|
Is
it just a matter of time before the speculative script development of
Cleopatra Reborn matures into a cinematic success?
A
ACTION
The scene description, character movement, and sounds as described in a screenplay.
For example: The sounds of TYPING rise above all the rest as HAL sits at his computer writing his essay. He stops to sigh. Looks at what he's written. Reaches over to the mouse. Highlights it all. And
bins it.
AERIAL SHOT
Use only when necessary. This suggests a shot be taken from a plane or helicopter (not a crane). For example, if a scene takes place on a tall building, you may want to have an aerial shot of the floor the action takes place on.
ANGLE ON
A type of shot. This usually occurs in scenes taking place in large settings.
For example: if you're at a playground and little William is playing in the grass while his sister Jenny is playing on the structure. To get from a detail shot of William playing to Jenny playing you'd use "ANGLE ON STRUCTURE" to suggest a new shot featuring Jenny. You're still in the same location, but the director knows to point the camera a different direction.
Note: this is often implied by simple scene description. Use ANGLE ON with good purpose.
B
BEAT
Many scripts will use the parenthetical "(beat)" to interrupt a line of dialog. A "beat" suggests the actor should pause a moment, in silence, before continuing the scene.
Suggestive of them thinking, being taken aback. "Beats" are often interchangeable with ellipses "..."
b.g. (background)
Used to describe anything occurring in a rear plane of action (the background as opposed to the main action or attention is focused in the foreground). Always use this term in lower case initials or written in full ("background"). For example: two people talk as Bill and Ted fight in the b.g.
C
Celtx:
Very comprehensive, tools for screenwriting and entire production management (storyboarding, scheduling, budgeting, call sheets). It's cloud-based, collaborative, and has a good free tier for basic scripting. Cons: The full feature set can be expensive with a subscription model. Some find the interface a bit cluttered compared to minimalist options. Popularity: Very popular among independent filmmakers, students, and those who need an all-in-one pre-production solution.
CGI (Computer-Generated Imagery): Creating entirely new digital elements (like the Insectaraptors or
Sectasaurs, or entire digital environments). Used primarily in post-production notes to indicate that a specific visual element or effect will be created using computer graphics.
CHARACTER
In a screenplay, the name appears in all caps the first time a character is introduced in the "Action." The character's name can then be written normally, in the action, the rest of the script.
For Example: The limo pulls up to the curb. DAISY, an elderly woman sits in the car as MORGAN, the driver, steps out and opens the door for her. Daisy is dressed in evening-wear, ready for an Opera.
Character's names always appear in all CAPITALS when speaking.
For Example:
DAISY
You've been a darling, Morgan. Here's twenty dollars.
CLOSE ON
See also INSERT and Shot.
CLOSE ON is a shot description that strongly suggests a close-up on some object, action, or person (an expressive body part such as the face, or a fist).
May also be seen as CLOSEUP or CLOSE SHOT
CLOSER ANGLE
We move in for a new angle nearer to the subject. This is more of an editing term, but can be mentioned in the screenplay when necessary.
CONTINUOUS
Sometimes, instead of DAY or NIGHT at the end of a SLUGLINE/Location Description, you'll see CONTINUOUS. Basically, continuous refers to action that moves from one location to another without any interruptions in time.
For example, in an action movie, the hero may run from the airport terminal into a parking garage. The sequence may include cuts, but the audience would perceive the action as a continuous sequence of events from the terminal to the lobby to the street to the garage to the second floor to a car etc. CONTINUOUS is generally optional in writing and cn be dropped altogether.
Example...
INT. AIRPORT LOBBY - DAY
JANE looks over her shoulder. The MEN IN BLACK are still after her,
toppling innocent passersby and sending luggage flying across the
linoleum floor. Jane faces forward again and nearly runs smack into
a nun. She apologizes wordlessly, glances back one last time before
pushing through the glass doors.
EXT. STREET - CONTINUOUS
Jane stumbles to the curb, stopping short of the honking traffic
-- Los Angeles drivers. As a bus flies by, blasting her with wind, she
steps out into traffic. A car SWERVES to avoid her! She GASPS, looks
back. The men in black are there.
FLASH
Jane gets shot in the back by the men in black.
BACK TO SCENE
She shakes off the thought and hops up onto the curb opposite the airport. She enters the parking garage.
