Screenwriting is a strange combination of creative and technical writing. Unlike almost every other storytelling medium, a screenplay requires a very specific format and uses unique screenwriting terms of writing to tell a story. This is because a screenplay is not just a vessel for plot, but a technical document used to convey technical information to a crew.

This format works by visually breaking up different elements of screenwriting on the page – you can think of each of these different elements as an instruction. It might seem unnecessary to be so exact in how you format each element, however, these rules are in place for a reason.

Every page of a script is spaced, sized, and formatted precisely so that it represents one minute of screen time. This enables studios, producers, and assistant directors to schedule and budget for the production. You cannot start making a script without knowing how long the film will be, and with millions of dollars on the line, every line of the script really matters.

Page Formatting

Before diving into the elements, let’s first explore exactly how a script needs to be formatted on the page. These rules apply to the overall page, as well as every particular element:

• Font: 12-Point Courier
• Margins: Left Margin – 1.5 inches, Right, Top, and Bottom Margin – 1 inch
• Page Number: In the top right corner of each page starting on page 2 (no number on the first script page)
• Scene Numbers: Should not be used until script lock at the production stage
• Title Page: A blank page containing a centralised, capitalised title followed by ‘Written By’, ‘Story By’, or ‘Based On’ credits. Contact information for the writer may be included on the bottom left.

Best Scriptwriting Software

The technical rules of script formatting can seem overwhelming. When taking on the huge task of writing a screenplay, the last thing you need is to waste hours on Word or Google Docs attempting to correctly align, indent, and edit the page set up to be perfect.

Luckily you don’t have to.
There are so many software options in 2024 that can do this for you. Let’s discuss the top three:

Final Draft

The undisputed industry standard. If you want to write professionally, Final Draft is the only software to use. There is a slight learning curve to understanding keyboard shortcuts, but once perfected, it is by far the best and easiest software for constant writing. Final Draft also contains an abundance of tools for every step of the script journey from outlining to editing.
Cost: One-time license fee of $249.99 (although often on sale for less)

Celtx

A great first-time writer software to play around with script formatting. The free version only allows for one project at a time but it can produce high-quality scripts for those not ready to make a larger purchase.
Cost: $14.99 monthly

Fade In

A free software that can be installed on your computer and used off-line like Final Draft. Easy to use and great tools but bear in mind, scripts are exported with a watermark limiting its use for professional or competition environments.
Cost: Free (pro option for $99.95)

Screenwriting Terms

Script elements are the building blocks of a screenplay, each serving a specific purpose. Once you’ve mastered these you’ll be able to start implementing more creative freedom in how your story is told. Use these elements as tools to reach your final story goal.

1. Scene Headings

Arguably the most important element of a script. Scene headings work to give three pieces of crucial information to a crew:

1. Setting
2. Location
3. Lighting

You can think of scene headers as a cheat sheet for the locations, lighting, and art departments to know exactly what to prep each scene for. As a result, scene headings are NOT an opportunity for creative storytelling. They have the most rigid rules that must be stuck to as closely as possible.

You should use a new scene EVERY TIME YOU CHANGE LOCATION. This means a character walking through a doorway from their bedroom to a corridor is two different scenes. Script scenes should not be confused with stage scenes which are ruled by the content of a sequence and change depending on emotional and plot breaks.

Here’s how they work:

INT. BEDROOM – DAY

Every scene header must start with either EXT, INT, or in some specific circumstances I/E. These stand for exterior and interior and simply let a crew know whether the scene is being filmed inside or outside.

I/E is typically only used for a scene when a character is inside a moving vehicle and thus both inside and outside, e.g:

I/E – JACK’S CAR / STREETS – NIGHT

The second part of the scene header is the location. You want to be as specific as possible here as this will be the production’s label for this location moving forward (this means once you name a location something, it must be referred to as this throughout the script).

Extra detail may be included using a comma (never an additional hyphen), for instance:

INT. KITCHEN, JACK’S HOUSE – DAY

Finally is the most commonly incorrect part – the time signature. In 99% of scenes, you should ONLY use DAY/NIGHT. This is not related to the story time but a lighting note to the gaffer.

In RARE occurrences you may use DUSK/DAWN if lighting for sunrise or sunset is imperative to the plot.

CONTINUOUSLY can be used if we visibly see a character move from one room to the next and SAME TIME can be implemented for two scenes happening simultaneously, a good example being a phone call, e.g:

INT. JACK’S ROOM – NIGHT

Jack dials a number into his phone.

INT. DAN’S ROOM – SAME TIME

Dan’s phone rings.

INT. JACK’S ROOM – CONTINUOUS.

Jack holds the phone to his ear.

Time signatures to avoid are SUNRISE, SUNSET, AFTERNOON, MORNING, and LATE NIGHT.

2. Action Line

The most useful element of a script, but often also the trickiest. The action line should be used to denote everything that will happen visually on screen with some sound cues. For instance:

EXT. PLAYGROUND – DAY

Parents oversee a group of young children as they play in the small, rundown park filled with an old set of swings and a rusting slide. The sound of joyful giggles fills the air.

The action line is a delicate balance of setting a scene without over-directing. It’s essential to remember to ‘Show Don’t Tell’ through the action line meaning instead of phrases like ‘She stares at him heartbroken, wishes he was hers’ aim for a more descriptive version like ‘She stares at him. Gaze moving from his lips to his eyes. He doesn’t look back. Tears well in her eyes. She turns and begins to walk away. Her pace gets quicker… As does her breath. A single tear slips from the corner of her eye and down her face.’

