluglines (also known as scene
headings) tell the reader where the action is happening. It’s a location,
followed by a time, and looks something like this:
Click above if you'd like to read
the full screenplay for The Royal Tenenbaums online, in free
screenwriting software.
When it comes to sluglines, you
first have to establish whether the scene takes place inside (INT.) or outside
(EXT.) A period, then the location of the scene, followed by the time of day
(Day, Night, Morning, Evening, etc.).
If a scene directly continues
from the previous scene, mark it “continuous” in the time slot. If it's a
couple minutes later, feel free to use "moments later" in your
slugline.
If it’s a flashback you will,
shockingly, mark “flashback” there.
Sometimes you’ll have a scene
that takes place in both an interior and an exterior. Most of the time, this
will be in a moving vehicle of some kind. In those cases, start your slugline
with “INT./EXT.”
If you’re using screenwriting
software, it will format it correctly for you, but if you’re doing it yourself,
be sure to put the entire slugline in ALL CAPS.
Sluglines are important because
they are how your assistant directors and line producers will plan out how
things get shot.
The difference between one scene
being night and the next being day is important to continuity for hair,
makeup, and wardrobe departments.
That's why this is one of the
most essential elements in movie script format - it tells you when and where a
scene is taking place in the grand scheme of the script. Knowing the time of
day and where the scene takes place affects nearly every department in a major
way.
FORMATTING A SCREENPLAY
2. Action lines
Your action lines go right
beneath the slugline. Proper screenplay format dictates that they always
be written in the present tense and as visually descriptive as possible.
Specifically, action lines tell
the reader what they will see and hear in the finished film. You can give
actors vague directions like "Jonathan is upset by this," but only if
it's something the actor can physically portray.
Leave all those internal thoughts
for the novel you're writing on the side.
When it comes to screenplay
format, clarity is king – remember, a script is a document to be turned into a
movie, not read on its own.
Department heads will take things
literally and, oftentimes, without question. So if you write something
ridiculous in the description, they'll take it upon themselves to figure out
how to make it real – that's their job.
Here's an example of action lines
in a screenplay. Note that the action's writing provides "just the
facts" in a clear and readable way.
Click below to read the entire
sample scene in free screenwriting software:
Make sure you're deliberate and
precise with your action lines. Find the balance between letting a director
direct a scene, and giving the propmaster enough information to get exactly
what you want.
This is especially true if you're
writing something as chaotic as a fight scene or
a car chase, where every detail has to be planned out. The more complicated the
production, the more important it is for you to follow proper script format.
This type of work is why screenwriting format was developed the way it
was.
CAPITALIZATION
RULES
There are two hard and fast rules
for capitalization in screenplay format – always capitalize a character's name
the first time they appear, and always capitalize transitions.
Beyond that, you can also
capitalize important props, sounds, and camera movements.
Anything you want to use the
movie script format to call out things important enough to merit the attention
of those doing the script breakdown.
Just don't go overboard with it.
There's nothing more annoying and CONFUSING then when someone RANDOMLY capitalizes
EVERYTHING ON THE page.
FORMATTING SCRIPT ELEMENTS
3. Dialogue
Dialogue is straight-forward. At
least in terms of formatting. Writing good dialogue is a topic all its own.
You center and capitalize a
character ID and put dialogue underneath. Your character ID need not be your
entire character’s name. It could be a first name, a last name, or an alias.
Whatever best identifies the
character as that character. And stay consistent – if a character is identified
as "McCloud," he stays McCloud, even if we eventually learn that his
first name is "Jack."
The only exception to this rule
is if your character goes in disguise, especially if they fake a voice whilst
disguised.
For example, this person would be
"Bruce Wayne."
While this person would be
"Batman."
Even though they're technically
the same person in a different costume.
If you find that to be too
confusing, another method is to use a slash. "Bruce Wayne" becomes
"Bruce Wayne/Batman" whenever he's Batman, and just regular Bruce
when he's not.
And just to be absolutely clear,
here's how dialogue looks in an actual screenplay. Click the sample below,
from The Royal Tenenbaums, to see how to format dialogue in a
script like the pros. You can also read the entire screenplay by clicking to
view how other screenplay elements are formatted as well.
When writing dialogue, the idea
is to let the characters speak for themselves. Always front and center, of
course, is the reality that you, the writer, are shaping those characters.
Using software that takes care of screenplay formatting automatically so you
can give all your attention to the characters and their lines is critical.
FORMATTING A SCREENPLAY
4. Extensions
Extensions go next to a character
name in parentheses and tell us how the dialogue is heard by the audience.