INT. PARKING GARAGE - CONTINUOUS
BANG! A shot RICOCHETS into the garage. Jane SHRIEKS, her steps faltering momentarily, but she recovers.
EXT. STREET
The men in black pocket their guns and enter the parking structure.
INT. PARKING GARAGE
They glance around. No one else is in sight. The men nod to each other
and draw their guns. FOOTSTEPS in the distance. One of the men points
at the stairs.
SECOND STORY
Jane, breathing heavily, makes her way to her car...
Use CONTINUOUS for some of the sluglines (EXT. STREET - CONTINUOUS) and dropped it for others (INT. PARKING GARAGE). And it all represents no time passing between changes in location.
CRAWL
This is a term used for superimposed titles or text intended to move across on screen.
CROSS-CUT:
Transition whereby the action cuts between two action scenes to suggest that the action is happening at the same time.
CROSSFADE:
This is like a "Fade to black then Fade to next scene." In other words, as one scene fades out, a moment of black interrupts before the next scene fades in. It is not to be confused with DISSOLVE, since CROSSFADE always involves a black or blank screen. (Note: I'm not sure if this term is still in common use)
CUT TO:
The most simple and common transition. Since this transition is implied by a change of scene, it may be used sparingly to help intensify character changes and emotional shifts. The transition describes a change of scene over the course of one frame.
D
Dialog
Very simply, this is what people are supposed to say according to the script.
Director
The person who visualizes the movie based on the script, creates shots, suggests how the actors should portray their characters, and helps to edit the final cut. Basically, the person in charge of putting converting a script into a movie.
DISSOLVE TO:
A common transition. As one scene fades out, the next scene fades into place. This type of transition is generally used to convey some passage of time and is very commonly used in montages such as seen in Bugsy.
Dolly
A mechanism on which a camera can be moved around a scene or location. Simple dollies involve a tripod on wheels. Dolly shots are moving shots.
E
ECU. (EXTREME CLOSE UP)
Means the camera is placed very close to the subject or action. Generally, this term would be left out of a screenplay and left to the director to decide. Use only when necessary. Extreme Close-Up - A camera shot that focuses in tightly on a very small detail, such as an eye, a finger, or a key.
EST. (ESTABLISHING SHOT)
A shot, usually from a distance, that shows us where we are. A shot that suggests location. Often used at the beginning of a film to suggest where the story takes place. For example, if A story takes place in New York, we might use a shot of the Manhattan skyline as an establishing shot. A shot, usually full or wide, that sets the location or scene for the audience.
EXT.
Exterior. This scene takes place out of doors. This is mostly for producers to figure out the probable cost of a film project.
EXTREME CLOSE UP (ECU)
Means the camera is placed very close to the subject or action. Generally, this term would be left out of a screenplay and left to the director to decide. Use only when necessary.
EXTREME LONG SHOT (XLS):
Means the camera is placed a very long distance from the subject or action. Generally, this term would be left out of a screenplay and left to the director to decide. Use only when necessary.
F
FADE TO:
See also DISSOLVE TO: This is commonly used as a DISSOLVE to a COLOR. Commonly, you'll see this as:
FADE TO:
BLACK
FADE TO WHITE
FADE IN:
NEXT SCENE
This usually suggests it's not the end of the movie, but it is the end of a major movement in the film. The "Next Scene" is often days, months, or years after the previous scenes. Sometimes titles will appear in the blackness to declare a passage of time. But this transition is often a sign of a major shift in time or emotional status for the main characters. It may also be used to suggest a character has been knocked out or killed.
FAVOR ON
A particular character or action is highlighted or "favored" in a shot. The focus is basically centered on someone or something in particular. Use only when necessary.
Feature Film
In the olden days of cinema, people watched a series of short films. Then, as films became longer, they would watch some short films and one long film. The long film became the main attraction, hence the term feature film. Today, feature films are generally defined as any film at least one hour long that people pay to see.
Final Draft (1)
As in all writing, this refers to the writers last rewrite of a script. Often the script will be changed or rearranged again by the director.
Final Draft (2)
Very rarely, a script will appear as a Final Draft document. This means only people with a screenplay formatting word processor known as Final Draft or the appropriate Final Draft viewer can view the document appropriately. The Final Draft Viewer is available as a free download. See Celtx and WriterDuet.
FLASH CUT: (FLASH)
A transition where the screen flashes to white before entering the next scene, often used to transition into dream or fantasy sequences.
