{"id":40,"date":"2025-07-08T22:19:46","date_gmt":"2025-07-08T22:19:46","guid":{"rendered":"https:\/\/pressbooks.palomar.edu\/candacerose\/chapter\/chapter-14-formatting\/"},"modified":"2025-08-05T21:07:08","modified_gmt":"2025-08-05T21:07:08","slug":"chapter-14-formatting","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palomar.edu\/candacerose\/chapter\/chapter-14-formatting\/","title":{"raw":"Chapter 14: Formatting","rendered":"Chapter 14: Formatting"},"content":{"raw":"

In order to make a positive, first impression with your screenplay and showcase your skills as a writer, you\u2019ll need to use proper formatting. There are many resources online to help answer your formatting questions, and here are some essential formatting techniques to get you started on the right track. <\/p>

Keep in mind that you\u2019re writing for the producer, the actors, the director and the crew. Your script will need to be engaging, entertaining and well written in order to get financing behind it to get it produced. Once it\u2019s in production, it becomes the roadmap for the crew to put your vision on the big screen.<\/p>

There are primarily three parts to your screenplay: the scene headings, the description\/action and dialogue. <\/p>

Screenwriting Software<\/h3>

Using screenwriting software will save you time and help you format your script properly. There are many different kinds of software and online programs out there. Do your research online and choose one that fits your needs and budget. <\/p>

Script length<\/h3>

Typically feature length screenplays are between 90 - 120 pages long. <\/p>

With a short script, you can pick your length, although if you want to produce it and enter the film into festivals, do some research to determine the best length for your needs. For example, a 10 minute short film may have a better chance of getting selected for a festival piece and becoming part of a \u201cshort series\u201d at a festival, than a 40 minute film. <\/p>

Editing and Camera Directions <\/h3>

It\u2019s better to use narrative description to show what\u2019s happening in the scene than to use editing or camera direction. For example, avoid using MATCH CUT or LOW ANGLE, etc. The story is the key, and it\u2019s not your job as the writer to determine the exact camera angles or edits in the movie - that will be left to the Director, Cinematographer and Editor. <\/p>

Avoid \u201cWe see\u201d or \u201cWe hear\u201d <\/h3>

Including \u201cwe see\u201d or \u201cwe hear\u201d in the narrative description takes the reader out of the script. Instead, just describe what is seen or heard in the scene. For example, \u201cWe see him cautiously approach the abandoned car\u201d is better written as, \u201cHe cautiously approaches the abandoned car.\u201d <\/p>

Scene Descriptions Length<\/h3>

Scene description paragraphs should be 4 or 5 lines only. Add a space, and then continue with the next paragraph or cut to dialogue. This will make your script easier to read, and help format your screenplay so that 1 page of script equals about 1 minute of film.<\/p>

FADE IN <\/h3>

Begin your screenplay with FADE IN (all caps), justified to the left. These are the first words of your screenplay. <\/p>

Scene Headings (Slug Lines) <\/h3>

Camera Location: INT. for Interior or EXT. for exterior<\/p>

Scene location: the location where the scene is taking place <\/p>

Time of day: DAY or NIGHT <\/p>

Example of a Master Scene Heading: <\/p>

INT. CASINO - NIGHT <\/p>

Secondary Scene Headings can be used if a single location has many smaller locations within it. This can make the scene sequence easier to read and can be helpful for action sequences as well. <\/p>

INT. CASINO - NIGHT<\/p>

Add some description\/action here. <\/em><\/p>

<\/p>

AT THE BAR<\/p>

Add some description\/action here. <\/em><\/p>

SLOTS ROOM <\/p>

Add some description\/action here. <\/em><\/p>

<\/p>

Follow every scene heading with a line or more of description\/action before writing the dialogue. <\/p>

MONTAGE and SERIES OF SHOTS <\/h3>

A montage is a series of short sequences\/actions or images that express a single concept or theme, such as falling in love, the passage of time, a building or project coming together from start to end, etc. <\/p>

This is a great tool to manipulate time. Montages will occur without dialogue and usually play out in the film over music. Refer to chapter 7 for more information. <\/p>

BEGIN MONTAGE - JASMINE AND ALISHA FALL IN LOVE<\/p>

-- INT. CAFE - DAY -- They meet when Jasmine bumps into Alisha, spilling her latte all over her white blouse. <\/p>

-- EXT. DRY CLEANERS - DAY -- Alisha wears Jasmine\u2019s coat, while Jasmine hands the white blouse over to the attendant. <\/p>

-- INT. MOVIE THEATER - DAY -- They share popcorn in the dark theater. Alisha still wears Jasmine\u2019s coat. <\/p>

