How to Format Your Screenplay Right

The blank page can be daunting, but a properly formatted screenplay isn’t a creative straightjacket; it’s a universal language. It’s what transforms your brilliant concept and compelling dialogue from a personal musing into a professional blueprint for filmmaking. Sloppy formatting screams amateur, disrespecting the reader’s time and undermining your story before a single word is truly digested. This isn’t about arbitrary rules; it’s about established industry standards that streamline the reading process, allowing executives, producers, and directors to visualize your film without unnecessary mental gymnastics. Mastering these nuances isn’t just a nicety; it’s a non-negotiable step toward getting your story told.

The Pillars of Professional Presentation: General Formatting Guidelines

Before delving into the specific elements, let’s establish the foundational visual rules that govern every page of your screenplay. Consistency is paramount.

Paper Size, Font, and Margins: Your Visual Foundation

Your screenplay will likely be read digitally, but the standard still adheres to print dimensions for optimal readability.

Paper Size: Always use 8.5″ x 11″ (Letter). Even if printing at home, ensure your software is set to these dimensions.
Font: 12-point Courier New is the unbreakable industry standard. No exceptions. Courier New is a monospaced font, meaning every character occupies the same horizontal space. This is crucial because it allows for a widely accepted rule of thumb: one page of screenplay roughly equates to one minute of screen time. Deviating from Courier New throws this crucial timing off and immediately signals a lack of professional understanding.
Margins: These are not suggestions; they are fixed boundaries that ensure consistent readability and room for potential binder holes.
- Left Margin: 1.5 inches. This generous margin provides space for binding and ensures text isn’t swallowed by page edges.
- Right Margin: 1.0 inch.
- Top Margin: 1.0 inch.
- Bottom Margin: 1.0 inch.
- Page Numbers: Set 0.5 inches from the top and 0.5 inches from the right margin. More on page numbers below.

Page Numbers: Your Roadmap Through the Story

Every page, except the first, must be numbered.

Placement: Top right corner.
Format: Arabic numerals only (e.g., 2, 3, 4). Do not use “Page 2” or “2 of 120.”
Title Page: No page number on the title page. The first numbered page is your second physical page (the first page of scene description).
Parentheticals (More on these below): If a parenthetical causes a line of dialogue to spill onto the next page, the parenthetical should be moved to the new page, tucked beneath the character name. The dialogue itself should break at an appropriate point.

The Sacred Rule: “One Page, One Minute”

This isn’t an exact science, but a crucial guideline. Industry professionals use it to quickly estimate a film’s run time. A 110-page screenplay is expected to translate into a roughly 110-minute film. This is why strict adherence to font and margins is non-negotiable. Don’t try to squeeze more words onto a page by fudging margins or changing font size; it will be noticed and reflects poorly.

Decoding the Elements: Standard Screenplay Components

Now, let’s break down the specific building blocks of your screenplay and how each one is meticulously formatted.

The Title Page: Your Story’s Business Card

This is your screenplay’s first impression. It must be clean, professional, and contain essential information.

Title: Centered, approximately one-third of the way down the page, in ALL CAPS.
“Written by”: Centered, a few lines below the title, with the “by” in lowercase.
Writer’s Name: Centered, directly below “Written by,” typically in U&lc (Upper and lower case). If there are multiple writers, list them either aligned vertically or stacked with “and” between them.
- Example for Multiple Writers:
  WRITTEN BY
  Jane Doe
  and
  John Smith
Contact Information: This belongs in the lower left or right corner.
- Lower Left: Your name (if not already explicitly listed again), phone number (with dashes), and email address. You might also include your WGA registration number here, but it’s not strictly necessary.
- Lower Right: Typically reserved for your agent’s or manager’s contact information (company name, agent’s name, phone, email). If you don’t have representation, leave this blank.
Copyright/WGA Registration: Optional, but if included, it goes in the bottom center or near your contact info. Format: “© YEAR” or “WGA Reg. #” followed by the number.
Draft Number/Date: Not usually on a spec screenplay (a screenplay written on speculation, without being commissioned). This is more common for production drafts.

Example Title Page Snippet:

[Approx. 3-4 inches from the top]
                 **THE LAST SUNSET**

[Approx. 2 lines down]
                 Written by
                 Jane Doe

[Approx. 4-5 inches from the bottom]
Jane Doe
(555) 123-4567
janedoe@email.com

Scene Headings (Sluglines): The GPS of Your Story

Scene headings tell the reader where and when a scene takes place. They are always in ALL CAPS.