FLASHBACK:
A transition denoting a sequence that happened in the past. This can be followed by BACK TO PRESENT DAY or PRESENT DAY as the time of day at the end of the proceeding slugline instead of just DAY.
FREEZE FRAME:
H
In screenwriting, "HOLO" isn't a standard industry abbreviation like "VO" (Voice Over) or "OS" (Off Screen), but in some sci-fi or futuristic scripts, "HOLO" is often used to indicate that a character is speaking via a holographic projection
- essentially, they're not physically present in the scene but appear as a hologram. It’s a stylistic choice that helps the director and production team visualize how the dialogue is delivered.
So if you see something like:
ADMIRAL PERCIVAL (HOLO)
We don’t have much time. Argentina is under attack.
…it likely means Admiral Percival is appearing as a hologram, maybe flickering with static or projected from some sleek device, in this case aboard the
Elizabeth
Swann.
The picture stops moving, becoming a still photograph, and holds for a period of time. See
Blade Runner 2049 sequel.
I
INSERT
When a writer pictures a certain close-up at a certain moment in the film, they may use an insert shot. This describes a shot of some important detail in a scene that must be given the camera's full attention for a moment. Inserts are mainly used in reference to objects, a clock, or actions, putting a key in a car's ignition.
For example: if there's a watch on an arm (product placement). It may enhance the viewer's experience and placate a sponsor, to see the brand. Then, we'd use an insert shot to suggest the director get a closer shot of the
featured watch at a particular point in the scene.
Often; writing important objects in CAPS will convey their importance in the scene and give the director more freedom and a greater feeling of importance. Use inserts only when absolutely required.
INT.
Interior. This scene takes place indoors. This is mostly for producers to figure out the probable cost of a film project.
Intercutting
Some scripts may use the term INTERCUT BETWEEN. At this point, two scenes will be shown a few moments each, back and forth. For example, if Larry is stuck in his flaming apartment and the fire department in on the way, a screenplay may call for intercutting between the flames closing in on poor Larry and the fire fighters riding across town to save her.
INTO FRAME:
see also: INTO VIEW: I.V. In View - A term sometimes used in older scripts to show that an object or character is visible.
The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera stays put. It's like a character or object coming from off stage in the theater. For example: Forrest Gump sits on the bench. Perhaps better to stay with modern conventions.
OLD WOMAN INTO FRAME. She sits next to him.
INTO VIEW:
see also: INTO FRAME:
The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera pulls back (pans, etc) to reveal more of the scene. I.e. a high school facade, then pan back to the students in Pitch Perfect, or Marty sitting on a bench in Back to the Future, starting with the Clock Tower.
Iris Out
see also wipe.
Also written as: IRIS FADE OUT or IRIS FADE IN. Used at the end of Star Wars scripts, this term refers to a wipe from the center of the frame out in all directions. It's as if the iris of a human eye were opening for dimly lit situations to take prepare the viewers for the next scene or the ending credits as is the case with Star Wars.
J
JUMP CUT TO:
A transition. Imagine setting a camera down to film a person. You record him for five minutes. But as it turns out, you have only a one minute time limit on your project. You have no special editing tools, just a couple of
old VCR's. But you realize that most of the important stuff is said in a few short moments. If you cut out the unimportant parts and edit together the parts you want based on a single camera angle, you will have what are called jump cuts. Transitions from one moment to the next within a scene that appear jarring because they break the direct flow of filmic time and space. This transition is usually used to show a very brief ellipsis of time. A good example of Jump Cuts can be seen in the movie Elizabeth when the English Queen practices her speech. The jump cuts make us disoriented and nervous along with the queen, building the tension and humor of the situation, almost as if it were an out-take reel.
L
LAP DISSOLVE:
See also DISSOLVE: A transition between scenes that is achieved by fading out one shot while the next one grows clearer.
M
MATCH CUT TO:
A transition often used to compare two completely unrelated objects. It's film's version of metaphor. This involves cutting from one object of certain color, shape, and/or movement, to another object of similar color, shape, and/or movement. For example, a circular saw to a child's merry-go-round. A commonly studied example of match cutting comes from 2001: A Space Odyssey. The classic cut comes towards the beginning of the film. After the apes have used a bone as a weapon for gathering food, an ape throws the bone into the air. As it falls, we match cut to a space ship carrying nuclear warheads. Both the bone and the ship are of similar shape and color, and both happen to be moving towards the bottom of the screen. The cut relates all of technology to the development of weaponry as it cuts out all of human history.
