Formatting

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 Final
Draft or Movie
Magic Screenwriter, 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.

I know this probably isn’t a big enough question, but I’m still curious and hoping for an answer. I’m not new to writing, but brand new to screenplays. I have no idea how to do notations. Like what INT. and EXT. mean and those sorts of things.

–Micah

INT. and EXT. stand for “interior” and “exterior.” Basically,
any time the scene takes place inside a building, you use INT.
the scene header. If you’re outside, you use EXT. In most cases,
it’s very clear cut which one you would use. You are:

Sometimes, a situation will arise where it’s not clear which one really makes more sense. For instance, you’re clearly

but are you INT. or EXT. for the Superdome? Or what if a character is using a phone booth? In both cases, it’s your call. Just be consistent. And for scenes that take place in a moving car, I often note it as

to indicate that we’re both inside and outside of the car during the scene.

In addition to INT. and. EXT., you’ll occasionally see EST. used in a header. EST. stands for “establishing” as in “Okay, now we’re at the Grand Canyon.” Personally, I never use it. By definition, an establishing scene wouldn’t have any real action or dialogue, so I find it clearer just to use EXT. followed by a single word of action: Establishing.

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.