Each introduction of a scene appears on a single line (called the slugline) which contains the
location information and time of day. Almost all sluglines begin with INT. (interior) or EXT.
(exterior). There are very few exceptions except when either repeatedly cutting back to a scene or
moving through locations within the principle location.
For example: INT. BAR - NIGHT
If you have already introduced the BAR as a location you can simply use
"BACK TO BAR" as a subsequent slugline. Or if you have introduced a HOUSE as a location
and are writing a sequence in which a character moves through each room, you can use
BEDROOM or LOUNGE as the slugline in order to maintain the flow of the sequence.
SUPER can also be used to denote superimposed information, such as: SUPER: "Three years later"
INTERCUT BETWEEN can be used as a slugline for a phone conversation after the location of each party is established
with prior sluglines. INTERCUT: can also be used to achieve the same effect but as a TRANSITION.
If in doubt, always begin sluglines with INT. or EXT. and end with DAY or NIGHT,
unless a special time of day is dramatically essential, i.e. two
lovers watching the sun rise: EXT. BEACH - SUNRISE.
2. THE SHOT
A shot must not be confused with a slugline even though it appears in capital letters in a
similar format. A shot focuses the reader's attention on something specific within the scene,
such as a person or object.
For example:
ANGLE ON JACK, C.U. ON GUN or JACK'S POV. Sometimes writers use a shot to draw attention
to something, then follow this with a little description and then write BACK TO SCENE and
continue the main scene action.
3. THE ACTION ELEMENT
This appears immediately after your slugline, is preceded by one blank line and runs from left
to right margin, spanning the full width of the text on the page. The Action sets the scene,
describes the setting, and allows you to introduce your characters and set the stage for your story. Action is written in real time.
Write cleanly and crisply what the audience sees on the screen. Only create atmosphere through "flowery"
description if that atmosphere is essential to your scene, otherwise it is redundant and
slows the script down.
For example: If you're writing a horror and are introducing a haunted house, it is necessary to set
the tone and so a few sentences of description adds to the reading experience. It also allows the
reader to get a "real time" sensation as if watching the movie on screen. But if two characters
are in the middle of a heated debate, keep action description to an absolute minimum
in order to maintain the flow of the conversation and scene.
When writing action, the best thing to do is to imagine you are having a conversation with
someone over a coffee and recounting an interesting story. This way you only explain the
key points that move the story along and do not focus on the irrelevant aspects. Try to write
in small paragraphs, no more than four or five lines per paragraph, then double-spacing to the
next paragraph. In fact, by isolating action and images in their own paragraphs, the
writer suggests visual emphasis in the story; subliminally contributing to the visual direction.
Capitalize a character name on introduction only and give them a specific age and gender. This
information is critical for not only comprehension of the story, but casting and
budgeting as well. Capitalize all major sound effects, avoid describing clothing or hairstyles,
unless it's crucial to the story and do not write action in parentheses after a character
name, i.e. GEORGE (lighting a cigarette). Also, try to avoid using the word "camera." Use "we"
instead. For example: instead of "The camera follows..." use "We follow..."
4. CHARACTER NAME
This appears in caps, tabbed toward the center of the page and is followed by dialogue.
A character name can be an actual name (JACK) or description (FAT MAN) or an occupation (DOCTOR).
Sometimes, you might have COP #1 and then COP #2 speaking. It is okay to identify the speaking
parts like this, but actors will like you more if you personalize their part with a name.
Try to be consistent. Don't call a character JOE here and MR. JONES there.
5. DIALOGUE
This appears tabbed between the left margin (where sluglines and action are) and the character name margin.
Writing good dialogue is an art in itself and sometimes novices tend to over-write it,
making scenes slow, chatty and "play-like." Remember, people don't talk as formally as they
write but on the other hand, keep slang and vernacular to a minimum and don't write out accents
or regional dialects.
Your dialogue should reflect the personality of each character and give an insight into them.
Try to personalize dialogue from one character to the next (but don't over do it) so that the
reader can distinguish between the key players in your story. Make it sound real and
conversational, so that the audience feels like a fly on the wall, and try where possible to subtly
express inner feelings or conflicts rather than using dialogue that's too "on the nose".
People rarely say exactly what they mean. There is always subtext. Even when people are being
candid, there's still subtext. Indicate the truth and let the audience fill in the gaps or read
between the lines. This is far more interesting than being told outright what to think. For
instance, in Jerry Maguire, Tom Cruise's character says "You complete me" rather than
"I love you" to Dorothy and this was set-up earlier through an encounter with a young couple in
love who used sign language. The key is to make the audience think where possible rather than
handing everything to them on a plate, and this means being clever with your dialogue
which sometimes may not even be necessary if the same sentiment or message can be expressed visually.
6. PARENTHETICAL
Parentheticals (or "wrylies") appear left indented (not centered) within brackets beneath the character name and are used to
express an attitude for the actor who is speaking.. i.e. upset, crying, laughing, irritated, angry etc.
Parentheticals should be short, to the point, descriptive, and only used when absolutely necessary.
7. THE TRANSITION ELEMENT
Scene transitions such as CUT TO: and DISSOLVE TO: are optional and when used should be right-indented
(but not flush right) and preceded by one blank line and followed by two blank lines. When
breaking pages, the scene transition must remain with the shot just completed. In other words, it
is never permissible to start a new page with a CUT TO: or a DISSOLVE TO:. It must be placed
at the bottom of the previous page.
Transitions should be omitted if you are rapidly cutting
between scenes, since inserting them would disrupt the flow of the sequence; such as in a montage
or a chase through each room of a house. Transitions are primarily used to denote a major shift in
time or location, and sometimes, like using MATCH CUT TO:, for effect.
SUMMARY
To instantly grab the reader and keep them page turning, use crisp visual writing in simple
sentences, in short paragraphs, with dialogue scenes that are short and snappy and with no
mention of the camera (unless absolutely necessary) and without directing the actors or usurping
the duties of the costume designer, set designer, cinematographer, etc.
Remember, a screenplay is not a literary document. It is a blueprint for a movie. So make it lean
and easy to read. If a brilliant script isn't an easy read, it will never make the first cut.
The purpose of these basic formatting principles is so the reader can freely focus on your
characters and story without being distracted by unnecessary description, improper format and
convoluted dialogue. And always remember to spell check your script!