MATCH DISSOLVE TO:
See also MATCH CUT TO:, DISSOLVE TO:
This contains similar qualities to the MATCH CUT. A match dissolve involves two objects of similar color, shape, and/or movement in transition from one scene to the next.
For example: if Scene A is following (tracking) an arrow whizzing through the forest, we might match dissolve to a tracking shot, in Scene B of a bullet whizzing through the inner city.
Microsoft Word Document
A computer term referring to the digital format a script may be stored in. These files are in a word processor files and often require Microsoft Word to read. Microsoft Word comes with many PC's or can be obtained with Microsoft Office 365 (subscription), or Microsoft Office 2021 and/or Word 2021 (outright purchase).
Montage
In film, a series of images showing a theme, a contradiction, or the passage of time. This film style became common in Russia in the early years of cinema. Russian directors were the first to truly use editing to tell a story. Some early examples of montage include City Symphony's and Man With a Movie Camera. Relatively modern day examples of montages can be seen in Kramer vs. Kramer and Bugsy. Montages of scenes are used several times in Sectasaur and the sequel: The Swarm.
MOS
Mit Out Sound (Original German) or: Moment of Silence (or Motion Only Shot). Indicates that the shot has no accompanying sound or dialogue (a term believed to have originated from a German director who spoke English poorly).
O
O.S. or O.C.
Off-screen or Off-camera. This is the abbreviation sometimes seen next to the CHARACTER'S name before certain bits of dialog. Basically, it means the writer specifically wants the voice to come from somewhere unseen.
P
Pan
Camera movement involving the camera turning on a stationary axis. Imagine standing in one spot on a cliff in Hawaii. You want to absorb the view so you, without moving your body or feet, turn your head from the left to the right. This is the same effect as a pan.
See Also: Swish Pan
Parenthetical
If an actor should deliver his or her lines in a particular way, a screenplay will contain a description in parentheses to illustrate the point. Parentheticals should be used only in cases where a line of dialog should be read in some way contrary to logic. If used too often, actor's and director's egos can get hurt, and things get messy.
For Example:
JULIET
(dead pan)
I hate you. I hate you. I hate you.
PDF
This is a computer term referring to Adobe's cross-platform portable document format. This file is created with Adobe Acrobat and can only be read by the Adobe Acrobat Reader. We have found this format particularly useful when applying to film festivals. And, posting a full script online, or with the British Library, for copyright proofs and ordinary file sharing. This is a subscription service.
POV
Point of View. The camera replaces the eyes (sometimes the ears) of a character, monster, machine, surveillance camera, etc. As a result, we get to see the world through the sensory devices of some creature. This can be used to bring out the personal aspects of a scene, or it can be used to build horror and suspense. An example of horror and suspense in POV can be scene in the opening shot of Halloween.
PRELAP or PRE-LAP
The dialogue from the incoming scene precedes the cut, and you hear the beginning of the dialogue in the outgoing scene.
JULIET (PRELAP)
We should trim the hedges tomorrow.
INT. NEWSROOM - DAY
NEWSCASTER
For the gardener's amongst you, rain in the forecast in the afternoon.
If is a sound:
JOHN STORM
Merlin, Pendragon please!
PRELAP: TASERS FIRE
EXT. ELIZABETH SWANN - DECK - DAY
(*Thanks buddy)
PUSH IN:
The camera physically moves towards a subject.
R
REVERSE ANGLE
Often used to reveal things for comic or dramatic effect. Could be described as a counter POV shot. Basically, the script suggests the camera come around 180 degrees to get a shot from the "other side" of a scene. For example, in the Something About Mary script, Tucker is playing a joke on Mary in her office in one scene that the writers didn't want to show right away. They use a REVERSE ANGLE to show that he's got two tongue depressors in his upper lip to represent teeth. Here, the reverse angle is used for comic effect.
ROLL
This is a term used for superimposed titles or text intended to move vertically on screen. For example, the text at the beginning of Star Wars movies.
S
SAME
Sometimes, instead of DAY or NIGHT at the end of a SLUGLINE/Location Description, you'll see SAME. Basically, same refers to action that occurs in the same location, but not necessarily without any interruptions in time.