Structure:
1. INT. / EXT. / INT./EXT.:
  - INT. (Interior): The scene takes place indoors.
  - EXT. (Exterior): The scene takes place outdoors.
  - INT./EXT.: The scene fluidly moves between interior and exterior within the same continuous sequence (e.g., character starts talking in a car, then gets out and finishes the sentence). Use sparingly and only when truly necessary.
2. LOCATION: Specific place.
3. DAY / NIGHT / DAWN / DUSK / CONTINUOUS / MOMENTS LATER / LATER: The time of day relative to the story’s timeline.
  - DAY / NIGHT: Most common.
  - DAWN / DUSK: For scenes that specifically rely on these transitional moments.
  - CONTINUOUS: The action seamlessly flows from the previous scene to this one without a time jump. Useful for characters running from one room to another, or changing locations but keeping the real-time flow.
  - MOMENTS LATER / LATER: When a short time jump occurs, but not a full new day/night cycle.
Punctuation: Generally, a period separates the location from the time of day. No period at the end of the slugline itself.
Specificity: Be specific but concise. “KITCHEN” is better than “HOUSE.” “CASHIER’S BOOTH” is better than “MOVIE THEATER.”
Sub-Locations: If a scene entirely takes place within a very specific smaller part of a larger location, you can denote it with a dash.
- Example:
  INT. POLICE STATION – INTERROGATION ROOM – NIGHT
Camera Shots/Angus: Do NOT include camera directions (e.g., WIDEN ON) in sluglines. They belong in action lines if they are absolutely essential to understanding the scene.
Example Sluglines:
INT. DUSTY ATTIC – DAY
EXT. CROWDED CITY STREET – NIGHT
INT. LAB / EXT. ALLEY – CONTINUOUS

Action Lines (Scene Description): Painting the Picture

Action lines describe what the audience sees and hears (non-dialogue) and what characters do. They are written in present tense and are concise and visual.

Purpose: To convey visual information clearly and efficiently.
Formatting: Regular paragraph format, aligned with the left margin (1.5 inches).
Length: Keep paragraphs short, ideally 3-5 lines, rarely more than 6-7. Break up long descriptions into multiple paragraphs. This makes the page less dense and easier to scan.
Present Tense: Always. “John walks into the room,” not “John walked into the room.”
Conciseness: Every word counts. Avoid flowery language, adverbs that can be conveyed through stronger verbs, and unnecessary details.
Show, Don’t Tell: Instead of “Mary is sad,” write “Mary stares at her reflection, a tear tracing a path down her cheek.”
Key Elements to Include:
- Visuals: What do we see? (e.g., “A dilapidated shack sits on the edge of a vast desert.”)
- Sounds: Non-dialogue auditory elements. (e.g., “A distant SIREN WAILS.”)
- Character Actions: What are characters doing? (e.g., “He paces nervously.”)
- Character Introductions: First time a character appears, their name is capitalized, along with a brief, visually descriptive age range.
  - Example:
    A rugged COWBOY, early 60s, leans against the bar. His eyes are world-weary.
Avoid Camera Directions (MOST of the time): Resist the urge to write “CLOSE UP ON MARY’S FACE.” If it’s absolutely crucial for the reader to visualize a specific shot for the story’s impact, you might parenthetically note it, but it’s generally frowned upon in spec scripts. Your job is to tell the story, not direct the film.
Example Action Lines:
The old CABIN, nestled deep within a thick pine forest, offers little solace. Smoke curls from a stone chimney.

JANE (30s, sharp, determined) bursts through the front door, panting. She clutches a worn leather satchel.

Character Names: The Voices of Your Story

When a character speaks, their name is centered directly above their dialogue.

Formatting: ALL CAPS, centered approximately 3.7 inches from the left margin.
Consistency: Use the same name every time. If “Dr. Smith” speaks, don’t suddenly refer to him as “Smith” in the character name.
Off-Screen/Voice Over:
- (O.S.) – Off-Screen: The character is in the scene, just not visible to the audience at that moment.
  - Example:
    JOHN
    (O.S.)
    Where did you put the keys?
- (V.O.) – Voice Over: The character’s voice is heard, but they are not physically present in the scene, or they are narrating.
  - Example:
    NARRATOR
    (V.O.)
    Little did I know, this was only the beginning.

Dialogue: The Heartbeat of Your World

Dialogue is the spoken words of your characters.

Formatting: Indented (approx. 2.5 inches from the left margin, 2.5 inches from the right margin). This creates a narrower column of text.
Single-Spacing: Dialogue is always single-spaced.
Length: Keep dialogue lines concise and realistic. Avoid long monologues unless dramatically justified.
Spelling & Grammar: Flawless. Sloppy errors are jarring.
Accents/Dialects: Do not try to write out accents phonetically. It’s difficult to read and can be offensive. Instead, convey accent/dialect through word choice, sentence structure, or indicate it parenthetically (e.g., “(with a southern drawl)”).

Example Dialogue:

            JESSICA
    I told you not to go near that old shed.
    Now look what you've done.