-- EXT. DRY CLEANERS - DAY -- Alisha now wears her white blouse and hands Jasmine her coat. Jasmine grabs Alisha\u2019s hand and doesn\u2019t let go. Alisha\u2019s smile says it all. <\/p>

END MONTAGE <\/p>

A series of shots usually focuses on one subject\/concept and consists of rapid shots that tell a chronological story. <\/p>

SERIES OF SHOTS - TYRONE PICKS THE LOCK<\/p>

A) Tyrone unzips his case of lock picks. <\/p>

B) Tyrone grabs a pick and steadies himself. <\/p>

C) The timer counts down - only 10 seconds left. <\/p>

D) With precision, Tyrone turns the pick and the lock unclicks. <\/p>

END SERIES OF SHOTS <\/p>

FLASHBACKS and DREAM SEQUENCES <\/h3>

A flashback is another tool that writers can use to manipulate time. Format dream sequences, nightmares, daydreams, visions, flashforwards in the same way that the flashback is formatted. Refer to chapter 7 for more information. <\/p>

BEGIN FLASHBACK<\/p>

INT. HIGH SCHOOL HALLWAY - DAY <\/p>

Add some narrative description\/action here. <\/em><\/p>

INT. CAFETERIA - DAY<\/p>

Add some narrative description\/action here. <\/em><\/p>

<\/p>

END FLASHBACK<\/p>

Character First Appearances<\/h3>

Capitalize a character's name the first time they make an appearance in the screenplay. Follow with a great description that gives your reader a visual introduction to your memorable character. This helps to avoid confusion, and helps the Assistant Director and Casting Director create a cast list.<\/p>

The door slams open, and in walks DESIREE (25), hotter than the Texas sun and ready for a fight. Her slim figure is deceiving. She\u2019s five feet of determination that will knock your boots off. <\/p>

Sounds<\/h3>

Capitalize unusual or important sounds in your script so they stand out for the reader and for the sound design team. <\/p>

A heavy, animalistic PANTING wakes Marcus from his deep sleep. As his vision slowly clears, he stares straight into a hungry tiger's mouth. <\/p>

SUPERS<\/h3>

Use SUPER, which is short for superimpose when you need to superimpose text on the screen. <\/p>

SUPER: \u201c1975 Dallas, Texas\u201d <\/p>

Parentheticals <\/h3>

Directly below the character\u2019s name, in parenthesis, you can include personal direction for the actor. Use this sparingly. It\u2019s meant for specific instruction when the actor may not get your intention for the delivery of their character\u2019s dialogue. <\/p>

KAI <\/p>

(sarcastically)<\/p>

Is that for me? <\/p>

Off Screen (O.S.) and Voice Overs (V.O.) <\/h3>

A voice that occurs on screen, but the character is not seen in the scene is (O.S.) <\/p>

A voice that comes through a phone is a (PHONE V.O.) <\/p>

A voice that is heard in the character\u2019s mind is a (V.O.) <\/p>

Telephone Conversations <\/h3>

If a character talks on the phone, and the person on the other end is not<\/em> heard or seen, format it as any other dialogue. <\/p>

FERNANDO<\/p>

He said what?! <\/p>

(wiping away sweat)<\/p>

Tell him I\u2019ll be there in ten with the cash. <\/p>

If a character talks on the phone and the person on the other end is<\/em> heard but not seen: <\/p>

FERNANDO<\/p>

He said what?! <\/p>

RICHARD (PHONE V.O.) <\/p>

Hope he likes deep sea diving. <\/p>

Fernando wipes sweat from his brow. <\/p>

<\/p>

FERNANDO<\/p>

Tell him I\u2019ll be there in ten with the cash. <\/p>

If a character talks on the phone and the person on the other end is heard and also seen:<\/p>

INT. TRUCK STOP, PAY PHONE BOOTH - NIGHT <\/p>

Fernando flips a quarter. Heads. He slams it into the phone and dials. <\/p>

EXT. DESERTED CITY STREET - NIGHT<\/p>

Richard paces and takes a drag on his cigarette. The cellphone held tight to his ear. <\/p>

INTERCUT - TELEPHONE CONVERSATION<\/p>

FERNANDO<\/p>

He said what?! <\/p>

RICHARD <\/p>

Hope he likes deep sea diving. <\/p>

Fernando wipes sweat from his brow. <\/p>

<\/p>

FERNANDO<\/p>

Tell him I\u2019ll be there in ten with the cash. <\/p>

Emails and Text Messages <\/h3>

Only format spoken words as dialogue. With text messages or emails, format it like this: <\/p>

