10 Rules For Using Parentheticals In Your Screenplay
10 Rules For Using Parentheticals In Your Screenplay
First, what are they?
Parentheticals, or actor/character directions, or “wrylies,” are those little descriptions that sometimes appear after a character’s name, in dialogue blocks, to spell out tone, intent or action.
In the poorly written example below (see Rule #1), the parentheticals are “(breathlessly)” and “(confused)”:
The Loyal Squire bursts through the door. Collapses on the ground. Pulls a bloodied envelope from his pocket.
LOYAL SQUIRE
(breathlessly)
I may not live... to see tomorrow my liege... But I die knowing... that I have served thee well.
KING
(confused)
I’m sorry. Who are you?
10 Rules for Using Parentheticals
1. Don’t use parentheticals when it’s redundant or obvious
It’s a common mistake to use parentheticals in places where the emotion or intent of the dialogue is already obvious (my example above, for instance).
Many actors dislike parentheticals — it’s their job to interpret the emotion, etc. of the scene based on the dialogue provided. So it’s very important to use them sparingly for emotional cues, and only when it would otherwise be unclear…
2. Use parentheticals to avoid confusion
Take the following dialogue, for example:
GRANNY
How did you like my stew? It’s an old family recipe.
BILL
I hated it.
That’s very different than the following (especially when developing a character):
GRANNY
How did you like my stew? It’s an old family recipe.
BILL
(sarcastically)
I hated it.
3. Don’t use parentheticals to direct minor actions
Similar to Rule #1 (where you’re needlessly directing an actor’s emotions), it’s also a faux pas to overuse them for an actor’s actions.
Example of POOR usage:
DOUG
(index finger massages his right temple)
There must be a way out of here. We have to think.
ELANOR
(purses lips)
I can’t come up with anything.
DOUG
(scratching neck)
Have you tried opening the door?
ELANOR
(shaking head)
No, not yet.
Leave the decisions of those minor actions up to the actor. In the example above, all of the parentheticals should be removed.
Note: If your character has a specific quirk, that’s pivotal to your story, you have a bit more leeway in this regard. But even then, you may be better off including such mannerisms in a line of description.
4. Use parentheticals for quick, significant actions
Often times, you can save several lines by slipping quick and significant actions into the dialogue block. And since some execs only read the dialogue blocks of a script to save time, this practice can even provide some much-needed clarity.
Example of GOOD usage:
GARY
Son of a bitch. You got blood on my shirt!
(kicks the body)
And now my shoe!
5. Parentheticals should never come at the end of a dialogue block
Example of INCORRECT usage:
SCOTT
I told you not to disturb me!
(throws pen at the door)
If the action follows the dialogue, simply pull it out and make it a separate line of description:
SCOTT
I told you not to disturb me!
He throws his pen at the door. It rebounds. Hits him in the eye.
6. Don’t use parentheticals for the actions of a different character
While one actor is speaking, you can’t describe another actor’s actions.
Example of INCORRECT usage:
PETE
There are ninjas all over the place!
(Bruno steps to the window)
What are we gonna do man?
Instead, you would use:
PETE
There are ninjas all over the place!
Bruno steps to the window. Stares bug-eyed.
PETE
What are we gonna do man?!
7. Don’t use parentheticals for sounds or camera directions
Example of INCORRECT usage:
FRED
(WIND HOWLS)
We need to get to that house on the hill!
SHAGGY
(steps INTO FRAME)
Like, you mean that creepy one everyone said was haunted?!
Instead you would write something like:
The WIND HOWLS. Whips at the group’s hair and clothes.
FRED
We need to get to that house on the hill!
SHAGGY
Like, you mean that creepy one everyone said was haunted?!
I left out the “steps INTO FRAME” part. Don’t specify camera directions (in your spec script) unless they’re critical to the comprehension of your scene. Leave that up to the director.
8. Don’t capitalize the first letter of parentheticals
Example or INCORRECT usage:
BRAD
(Gritting his teeth)
I couldn’t be happier.
Example of CORRECT usage:
BRAD
(gritting his teeth)
I couldn’t be happier.
9. Use correct punctuation in parentheticals
In those rare cases where you need to specify multiple actions in your parenthetical, don’t use periods, dashes or ellipses.
Example of INCORRECT usage:
WOLFGANG
(looks up from clipboard... smiles -- waves them through with gun.)
Don’t worry. I will not waste my time with you.
First of all, that’s a lot to put in the parenthetical. The first two parts, if not all the parts, should probably have been written as scene description. But for purposes of this exercise, semi-colons are the answer…
Example of CORRECT usage:
WOLFGANG
(looks up from clipboard; smiles; waves them through with gun)
Don’t worry. I will not waste my time with you.
10. Don’t use a pronoun to start the parenthetical
Example of INCORRECT usage:
DAVE
(he winks at Betty)
Sure Sarah, I’ve always thought you were the prettiest.
Instead, you would simply write:
DAVE
(winks at Betty)
Sure Sarah, I’ve always thought you were the prettiest.
Using parentheticals
–Øystein Håland
For those who are unfamiliar with the term, parentheticals are small bits of scene description within blocks of dialogue. For example:
NATALIE
(reeling)
Did Pete ask you to ask me if I wanted to get married?
DYLAN
No! No.
(beat; casually)
He hasn’t said anything to you?
The (reeling) and (beat, causally) are parentheticals. They help communicate the pacing and intention of the dialogue. Without them, the lines read very differently.
Some actors have been known to automatically cross out all parenthetical comments in their scripts, lest their performance be shackled by the writer’s limited vision. If that makes the actor feel better, fine. But there’s nothing inherently awful about the parenthetical. Properly and judiciously used, these comments are an important writing tool.
Screenplays are meant to be read-by directors, producers, editors and countless other creative types-and it’s the screenwriter’s job to communicate crucial details about how the movie looks, sounds and feels.
But that doesn’t mean you script every look, every turn, every smile. Screenwriting is the art of economy, and overusing parenthetical comments will not only break the flow of the dialogue, they’ll drive the reader crazy. If you find you’re using three or more per page, look at whether the dialogue itself is giving enough emotional information. If characters are obviously arguing in a scene, an (angrily) comment is probably unneeded, but you might need to highlight a line that is (sympathetic) or (withering) when it could read either way.
Sometimes these little bits of description end up as free-standing sentences (or fragments), rather than in parentheses. I’ve never heard a good name for these snippets of interjectory description, but every script has them:
Turning to Jason...
Finding the key...
She hands him the disk.
Generally, these little text chunks communicate some important piece of action. What only screenwriters understand is that sometimes you need a bit of screen description to break up a long section of character dialogue, or to give breathing room. In screenplays — unlike stageplays — a page full of only dialogue is considered poor form, so an occasional line of action helps put the reader at ease.
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