Screenplay Formatting Basics

Everything in a screenplay is written in Courier size 12. It’s ugly,

but it’s been the industry standard since the era of typewriters.

TIP #1: ESTABLISHING IMPORTANT OBJECTS

Film is a visual medium. A script should always draw the reader’s attention to the important
elements in the scene. Use ALL CAPS for each of the following elements:

CHARACTER NAMES OBJECTS SHOWN IN CLOSE UP

SCENE HEADINGS SHOTS (INSERT, ANGLE ON, etc.)

SOUND EFFECTS SLUGLINES

TIP #2: PUNCHING UP YOUR ACTION LINES

Keep your action paragraphs to three lines or fewer. Don’t overexplain. Sentence fragments are
ok.

Bad Example:

EXT. TOWN – NIGHT

It was a dark and stormy night somewhere in the plains of Western

Texas. There wasn’t a person in sight for miles, except for one man –
DAMIEN LOREDO – who had a soul that was even darker than the blackest
of midnight. The rain felt like tiny droplets of fire as Damien
smoothed his rugged hand across the silky brown mud that covered an
abandoned MINE SHAFT. This is just what the evil man was looking for.

Good Example:

EXT. WESTERN TEXAS MINING TOWN – NIGHT

Rain. LIGHTNING splits the ink-black sky as A FIGURE huddles close to
the earth over a cris-crossed “X” of muddy two-by-fours. He slicks A
RAGGED HAND across the mud-streaked surface of the wood.

ON THE BOARDS: “DANGER! MINE SHAFT”

This is DAMIEN LOREDO, 40s, soaking wet and LAUGHING MANIACALLY.

TIP #3: BUILDING SUSPENSE IN ESTABLISHING SHOTS

If the camera/audience sees/hears something that the characters in the scene haven’t yet
noticed, It might help if you use “we see” or “we hear” to create suspense (but use these items
sparingly).

Example:

INT. MINE SHAFT – NIGHT

Bob is surrounded by sand and dust. Struggling for oxygen. He claws at

the fallen rubble, desperate to escape the darkness.

Suddenly – we hear the not-so-distant RATTLING of a rattlesnake.

TIP #4: SHOW, DON’T TELL

Screenplays are only allowed to feature what can be seen or heard by the audience. Everything
you write must be filmable. That means no internal thoughts, and no flowery descriptions.

Bad Example:
INT. MINE SHAFT – NIGHT

Bob is trapped under a massive sea of heavy stones that are bigger
than your average Volkswagen. He knows he’ll die here, and he begins
to cry, thinking of his daughter, Sarah, and how he’ll never get the
chance to tell her how sorry he is and how much he loves her.

Good Example:

INT. MINE SHAFT – NIGHT

Bob struggles to get free from the rubble. Wincing from the pain. He
scrapes at the massive rocks. Tears roll down his cheeks.

BOB

(sobbing)

Sarah!

He strains even harder to free his leg from under the heavy stones.

TIP #5: WRITING VISUALLY

A screenplay should “read like a movie.” Your goal is to give your reader the impression they
are watching a film. Write in the present tense! And think of each sentence as if it was a new
shot.

Bad Example:

Jax and Damien fought for a long time. Jax was strong, but Damien is a
cheater, and so he hit him with a shovel. After that, Damien won when
he knocked Jax down a mine shaft.
Good Example:

Damien swings a SHOVEL into Jax’s gut, where it connects with a

sickening THUD. Jax staggers backward…

INCHES FROM THE MINE SHAFT...

Jax is winded, but Damien’s fury is unrelenting. WHAM! He punches Jax

in the jaw and the spit flies. Jax topples backward... backward...

INTO THE MINE SHAFT.

TIP #6: MAXIMIZING WHITE SPACE

Maximize “white space” by breaking up long segments of action and dialogue. Look at each of
the “good examples” above and compare them to the “bad examples.”

Notice how shorter paragraphs pull the reader down the page and make for quicker, easier
reads?

TIP #7: USING PARENTHETICALS

Parentheticals (or “wrylies”) can come in handy when describing the particular manner in which
an actor should deliver a line if it is otherwise unclear – but use them sparingly.

Bad Example:

MOM:

(cheery)

Good morning!

SARAH:

(excited)
 Good morning mom!

Good Example:

MOM:

Good morning, sweetheart!

SARAH:

(half-heartedly)

Morning.

TIP #8: KEEPING TRACK OF TIME AND PLACE

Every single scene is set either in an INTERIOR (INT.) or an EXTERIOR (EXT.) location.
Likewise, every single shot is either filmed during the DAY or NIGHT. Even if audiences won’t
know what time of day it is, this information is vital to directors, producers, actors, and script
readers.

Example:

EXT. OCEAN CITY BEACHFRONT – DAY

INT. JUSTIN BIEBER CONCERT - NIGHT

If your script is jumping back and forth with shots that are occurring both inside and outside of
one location at the same time, use INT. / EXT., like so:

INT. / EXT. BOB’S TOYOTA CAMRY - DAY

If your script is jumping back and forth with shots that are occurring in two locations at the same
time, use INTERCUT, like so:
INTERCUT MINE SHAFT / DONNY’S FERARRI

If your script features a sequence like a car chase or something where it is absolutely necessary
to remind readers that the next scene is occurring immediately after the preceding one, you
might also consider using the word “CONTINUOUS” to make that more clear.

INT. THE PARKING GARAGE – DAY

Donny hops into his YELLOW FERARRI. Slams the gas and guns it onto...

EXT. THE FREEWAY – CONTINUOUS

TIP #9: ARRIVING LATE AND LEAVING EARLY

The way that people talk in movies might sound like real life, but it’s really nothing like it. When
writing a screenplay, always start a scene as late as possible and leave a scene as early as
possible. Don’t waste time re-hashing old or obvious information, and avoid unnecessary small-
talk.

Bad Example:

INT. KITCHEN – DAY

MOM:

Good morning, Sarah!

SARAH:

Hi, mom.

MOM:

Did you sleep alright?

 SARAH:

Yup.

MOM:

Lovely. I made eggs!

SARAH:

No thanks. I’m late for school.

MOM:

Ok. Bye!

SARAH:

Bye, Mom.

Good Example:

INT. KITCHEN – DAY

MOM:

Morning, Sarah! Want some eggs?

SARAH:

(grabbing her backpack)

Can’t! I’m late!

TIP #10: INTRODUCING CHARACTERS

The first time we meet a character, give them – at the very minimum – a name and an
approximate age. Providing an additional detail or two will help readers keep characters
separate. Generally speaking, minor characters get a quick description, while major characters
get more description.

Example:

The apartment door swings open and out pops WALLY SUMMERS, 50s, bleary
eyed and looking like he just rolled out of bed.

Smirking by the rival cheer squad’s bench is