Marjory\u2019s phone DINGS. She reads the text. <\/p>

\u201cWhere you been? Miss U\u201d <\/p>

Or you could format like this: <\/p>

Arthur stares at his phone. It reads: \u201cIt\u2019s complicated\u201d <\/p>

Foreign Languages or Deaf Dialogue<\/h3>

Always write your script in the language of the reader. This way there\u2019s no confusion, they know exactly what\u2019s happening in your script. <\/p>

ELSA<\/p>

(in German)<\/p>

You never should have come. <\/p>

For deaf dialogue, do something similar. <\/p>

BRIT<\/p>

(while signing)<\/p>

Don\u2019t do that again!<\/p>

Character Sounds<\/h3>

Avoid writing screams, grunts, or cries as dialogue - write these in the action\/description instead. Only include spoken words as dialogue. <\/p>

Incorrect: <\/p>

EDGAR<\/p>

AHHHHHHH!!!!!<\/p>

Correct: <\/p>

Edgar screams. <\/p>

FADE OUT<\/h3>

End your screenplay with FADE OUT (all caps), justified to the right. These are the final words of your screenplay. <\/p>

FADE OUT<\/p><\/div>","rendered":"

\n

In order to make a positive, first impression with your screenplay and showcase your skills as a writer, you\u2019ll need to use proper formatting. There are many resources online to help answer your formatting questions, and here are some essential formatting techniques to get you started on the right track. <\/p>\n

\n

Keep in mind that you\u2019re writing for the producer, the actors, the director and the crew. Your script will need to be engaging, entertaining and well written in order to get financing behind it to get it produced. Once it\u2019s in production, it becomes the roadmap for the crew to put your vision on the big screen.<\/p>\n

\n

There are primarily three parts to your screenplay: the scene headings, the description\/action and dialogue. <\/p>\n

Screenwriting Software<\/a><\/h3>\n

Using screenwriting software will save you time and help you format your script properly. There are many different kinds of software and online programs out there. Do your research online and choose one that fits your needs and budget. <\/p>\n

\n

Script length<\/a><\/h3>\n

Typically feature length screenplays are between 90 – 120 pages long. <\/p>\n

\n

With a short script, you can pick your length, although if you want to produce it and enter the film into festivals, do some research to determine the best length for your needs. For example, a 10 minute short film may have a better chance of getting selected for a festival piece and becoming part of a \u201cshort series\u201d at a festival, than a 40 minute film. <\/p>\n

Editing and Camera Directions <\/a><\/h3>\n

It\u2019s better to use narrative description to show what\u2019s happening in the scene than to use editing or camera direction. For example, avoid using MATCH CUT or LOW ANGLE, etc. The story is the key, and it\u2019s not your job as the writer to determine the exact camera angles or edits in the movie – that will be left to the Director, Cinematographer and Editor. <\/p>\n

\n

Avoid \u201cWe see\u201d or \u201cWe hear\u201d <\/a><\/h3>\n

Including \u201cwe see\u201d or \u201cwe hear\u201d in the narrative description takes the reader out of the script. Instead, just describe what is seen or heard in the scene. For example, \u201cWe see him cautiously approach the abandoned car\u201d is better written as, \u201cHe cautiously approaches the abandoned car.\u201d <\/p>\n

\n

Scene Descriptions Length<\/a><\/h3>\n

Scene description paragraphs should be 4 or 5 lines only. Add a space, and then continue with the next paragraph or cut to dialogue. This will make your script easier to read, and help format your screenplay so that 1 page of script equals about 1 minute of film.<\/p>\n

\n

FADE IN <\/a><\/h3>\n

Begin your screenplay with FADE IN (all caps), justified to the left. These are the first words of your screenplay. <\/p>\n

\n

Scene Headings (Slug Lines) <\/a><\/h3>\n

Camera Location: INT. for Interior or EXT. for exterior<\/p>\n

Scene location: the location where the scene is taking place <\/p>\n

Time of day: DAY or NIGHT <\/p>\n

\n

Example of a Master Scene Heading: <\/p>\n

\n

INT. CASINO – NIGHT <\/span><\/p>\n

\n

Secondary Scene Headings can be used if a single location has many smaller locations within it. This can make the scene sequence easier to read and can be helpful for action sequences as well. <\/p>\n

\n

\n

INT. CASINO – NIGHT<\/p>\n

Add some description\/action here. <\/em><\/em><\/p>\n

<\/em><\/p>\n

AT THE BAR<\/p>\n

Add some description\/action here. <\/em><\/p>\n

\n

SLOTS ROOM <\/p>\n

Add some description\/action here. <\/em><\/em><\/p>\n

<\/em><\/p>\n

Follow every scene heading with a line or more of description\/action before writing the dialogue. <\/p>\n