Characters should also be introduced in the action line by capitalising their name, giving the age in brackets, followed by a brief description like JACK (42), a cold-looking man with wire glasses hanging on the edge of his crooked nose, they could fall at any second.

Sounds or props might be capitalised or italicised for highlighted notes to the sound or props department.

We can put this together as such:

INT. LIVING – NIGHT

The middle-class room sits dark and empty. A thin layer of dust has settled on the coffee table. Lights from a passing car briefly light up the room revealing touches of green in the furniture and decor.

Click.

The sound of a key in the lock.

Footsteps.

The door handle turns. A figure appears, MICHAEL (20s), short, balding, lines on his face to age him beyond his years but for his sparkling eye that betrays his youth. He steps into the room and lets out a slow sigh.

In his hand is a small DAGGER. It drips scarlet red blood onto the floor.

3. Character

Characters’ names should be capitalised and centred on the page above the dialogue. There should never be dialogue without the character’s name directly above it (occasionally with the parenthetical in between).

For some specific reasons, you may use brackets in the Character line.

If the dialogue is split apart either by a page break of an action line, the character’s name should appear again over the second dialogue portion followed by (CONT’D):

JACK
Hey! Wait!

He runs and waves his hands aggressively above his head.

JACK (CONT’D)
I’m talking to you!

For non-diegetic dialogue (speech played over the action of the scene) you can use (VO) which stands for Voice Over. Alternatively, for dialogue that is from within the scene but from a character not visible on screen (e.g. they are in another room or speaking through the phone), you can use (OS) or (OC) for off-screen or off-camera respectively.

4. Dialogue

Dialogue is where you can finally have some fun! There are no rules for how you want a character to speak except to try and keep their dialogue believable for the character – you can learn more about how to do this by reading my Screenwriting Prep Guide.

Dialogue is always formatted to be 2.5 inches from the left edge of the page (1 additional inch from the page margin) and 6 inches from the right page edge. This is essential to keep within the one page is one minute of screen time rule.

Within the dialogue you can use punctuation to suggest the tone; if you read scripts you’ll notice the common use of ‘…’ to infer a slight pause. Another technique is using italicised words helps to emphasise meaning or draw them out to be longer.

5. Parentheticals

You can use these between the Character Line and dialogue to indicate a character’s tone or actions while speaking. Try to use a parenthetical sparsely to avoid over-directing the performance – remember you want to leave room for creative decisions from the director and cast.

A commonly accepted way to use them is to show a character interrupting someone or something, or to clarify a note like sarcasm, a whisper, or that a character is reading aloud.

JACK
(sarcastically)
Yeah, I did it because I’m in love with you.

Try to keep any parenthetical notes very short, only using one or two words, and only ever implement them directly below the character line. They should not cut a piece of dialogue in half.

A Parenthetical line should also be 3.1 inches from the left edge of the page.

What NOT to Include in Your Script

When working with new writers the most common issue I see is over-directing. On providing feedback to a first draft I so often have to cross out entire elements that go against the fundamentals of script writing: over-directing.

As a screenwriter, your job is to write. You are not the director, cinematographer, or editor and as such should not be telling them how to do their job. If your script contains any of the following, it’s likely to be rejected immediately by any agent, producer, or competition:

• Camera Cues. That includes any reference to the shot or camera movement you see in your mind, this is not a decision that is made at the script stage but much later. Delete any of the following words: Zoom, Close-Up, Pan, The Camera, We See.
• Transitions. Any specific editing notes like ‘Quick Cut’ are not necessary in a script. A new scene already represents a cut so you can delete any ‘Cut to:’ transitions. The only exception to this would be ‘Cut to black’ or ‘Fade out’ if followed by ‘The End.’
• Character’s thoughts. This extends to anything that isn’t visually on the screen or audible in the soundtrack. Using the action line to tell a reader about a character’s internal thoughts is a waste of words because an audience won’t be able to know this information. The same can be said for conveying information via the action line like ‘The day before Jack went to the tailor’s’ as an audience would have no way of knowing this. Instead, visually or audibly convey information via dialogue, action, or props.

How to Create Your Writer’s Voice (without over-directing)

This is one of the toughest challenges to overcome as a new writer: how to ensure your unique voice is heard without being too descriptive. Despite the strict rules above, it is still possible to have your unique voice come through.

Here are some screenwriting tips on how to do it:

• Use bold or underlined text in a script to emphasise the most powerful events, dialogue, or beat.
• The first action line of every new scene is an opportunity to be descriptive. You get 2-3 sentences at most to build atmosphere and mood and can employ a more abstract approach than in the rest of the scene.
• Lead a reader’s (and later a viewer’s) attention to slowly reveal images, actions, and beats in your exact intended order by splitting the action into different lines on the page. Every new line is a new action beat and can even be imagined as a new camera shot.
• Be funny. If appropriate for the tone of your screenplay, infuse moments of humour or wit by speaking directly to the reader. This can be difficult to perfect, but don’t be afraid to create the occasional 4th wall break.
• Trust your instinct. Ultimately, you are the writer. Trust in your natural voice and let it shine through in your screenplay. Don’t be afraid to take creative risks and experiment with different techniques to find what works best for you and your story.

Screenwriting is an art form that takes time and practice to perfect. Like any skill, the more you do it, the better you are going to get. Learning the technical elements can be difficult, but using screenwriting software will help you to become more familiar with the rules.

If you’re really struggling, you may benefit from working with a writing coach like myself to help mentor you through the process of screenwriting and hold you accountable from start to finish. Learn more about Writing Coach or Get in Touch.