Most screenwriting software will
provide the standard screenplay format extensions once you start typing the
parenthetical. They are:
VOICE
OVER (V.O.)
When a character is speaking over
the action, but isn’t heard by the other characters in the scene. Usually
narration, but can also be a character's internal monologue.
OFF
SCREEN (O.S.)
When a character is speaking and
is heard by other characters, but can't be seen by the audience or other
characters. Just write (O.S.) next to the character's name. " Off
camera" or (O.C.) is also acceptable.
Examples of extensions include:
·
Someone making an announcement over a loud speaker.
·
A character making a dramatic surprise entrance.
·
A disembodied ghostly voice.
INTO
DEVICES
Fairly self-explanatory –
characters speaking into their phones or radios, rather than to each other in
person.
This is most useful when
characters are speaking to someone on the phone and someone right next to them.
Or when using a local news station for expository information.
PRE-LAP
Dialogue from the next scene that
starts before the current scene has ended. Simply write "pre-lap" in
the parentheses next to the character's name.
FORMATTING A SCRIPT
5. Parentheticals
Parentheticals can seem like
extensions at first glance, but there are a few key distinctions. Extensions
are technical directions – they explain where the person saying the dialogue is
in the scene.
Parentheticals are directions to
the actor – they detail how the line should be performed.
Here's an example of a
parenthetical in proper screenplay format. This comes from The Royal
Tenenbaums:
As far as script format goes,
parentheticals are placed directly beneath the character ID in (parentheses).
Some examples include:
·
AS LOUD AS POSSIBLE
·
PAINFULLY
·
TEARFULLY
·
WHISPERING
·
LAUGHING
Parentheticals can also include
actions for the actors to perform while speaking. This is especially common in
television, where page space is at a premium.
·
SHRUGGING
·
STRETCHING
·
DRAWING HIS WEAPON
·
FALLING TO HER KNEES
If you're using screenwriting
software, it's important to change elements when writing parentheticals. You
can't just write them into parentheses and hope it reads correctly!
RELATED
POSTS
FORMATTING A SCREENPLAY
6. Transitions
Transitions indicate how an
editor should transition between two scenes – they're on the far right of the
page (right justified) and placed between two scenes. Like this:
Back in the 40s, knowing how to use
transitions was a major part in knowing how to format a screenplay. These
days, however, most editors know that no transition indicates a standard cut.
So rather than mark everything
with a “Cut To,” only use a transition when you want it to stand out in some
way. Proper screenplay formatting usually indicates these as being
capitalized.
Much like with parentheticals,
your screenwriting software will likely have the standard transitions preloaded
for you. These include, but are not limited to:
CUT
TO:
Any transition not marked is
assumed to be a cut. This particular transition indicates a more abrupt
cut than normal.
It is also widely used when
formatting multi-cam scripts as it marks the end of a scene.
Because multi-cam scripts are
formatted with page breaks for both scenes and acts, it's important to notify
when the scene is ending versus when it's an act break, which is also a
commercial break.
This is key for editing purposes,
and also readership as act breaks are critical plot-wise.
SMASH
TO:
This is a really, really, really
abrupt cut. The kind of cut that comes in mid-sentence. A great example of
smash cuts is from the film, "Hot Fuzz." Smash cuts are used here to
as a form of montage (which we'll get into later).
DISSOLVE
TO:
When one scene “dissolves” into
another scene, almost transforming into that scene. This is primarily used to
indicate that time has passed.
MATCH
CUT TO:
A tricky form of edit – where you
cut the film so the last shot in the previous scene (say, a hand reaching for a
knife) matches the first shot in the new scene (a hand reaching for an apple).
This is a great transition to use
if you're looking to build foreshadowing or tension in your story, calling
attention to specific actions and objects that will be critical later on.
INTERCUT:
This is where you bounce back and
forth between two different scenes. It’s usually used for phone calls,
but not always.
It's important to list if this is
expected as it can have a big affect on the overall production schedule.
FORMATTING A SCREENPLAY
7. Subheaders
Subheaders are like
mini-sluglines that indicate another place or time within a scene. They’re even
formatted like sluglines - left-justified and capitalized. Take a look at this
example to get an idea of what we mean:
If you’re using screenwriting
software, you’ll probably have to format it as a “scene header” – that’s
perfectly fine!
If you’re shooting within a large
house, a subheader might be used to indicate a change in rooms. From the
creepy FOYER to the haunted LIBRARY, for example. Or to indicate a detail of a
certain location.