\n

MONTAGE and SERIES OF SHOTS <\/a><\/h3>\n

A montage is a series of short sequences\/actions or images that express a single concept or theme, such as falling in love, the passage of time, a building or project coming together from start to end, etc. <\/p>\n

\n

This is a great tool to manipulate time. Montages will occur without dialogue and usually play out in the film over music. Refer to chapter 7 for more information. <\/p>\n

\n

BEGIN MONTAGE – JASMINE AND ALISHA FALL IN LOVE<\/p>\n

\n

— INT. CAFE – DAY — They meet when Jasmine bumps into Alisha, spilling her latte all over her white blouse. <\/p>\n

\n

— EXT. DRY CLEANERS – DAY — Alisha wears Jasmine\u2019s coat, while Jasmine hands the white blouse over to the attendant. <\/p>\n

\n

— INT. MOVIE THEATER – DAY — They share popcorn in the dark theater. Alisha still wears Jasmine\u2019s coat. <\/p>\n

\n

— EXT. DRY CLEANERS – DAY — Alisha now wears her white blouse and hands Jasmine her coat. Jasmine grabs Alisha\u2019s hand and doesn\u2019t let go. Alisha\u2019s smile says it all. <\/p>\n

\n

END MONTAGE <\/p>\n

\n

A series of shots usually focuses on one subject\/concept and consists of rapid shots that tell a chronological story. <\/p>\n

\n

\n

\n

SERIES OF SHOTS – TYRONE PICKS THE LOCK<\/p>\n

\n

A) Tyrone unzips his case of lock picks. <\/p>\n

\n

B) Tyrone grabs a pick and steadies himself. <\/p>\n

\n

C) The timer counts down – only 10 seconds left. <\/p>\n

\n

D) With precision, Tyrone turns the pick and the lock unclicks. <\/p>\n

\n

END SERIES OF SHOTS <\/p>\n

\n

FLASHBACKS and DREAM SEQUENCES <\/a><\/h3>\n

A flashback is another tool that writers can use to manipulate time. Format dream sequences, nightmares, daydreams, visions, flashforwards in the same way that the flashback is formatted. Refer to chapter 7 for more information. <\/p>\n

\n

BEGIN FLASHBACK<\/p>\n

\n

INT. HIGH SCHOOL HALLWAY – DAY <\/p>\n

Add some narrative description\/action here. <\/em><\/em><\/p>\n

\n

INT. CAFETERIA – DAY<\/p>\n

Add some narrative description\/action here. <\/em><\/em><\/p>\n

<\/em><\/p>\n

END FLASHBACK<\/p>\n

\n

Character First Appearances<\/a><\/h3>\n

Capitalize a character’s name the first time they make an appearance in the screenplay. Follow with a great description that gives your reader a visual introduction to your memorable character. This helps to avoid confusion, and helps the Assistant Director and Casting Director create a cast list.<\/p>\n

\n

The door slams open, and in walks DESIREE (25), hotter than the Texas sun and ready for a fight. Her slim figure is deceiving. She\u2019s five feet of determination that will knock your boots off. <\/p>\n

\n

Sounds<\/a><\/h3>\n

Capitalize unusual or important sounds in your script so they stand out for the reader and for the sound design team. <\/p>\n

\n

A heavy, animalistic PANTING wakes Marcus from his deep sleep. As his vision slowly clears, he stares straight into a hungry tiger’s mouth. <\/p>\n

\n

SUPERS<\/a><\/h3>\n

Use SUPER, which is short for superimpose when you need to superimpose text on the screen. <\/p>\n

\n

SUPER: \u201c1975 Dallas, Texas\u201d <\/p>\n

\n

Parentheticals <\/a><\/h3>\n

Directly below the character\u2019s name, in parenthesis, you can include personal direction for the actor. Use this sparingly. It\u2019s meant for specific instruction when the actor may not get your intention for the delivery of their character\u2019s dialogue. <\/p>\n

\n

KAI <\/span><\/span><\/span><\/span><\/span><\/p>\n

(sarcastically)<\/span><\/span><\/span><\/span><\/p>\n

Is that for me? <\/span><\/span><\/p>\n

\n

Off Screen (O.S.) and Voice Overs (V.O.) <\/a><\/h3>\n

\n

A voice that occurs on screen, but the character is not seen in the scene is (O.S.) <\/p>\n

\n

A voice that comes through a phone is a (PHONE V.O.) <\/p>\n

\n

A voice that is heard in the character\u2019s mind is a (V.O.) <\/p>\n

\n

Telephone Conversations <\/a><\/h3>\n

If a character talks on the phone, and the person on the other end is not<\/em> heard or seen, format it as any other dialogue. <\/p>\n