Scene
An event that takes place entirely in one location or time. If we go outside from inside, it's a new scene. If we cut to five minutes later, it's a new scene. If both, it's a new scene. Scenes can range from one shot to infinity and are distinguished by slug lines.
Screenplay/Script
A written work by screenwriters for a film, video game, or television program. A fplay written for the screen.
S.F.X.
Sound effects. Notes for sound design that are not natural or realistic, such as a special sound effect. Special effects (SFX): Often refers to physical effects done on set (explosions, rain, prosthetics), but the line between SFX and VFX can sometimes blur, especially when physical effects are enhanced digitally
Shooting Script
This is the truly final draft used on set by the production people, actors, and director to make the movie from the screenplay.
Shot
One image. If there's a cut, you've changed shots. Shots can range from split seconds, like in Terminator 2, to several minutes, such as in Secrets and Lies or the opening sequence of Halloween. Shots are generally chosen by the director although the writer can use capital letters to suggest where the camera should be. When a writer absolutely must have a certain shot at a certain moment in a film, he has a few options each described in detail elsewhere in this list: INSERT, ANGLE ON, and CLOSE ON.
Slug Line
The text in all CAPS at the beginning of a scene that briefly describes the location and time of day.
For example: INT. DAN'S BUNK - NIGHT
Note: sometimes sluglines are abbreviated to something as simple as "LATER" or "BEDROOM."
SMASH CUT TO:
An especially sharp transition. This style of cut is usually used to convey destruction or quick emotional changes.
For example: If writing a horror movie but you wanted to lighten the gore at the beginning, you might have the first victim trip and fall. The killer enters the forest clearing, taking a moment to savor this death. The victim shakes her head, as if begging for the killer to change his mind. But no, he closes in, a black cloaked arm raising the knife into the air. The knife catches the moonlight for just a moment before it plunges down.
SMASH CUT TO:
EXT. WOODLAND HIGH SCHOOL COURTYARD - DAY
It's a bright and beautiful morning and kids wander the courtyard on their way to class or to meet friends. And the students discuss the end of this example.
The sudden shift from a dark forest to a bright schoolyard on the first stab would convey the distress of the murder without showing it. For another example of a smash cut, see the transition to L.A. in Barton Fink.
Note: this transition is often a director's choice. As a writer, use this sparingly if at all. Some script readers find the term unprofessional.
Spec Script/Screenplay
If a writer finishes his own screenplay outside the studio system (it isn't an assignment) then sends it to the studios for consideration, it is a spec script. It is written purely speculatively. Such as the
John Storm franchise. Written to create ocean and climate awareness stories, aiming at getting films made, or to publish novels or comics. Though, this is a Foundation developing scripts, not a talented individual hoping to score.
SPLIT SCREEN SHOT:
The space of the frame is split into two, three, or more frames each with their own subject. Usually the events shown in each section of the split screen are simultaneous. But Split screen can also be used to show flashbacks or other events. For example, two people are talking on the phone. They're in different locations, but you wish to show the reactions of both simultaneously. Or, watch Run, Lola, Run to see another use of split screen. Used in Parent Trap, in the phone conversations between the separated twins.
Steadicam
A camera built to remain stable while being moved, usually by human hands. Occasionally, seen in scripts to suggest a handheld shot be used in a scene.
STOCK SHOT:
Footage of events in history, from other films, etc. Basically, anything that's already filmed and you intend to be edited into the movie. For example, the Austin Powers movies use stock footage for comic effect. Some old B films use stock footage to keep their budgets low.
SUPER:
Abbreviation for superimpose. The superimposition of one thing over another in the same shot. Sometimes TITLES are superimposed over scenes. Or a face can be superimposed over a stream-of-consciousness montage shot.
Swish Pan
A quick snap of the camera from one object to another. This high speed movement causes the image to go completely blurry. Imagine yourself in the center of a merry-go-round that's moving really fast. Aside from making you totally dizzy, the world becomes a blur, swished out in the movement, like a giant and constant swish pan. Cuts are often hidden in swish pans. Or they can be used to disorient or shock the audience. For a good example of Swish Pan, watch certain old episodes of The Twilight Zone.
T
Teleplay
A play for television.
TIGHT ON
A close-up of a person or thing. Basically, like the space has been squeezed out of the area between camera and subject. Not in common use. Use only when necessary.