Or you might want to use a
subheader to indicate a jump in time. If a cop is on a long stakeout and
you want to show that time has passed, you’d throw it under the subheader
LATER.
This is one of the gray areas in
script format where some (mostly those in production) say it should be slugged
as a new scene (since it's a different time and may require a different setup).
Writers, on the other hand, tend
to prefer to save the line so they don't push a page. So instead of saying INT.
CAR - LATER, which requires more space, they'd just say LATER and continue the
scene since it never changed locations. Either way is proper script formatting,
the use of a subheader is simply more casual.
SCRIPT FORMAT
8. Shots
Formatted like a caps-locked
action line, shots direct our attention to a specific visual or way of seeing
something.
Much like transitions, these were
much more common in the old days of Hollywood.
In modern times, they're
typically used by writer-directors, but also when the writer feels that a
visual is key to the entire scene and wants to be sure the director knows it.
Like this:
Most screenwriters today only
specify shots when it's absolutely critical to the interpretation of the scene.
By indicating a particular type
of shot in a script, keep in mind that you as a writer are also hammering home
to the reader that this is a movie and cameras will be recording it. On a
certain level, this can take the reader out of the story, so you might want to
use the technique sparingly.
SCRIPT FORMATTING
9. Montage
To start a montage, training or
otherwise, write “Begin Montage” as if it were a subheader. Then list out your
scenes as you normally would.
Once the montage is over and
Rocky finally ran up all those steps, close off your montage with “End
Montage,” again written as if it were a subheader.
That’s “scene heading” if you’re
using screenwriting software.
Click below to read a montage
example in free screenwriting software:
With a montage, you have some
leeway in how you write it. For example, writers often prefer to simply list
individual lines, or lines set off by hyphens, within the action to indicate
different montage locations and subscenes.
Just know that if you want to
format your script for production, you'll need a slugline for each individual
shot or scene within a montage (as in the montage example above). That's
because each location means a different setup and a whole separate set of
production concerns.
FORMATTING A SCREENPLAY
10. Lyrics
Lyrics are tricky when it comes
to how to format a screenplay, particularly when they have to be matched to
action on the screen. No screenwriting software has a “lyrics” element.
An important rule of thumb when
learning how to write a screenplay is that, when done properly, one page of
film script equals roughly one minute of screen time. Emphasis on roughly.
Since lyrics take up a lot of
page space, but don’t take as much time to sing, that can throw the balance
off.
You have two options for solving
this problem.
SPACE
IT OUT
You can spread out the lyrics on
the page with shots and action directions. This will let you design a
little of the choreography and help establish the rhythm and pacing of your big
musical number.
DESCRIBE
THE SEQUENCE
Rather than list out each
individual lyric, describe the general feel of the song and the sequence that
accompanies it.
This is how Damien Chazelle wrote
the musical sequences in La La Land.
SCRIPT FORMAT
11. Chyrons
Chyrons are the text that appears
over the screen – usually used to indicate the time and place of the scene to
the audience. You’ll see this sort of thing a lot in military or spy
movies.
Start an action line with the
word “CHYRON” (yes, in all caps) followed by the text of the chyron.
Some writers like to use the word
“TITLE” instead of “CHYRON”. It’s a personal choice. If you were using Title,
it would look like this:
Using "Chyron" would
look exactly the same, only swapping the word "Chyron" for
"Title".
Either one is, also, proper
script format.
SCRIPT FORMAT
12. End of Act
This is a special kind of
formatting that’s only important if you’re writing for network television.
Whenever you reach the end of an
act (or teaser) where the show would cut to commercial break, note it by
putting “End of Act One”, (or Two or Three) centered and underlined, into your
script.
Then you skip a page and put “Act
One” (or Act Two or Three) at the very top – again, centered and
underlined.
If you’re using screenwriting
software, it’s very important that you open your template as a “one hour” or
“half hour” drama. If you open it as a feature film script, the
screenwriting software may not include that element.
Also, keep in mind that a
single-cam sitcom and a multi-cam sitcom have a very different script
format.
The single-cam is, essentially, a
movie script with act breaks. While the multi-cam has double-spaced dialogued,
capitalized action lines, and the new acts begin halfway down the page, and
each new scene starts on a new page (as we mentioned).
Make sure you know which one
you're writing and then write to that screenplay format. These two types
of comedies have quite different tones, aesthetics, and productions. It's
critical that the reader, and even more so the production crew, know which one
you've written.
Comments
Post a Comment