\n

FERNANDO<\/span><\/span><\/span><\/span><\/span><\/p>\n

He said what?! <\/span><\/span><\/p>\n

(wiping away sweat)<\/span><\/span><\/span><\/p>\n

Tell him I\u2019ll be there in ten with the cash. <\/span><\/span><\/p>\n

\n

If a character talks on the phone and the person on the other end is<\/em> heard but not seen: <\/p>\n

\n

FERNANDO<\/p>\n

He said what?! <\/span><\/span><\/p>\n

\n

RICHARD (PHONE V.O.) <\/span><\/span><\/span><\/span><\/span><\/p>\n

Hope he likes deep sea diving. <\/span><\/span><\/p>\n

\n

Fernando wipes sweat from his brow. <\/p>\n

<\/span><\/span><\/p>\n

FERNANDO<\/span><\/span><\/span><\/span><\/span><\/p>\n

Tell him I\u2019ll be there in ten with the cash. <\/span><\/span><\/p>\n

\n

If a character talks on the phone and the person on the other end is heard and also seen:<\/p>\n

\n

INT. TRUCK STOP, PAY PHONE BOOTH – NIGHT <\/p>\n

\n

Fernando flips a quarter. Heads. He slams it into the phone and dials. <\/p>\n

\n

EXT. DESERTED CITY STREET – NIGHT<\/p>\n

\n

Richard paces and takes a drag on his cigarette. The cellphone held tight to his ear. <\/p>\n

\n

INTERCUT – TELEPHONE CONVERSATION<\/p>\n

\n

FERNANDO<\/p>\n

He said what?! <\/span><\/span><\/p>\n

\n

RICHARD <\/span><\/span><\/span><\/span><\/span><\/p>\n

Hope he likes deep sea diving. <\/span><\/span><\/p>\n

\n

Fernando wipes sweat from his brow. <\/p>\n

<\/span><\/span><\/p>\n

FERNANDO<\/span><\/span><\/span><\/span><\/span><\/p>\n

Tell him I\u2019ll be there in ten with the cash. <\/span><\/span><\/p>\n

Emails and Text Messages <\/a><\/h3>\n

Only format spoken words as dialogue. With text messages or emails, format it like this: <\/p>\n

\n

Marjory\u2019s phone DINGS. She reads the text. <\/p>\n

\n

\u201cWhere you been? Miss U\u201d <\/p>\n

Or you could format like this: <\/p>\n

\n

Arthur stares at his phone. It reads: \u201cIt\u2019s complicated\u201d <\/p>\n

\n

Foreign Languages or Deaf Dialogue<\/a><\/h3>\n

Always write your script in the language of the reader. This way there\u2019s no confusion, they know exactly what\u2019s happening in your script. <\/p>\n

\n

ELSA<\/span><\/span><\/span><\/span><\/span><\/p>\n

(in German)<\/span><\/span><\/span><\/p>\n

You never should have come. <\/span><\/span><\/p>\n

\n

For deaf dialogue, do something similar. <\/p>\n

\n

BRIT<\/span><\/span><\/span><\/span><\/span><\/p>\n

(while signing)<\/span><\/span><\/span><\/p>\n

Don\u2019t do that again!<\/span><\/span><\/p>\n

\n

Character Sounds<\/a><\/h3>\n

Avoid writing screams, grunts, or cries as dialogue – write these in the action\/description instead. Only include spoken words as dialogue. <\/p>\n

\n

Incorrect: <\/p>\n

EDGAR<\/span><\/span><\/span><\/span><\/span><\/p>\n

AHHHHHHH!!!!!<\/span><\/span><\/p>\n

\n

Correct: <\/p>\n

\n

Edgar screams. <\/p>\n

\n

FADE OUT<\/a><\/h3>\n

End your screenplay with FADE OUT (all caps), justified to the right. These are the final words of your screenplay. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

FADE OUT<\/p>\n<\/div>\n","protected":false},"author":18,"menu_order":17,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-40","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/chapters\/40","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/wp\/v2\/users\/18"}],"version-history":[{"count":1,"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/chapters\/40\/revisions"}],"predecessor-version":[{"id":97,"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/chapters\/40\/revisions\/97"}],"part":[{"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/chapters\/40\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/wp\/v2\/media?parent=40"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/pressbooks\/v2\/chapter-type?post=40"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/wp\/v2\/contributor?post=40"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.palomar.edu\/candacerose\/wp-json\/wp\/v2\/license?post=40"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}