TIME CUT
When you want to cut to later in a scene, you have the option of writing TIME CUT as the transition. For example, if two people walk into a restaurant and their conversation is important at first then veers off into topics not important to your story, then you might want to time cut from the drinks to the main course and then again to paying the check.
Tracking Shot (Track, Tracking)
A tracking shot involves a camera following a person or an object. As long as the camera isn't locked down in place by a tripod, for example, and is following (tracking) a subject, then it's a tracking shot. For good examples of tracking shots, watch the one take episode of The X-Files or most any episode of ER. Star Wars Episode One has tracking shots galore during the pod race. Most films have some form of tracking shot or another.
Trailer
A theatrical advertisement for an upcoming film attraction. In the past, the advertisements for upcoming attractions were usually played after the end of the movie. Hence, the term 'trailers'. However, as credits reels grew in length over the years, audiences would often leave before watching the advertisements for the next attractions, so the "trailers" were shown before the attraction and became "previews". Now, the term 'trailer' has come to mean a preview of an upcoming attraction and is still in common use.
Transition
Descriptive term for how one scene 'transitions' to another scene. Used appropriately, these can be used to convey shifts in character development and emotion. In other words, a CUT TO: is not required at every scene change. Some major transitions include CUT TO:, DISSOLVE TO:, MATCH CUT TO:, JUMP CUT TO:, SMASH CUT TO:, WIPE TO:, and FADE TO:. Each term has it's own entry in this list of terms. Occasionally a writer will make up his own transition. In these cases, the transition is usually self-defined (such as BRIGHT WHITE LIGHT FLASH: suggests whiteness will fill the screen for a brief moment as we pass into the next scene). Seen to good effect in the John Travolta film, Phenomenon.
V
V.F.X.
Stands for Visual Effects. It's commonly used in film, television, and game production to refer to any imagery created, altered, or enhanced for a live-action or animated sequence that is not achieved through traditional, in-camera means.
So, in a script, you might see "VFX: Drone spray effect" or "VFX: Insectaraptor swarm attack" to indicate that these moments will involve significant digital visual work.
V.O.
Voice Over. This is the abbreviation sometimes seen next to the CHARACTER'S name before certain bits of dialog. This means the character voices that dialog but his or her moving lips are not present in the scene. Voice over is generally used for narration, such as in the beginning of
The
Mummy. Or, as Austin Powers would say, a character's inner monolog. The inner thought processes of the character said out loud such that only the audience will hear it. An general example of Voice Over can be heard in Election or in the Sixth Season Finale of The X-Files.
W
WIPE TO:
A transition in which one scene "wipes away" for the next. Imagine Scene A is
water and Scene B is the substance underneath. A wipe would look like a squeegee pulling Scene A off of Scene B. These usually suggest a passage of time from one scene to the next. The most common and obvious example of wipes is in the Star Wars franchise. Also watch The Mummy for more examples.
WriterDuet:
Scriptwriting software, excellent for real-time collaboration, allowing multiple writers to work on the same script simultaneously. It's cloud-based, works well on various platforms (web, desktop, mobile), and offers robust formatting. It has a generous free tier. Some advanced features are locked behind a subscription. Requires an internet connection for full collaborative features. Popularity: A go-to for writing partners, writing rooms, and collaborative projects due to its strong real-time editing.
X
XLS (EXTREME LONG SHOT):
Means the camera is placed a very long distance from the subject or action. Generally, this term would be left out of a screenplay and left to the director to decide. Use only when necessary.
Z
ZOOM:
The image seems to close in on a person or object making the person or object appear larger (or smaller) on screen. Technically, the lens mechanically changes from wide angle to telephoto or vice versa. Notice and recognize the difference between a zoom and a push in (camera moves closer to subject). Use zoom only when necessary. For an example of zoom, see Boogie Nights.
SCRIPTWRITING FORMATTING STANDARD A TO Z
CONVENTIONS FOR HOLLYWOOD
Element Format & Margins (Approx. from Left Edge) and Rationale
ACTION Full left margin (1.5") The main visual storytelling element. Lines should be concise, written in the present tense, and generally no longer than 3–5 lines of text.
Binding Margin Left Margin: 1.5 inches (wider than the standard 1") The extra space is utilitarian: it allows the script to be hole-punched and bound with brads (brass fasteners) without obscuring the text.