Parentheticals: Nuance and Action Within Dialogue

Parentheticals provide brief, essential direction to the actor about how a line is delivered or a small action performed while speaking. They are always a single line, tucked under the character name and above the dialogue.

Formatting: Enclosed in parentheses, aligned like the dialogue block (approximately 3.1 inches from the left margin).
Purpose: To give actionable instruction to the actor or clarify the intent of a line.
Conciseness: Keep them short and to the point. No sentences.
Common Uses:
- (offended)
- (with a sigh)
- (to himself)
- (a beat) – indicates a brief pause.
- (he grabs the phone)
Avoid Redundancy: Don’t use a parenthetical if the action is already clear from the dialogue or the preceding action lines. Don’t tell the actor how to feel if the dialogue already implies it.

Example Parentheticals:

            MARK
    (frustrated)
    I don't understand why you can't just
    listen for once.

            SARAH
    (leans in conspiratorially)
    He’s hiding something, I know it.

Transitions: Guiding the Reader Between Scenes

Transitions indicate how one scene visually moves into another. They are always in ALL CAPS and typically flush with the right margin.

Placement: After the action lines of the preceding scene, before the next scene heading.
Common Transitions:
- CUT TO: The most common and often implied transition. It signifies an immediate, abrupt change to the next scene. If you don’t specify a transition, “CUT TO” is assumed.
- DISSOLVE TO: A gradual merging of one scene into the next, often used to indicate a passage of time or a more reflective/dreamlike shift.
- SMASH CUT TO: An extremely abrupt and jarring cut, often used for shock or sudden revelation.
- FADE OUT. / FADE IN.: Used at the very end of a screenplay as the final transition, or at the beginning of a cold open.
Use Sparingly: Overuse of explicit transitions other than “CUT TO” can feel heavy-handed. Let the scene headings and story flow do most of the work.

Example Transitions:

He exits the building, melting into the bustling crowd.

CUT TO:

EXT. CROWDED CITY STREET - DAY

***

The old photograph blurs as her eyes well up.

DISSOLVE TO:

INT. CHILDHOOD BEDROOM - NIGHT (FLASHBACK)

Dual Dialogue: When Two Characters Speak Simultaneously

When two characters speak at the exact same moment, their dialogue blocks are placed side-by-side.

Formatting: Requires specific software support. One character’s name and dialogue are aligned on the left, and the second character’s name and dialogue are aligned to their right, roughly where the right margin of a normal dialogue block would be.
Usage: Use only when the dialogue is truly overlapping and intended to be heard concurrently. It’s rare and should be used with purpose.

Example (Conceptual, software renders this):

        JOHN                                                MARY
I told you it was a bad idea!                       You always blame me!

Advanced Formatting Considerations: Polishing Your Script

Beyond the basics, these elements add layers of clarity and professionalism.

Montages and Sequences: Efficient Storytelling Blocks

When a series of short, related shots or mini-scenes convey a progression (time, development, etc.) a montage or sequence heading can be used.

Formatting: In ALL CAPS, usually centered, or flush left, underlined, followed by a colon. A common best practice is to preface it with “BEGIN” and conclude it with “END.”
Examples:
- MONTAGE – SUMMER TRAINING: Followed by a series of short, numbered descriptions or bullet points of individual shots.
- SEQUENCE – THE HEIST: Similar to a montage but might involve more developed mini-scenes within the sequence.

Example Montage:

        **MONTAGE - TRAINING MONTAGE:**

1.  INT. GYM - DAY - Sweat pours off ANNA (20s) as she battles a punching bag.
2.  EXT. MOUNTAIN TRAIL - DAWN - Anna sprints uphill, sun rising behind her.
3.  INT. DOJO - NIGHT - Anna practices complex martial arts moves with a sensei.

        END MONTAGE

Intercut: Weaving Parallel Actions

Intercut is used when two or more scenes rapidly alternate, creating a sense of parallel action or intensifying a moment.

Formatting: The word “INTERCUT” or “INTERCUT BETWEEN” followed by the locations, in ALL CAPS. This replaces standard scene headings until the intercutting ends.

Example:

INTERCUT BETWEEN: JOHN'S APARTMENT - NIGHT and MARY'S CAR - RAINY NIGHT

            JOHN
    (into phone)
    Are you sure about this?

            MARY
    (driving fast through rain)
    It's the only way.

            JOHN
    But what if something goes wrong?

The intercutting continues until you go back to a standard slugline, indicating one location is dominant or the parallel action ends.

Inserts: Focusing on Detail

An insert is a quick shot of an important object or detail that needs to be highlighted.

Formatting: Often preceded by “INSERT:” in ALL CAPS, centered or flush left.
Usage: Use sparingly. If the action line clearly describes the object, an insert might not be necessary.

