Formatting

Can you tell me what is preferred/correct for this situation? Mabel is moving through a house (and, if necessary, outside):

INT. LIVING ROOM – DAY

Mabel searches for the cat.

INT. KITCHEN – DAY

Mabel searches for the cat.

EXT. STREET – DAY

Mabel searches for the cat.

Et cetera. Thanks very much.

–Arnold Sable

Yeah, that pretty much sucks, Arnold. Unless you are repeating the sentence for some effect, perhaps showing how intensely single-minded Mabel can be, almost anything else would be better.

The simplest choice would be to use a different scene heading that encompasses all needed locations, such as:

INT. HOUSE – VARIOUS ROOMS – DAY

Or, if you do want to show each location, try varying your descriptions of Mabel’s search so that they don’t repeat.

Finally, you could consider using a montage format:

MONTAGE as Mabel searches for the cat:

— She pulls open the dryer in the laundry room.

— Checks the kitchen cupboards.

— Searches under the porch with a flashlight.

— Pokes the broom under the sofa.

— Rechecks the kitchen cupboards again.

What format you choose really depends on the situation, and how much information you need the reader to know.

Could you please refer me to a website that gives detailed information regarding the proper format that a film script is to be written before being passed around.

–Pat Meehan

If you’re using either Highland Pro or Final Draft, you can rest assured that the standard formatting
these programs recommend is fine.

If you’re not using either of these, I suspect you’re consulting one of the many screenwriting books out there, all of which will point you in the right direction in terms of margins and spacing.

But the best advice I can give you is to do what I did: find a properly formatted script and copy it exactly. Not only will looking at real scripts show you how they’re formatted, but it will also give you a sense of how standardized the format truly is, for better or worse.

Learn more about standard screenplay formatting here!

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When I write dialogue, I tend to use the parenthetical a lot to describe the mood of my characters or the change in their mood. Also when I have a scene with two characters talking a lot, I tend to put lines of action between the dialogue describing the characters actions while they talk, such as shrugging, smiling, etc. How do you feel about this? Should I just let the actor find out how to react or should I control it by writing more specifically their actions during dialogue?

–Øystein Håland

For those who are unfamiliar with the term, parentheticals are small bits of scene description within blocks of dialogue. For example:

The (reeling) and (beat, causally) are parentheticals. They help communicate the pacing and intention of the dialogue. Without them, the lines read very differently.

Some actors have been known to automatically cross out all parenthetical comments in their scripts, lest their performance be shackled by the writer’s limited vision. If that makes the actor feel better, fine. But there’s nothing inherently awful about the parenthetical. Properly and judiciously used, these comments are an important writing tool.

Screenplays are meant to be read-by directors, producers, editors and countless other creative types-and it’s the screenwriter’s job to communicate crucial details about how the movie looks, sounds and feels.

But that doesn’t mean you script every look, every turn, every smile. Screenwriting is the art of economy, and overusing parenthetical comments will not only break the flow of the dialogue, they’ll drive the reader crazy. If you find you’re using three or more per page, look at whether the dialogue itself is giving enough emotional information. If characters are obviously arguing in a scene, an (angrily) comment is probably unneeded, but you might need to highlight a line that is (sympathetic) or (withering) when it could read either way.

Sometimes these little bits of description end up as free-standing sentences (or fragments), rather than in parentheses. I’ve never heard a good name for these snippets of interjectory description, but every script has them:

Generally, these little text chunks communicate some important piece of action. What only screenwriters understand is that sometimes you need a bit of screen description to break up a long section of character dialogue, or to give breathing room. In screenplays — unlike stageplays — a page full of only dialogue is considered poor form, so an occasional line of action helps put the reader at ease.

Learn more about the basics of parenthetical usage here!