Character Name (Dialogue) Centered (starts approx. 3.7 inches) and in ALL CAPS This alerts the actor and production team immediately to who is speaking, allowing quick visual scanning of lines across the script.
Dialogue Block indented (starts approx. 2.5 inches) Dialogue is placed in a narrow column to create a distinct, easily readable visual block, separating it from the action and aiding in the one-page-per-minute timing estimation.
EXT. / INT. Full left margin (1.5") and in ALL CAPS The first element of a Scene Heading, indicating EXTERIOR (outside) or INTERIOR (inside). Crucial for setting and budgeting (e.g., permits, weather coverage).
Font Courier (or Courier New), 12-point The absolute standard. Courier is a fixed-width (monospaced) font, meaning every letter and space takes up the same amount of horizontal space. This consistency is the foundation of the one page ≈ one minute rule, allowing producers to accurately estimate the runtime.
General Action (Emphasis) Full left margin (1.5"). Key words in ALL CAPS Important sounds (SIRENS, EXPLOSION), props (ANCIENT SWORD), or first-time actions that must stand out for the reader/director are capitalized. Use sparingly.
Hyphen Used to separate parts of the Scene Heading. Example: INT. ABANDONED CABIN - NIGHT
Introduction (Character) First mention in Action Line is in ALL CAPS Only the first time a character with dialogue or a major role appears. This cues the Casting Director and Script Supervisor that a new role must be cast and tracked. (e.g., The man is LIN PO CHANG, 50s, a scientist with cold eyes.)
Justification All elements are left-justified, except for the Page Number (top right) and Transitions (sometimes right-justified). Standard alignment for readability, allowing the eye to quickly move down the left margin.
Key Words See General Action (Emphasis). Any word whose on-screen significance justifies drawing the reader's immediate attention.
Location Part of the Scene Heading, in ALL CAPS A concise description of the specific place the scene occurs. It should be consistent throughout the script.
Montage Full left margin (1.5") and in ALL CAPS Indicates a short, rapid sequence of shots to condense time or illustrate a series of events (e.g., MONTAGE - TRAINING SEQUENCE).
NARRATOR (V.O.) Character name extension. Used when a character is speaking as a Voice Over (V.O.), usually in the past or as internal thought.
Off-Screen (O.S.) Character name extension (e.g., OFFICER (O.S.)) Dialogue heard from a character who is in the scene location but is not currently visible in the frame.
Parenthetical (Wryly) Indented (starts approx. 3.1 inches) Small directorial or emotional notes for the actor on how to deliver the dialogue (e.g., (sincerely), (to himself)). Use sparingly.
Quality Check Aim for ≈ 55 lines per page A manual target used with Courier 12pt to maintain the one-page-per-minute pacing standard.
Right Margin 1.0 inch (or slightly less, often "ragged") This margin is the right-hand boundary for action and scene headings. The Dialogue block is typically not justified to the right margin.
Scene Heading (Slugline) Full left margin (1.5") and in ALL CAPS The three-part header that defines every scene: INT./EXT. - LOCATION - TIME. (e.g., INT. RESEARCH LAB - NIGHT).
Time of Day Part of the Scene Heading, in ALL CAPS Usually DAY or NIGHT. Specific times (e.g., DUSK, MORNING) should only be used if relevant to the plot.
Underlining Avoided. Never underline, bold, or italicize text for general emphasis. Use ALL CAPS instead (see G).
VOICE OVER (V.O.) Character name extension. See NARRATOR (V.O.).
White Space Intentional use of short action lines and dialogue blocks. Crucial for readability and to create a visually appealing, fast-moving script that encourages the professional reader to keep turning the page.
X-Tra Detail Avoid in Scene Headings. Scene headings should be brief (e.g., INT. APARTMENT), not overly descriptive (e.g., INT. MESSY, FIFTH-FLOOR, RENT-CONTROLLED APARTMENT).
Year Included on the Title Page and often in the first Scene Heading. To establish the story's timeline (e.g., EXT. CITY STREET - DAY - 1985).
Zealous use of CAPS Avoided. Only capitalize what is necessary (Scene Headings, Character Names, Key Sounds/Props). Over-capitalizing action lines slows the reader down and loses its impact.
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https://blog.finaldraft.com/5-easy-ways-to-be-a-more-successful-screenwriter
https://blog.finaldraft.com/what-is-a-spec-script
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