Example:

INSERT: A CRUMPLED PHOTOGRAPH - A young girl smiles from within the frame.

Supers/Titles (On-Screen Text): Conveying Information Visually

Supers are text graphics that appear on screen, often to convey location, time, or character information.

Formatting: In ALL CAPS, offset or underlined, sometimes followed by “(ON SCREEN)”.
Example:
```
SUPER: SEOUL, SOUTH KOREA - 2042
```

Flashbacks/Flashforwards: Navigating Time

Clearly denote when your story jumps in time.

Formatting: Can be added to the scene heading, usually with a parenthetical.

Example:

INT. ABANDONED WAREHOUSE - NIGHT (FLASHBACK)

Or, for an entire sequence:

BEGIN FLASHBACK:

EXT. CHILDHOOD HOME - DAY
(Action lines, dialogue for the flashback)

END FLASHBACK.

Jump back to where you were:

INT. ABANDONED WAREHOUSE - NIGHT

Voice and Tone: Beyond the Rules

While formatting is rigid, your writing within those confines must be vibrant and engaging.

Voice: Develop a unique narrative voice in your action lines. It’s not just what happens, but how you describe it. Are you witty, gritty, poetic, minimalist? Let that shine through.
Tone: Ensure your action lines and parentheticals align with the overall tone of your script (e.g., darkly comedic, thrilling, dramatic).

Common Pitfalls and How to Avoid Them

Even with the rules laid bare, new writers often stumble. Awareness is the first step to avoidance.

“Novelistic” Writing: Your screenplay is a blueprint, not a novel. Eliminate internal thoughts, extensive backstories in action lines, and unnecessary exposition dumps. Focus on what can be seen and heard.
Camera Directions: This is the most common mistake for beginners. Don’t direct your own movie on the page. Trust your words to conjure the images. “A menacing SHADOW looms over her” is better than “CRM (CLOSE-UP REVEAL) – A menacing SHADOW looms over her.” Unless the shot is absolutely vital to the story (e.g., a hand reaching for a specific item hidden under a table), leave it out.
Overuse of Parentheticals: If every line of dialogue has a parenthetical, it means either your dialogue isn’t strong enough to convey emotion, or you’re over-directing. Let the actors act.
Lazy Scene Headings: “INT. HOUSE – DAY” is a generic placeholder. Is it “INT. ABANDONED FARMHOUSE – DAY” or “INT. SLEEK MODERN KITCHEN – DAY”? Specificity creates instant visuals.
Incorrect Page Numbering: Missing page numbers, incorrect placement, or including a number on the title page are instant red flags.
Inconsistent Formatting: A character name is capitalized once, then not another time. Margins shift subtly. These small inconsistencies scream amateur and disrupt readability. Use screenwriting software to enforce consistency.
Spelling and Grammar Errors: This is unforgivable. Proofread relentlessly. Use spell check. Read it aloud. Ask others to read it.
Trying to Manipulate Page Count: Do not adjust margins or font sizes to make your script appear longer or shorter. Industry pros will notice immediately. Embrace the “one page, one minute” rule. If your story needs to be shorter, cut scenes; don’t shrink the font.

The Tools of the Trade: Screenwriting Software

While you could technically format a screenplay in a word processor, it would be a monumental, error-prone task. Screenwriting software is essential. It handles all the margin settings, indentations, character name capitalization, and page numbering automatically. You focus on the story; the software handles the mechanics.

Industry Standard: Final Draft. It’s robust, dependable, and widely used by professionals.
Excellent Alternatives:
- Celtx: Offers a free online version (though with limitations), good for beginners.
- WriterDuet: Collaborative, cloud-based, and widely praised. Has a good free tier.
- Fade In Professional Screenwriting Software: A strong, feature-rich contender, often preferred by indie writers.
- Highland 2 (for Mac users): A minimalist, distraction-free option that uses Fountain markdown for formatting.

Investing in software is investing in your professional image. It’s not optional for serious writers.

The Final Polish: Beyond Formatting

Once your script is flawlessly formatted, your work isn’t over.

Read Aloud: This catches awkward dialogue, clunky action lines, and pacing issues.
Table Reads: Gather friends, assign parts, and read the script aloud. This highlights what works and what doesn’t in terms of dialogue and overall flow.
Feedback: Get notes from trusted readers who understand screenwriting. Be open to constructive criticism.
Proofread, Proofread, Proofread: Even after countless revisions, fresh eyes can catch lingering errors.

Conclusion

Formatting isn’t an artistic expression; it’s a professional discipline. It demonstrates that you understand the craft, respect the reader’s time, and are serious about your work. A perfectly formatted screenplay allows your story to shine without distraction, enabling industry professionals to envision your film clearly. Master these standards, and you’ve already taken a crucial step toward turning your vision into a cinematic reality.