Mastering standard script format is crucial for aspiring TV writers. It's the universal language of the television industry, ensuring clarity and consistency in storytelling. Proper formatting allows writers to effectively communicate their vision to producers, directors, and actors.

Understanding the elements of script format, from title pages to scene headings, is essential for presenting work professionally. Adhering to industry standards for page layout, margins, and specialized formatting techniques demonstrates a writer's skill and attention to detail, increasing chances of success in the competitive TV writing landscape.

Elements of script format

• Script format serves as the universal language of the television industry, ensuring consistency and clarity in storytelling
• Proper formatting allows writers to effectively communicate their vision to producers, directors, and actors
• Mastering script format is crucial for aspiring TV writers to present their work professionally and increase chances of success

Title page components

• Title centered and in all caps, positioned 1/3 down the page
• "Written by" credit placed below the title, followed by the writer's name
• Contact information (name, address, phone number, email) in the bottom left or right corner
• Draft date included in the bottom right corner to track revisions
• WGA registration number (if applicable) placed below contact information

Scene heading structure

• Also known as slug lines, scene headings appear at the start of each new scene
• Consists of three main elements: INT. or EXT., LOCATION, and TIME OF DAY
• Written in all caps and left-aligned on the page
• Provides essential information about the setting and time of the scene
• Example: INT. COFFEE SHOP - DAY

Action lines vs dialogue

• Action lines describe what the audience sees on screen, written in present tense
• Dialogue represents the spoken words of characters, centered on the page
• Action lines use more concise language, focusing on visual elements and character actions
• Dialogue captures the unique voice and personality of each character
• Balance between action and dialogue crucial for pacing and visual storytelling

Character introductions

• First appearance of a character requires their name in all caps
• Age or brief physical description can be included in parentheses
• Aim for concise yet vivid descriptions that capture essential character traits
• Avoid overly detailed physical descriptions unless crucial to the story
• Example: JANE SMITH (30s, sharp-dressed lawyer) enters the courtroom

Dialogue formatting rules

• Character name centered and in all caps above their lines of dialogue
• Dialogue block starts 2.5 inches from the left margin, extending to 6.5 inches
• Each new speaker gets a new dialogue block, even if responding to the previous line
• Use (CONT'D) when a character's dialogue is interrupted by action then continues
• Indicate emphasis through underlining specific words rather than using italics or bold

Parentheticals and wrylies

• Parentheticals provide brief acting directions or clarify the delivery of dialogue
• Placed on their own line between the character name and dialogue
• Used sparingly to avoid overwriting or micromanaging actor performances
• Can indicate actions performed while speaking or the intended tone of delivery
• Example:

  JOHN
  (whispering)
  We need to get out of here now.
  

Transitions and camera directions

• Transitions (FADE IN:, CUT TO:, DISSOLVE TO:) used sparingly in spec scripts
• Camera directions (ANGLE ON, CLOSE UP) generally avoided in spec scripts
• When necessary, transitions are right-aligned and in all caps
• Production scripts may include more detailed camera directions as needed
• Focus on describing the visual story rather than dictating how to shoot it

Page layout and margins

• Proper page layout and margins are essential for maintaining industry standards in TV scripts
• Consistent formatting ensures accurate page count and timing estimates for episodes
• Adhering to these standards demonstrates professionalism and familiarity with industry expectations

Industry-standard page dimensions

• Standard script pages use 8.5 x 11 inch paper size
• One page of properly formatted script roughly equates to one minute of screen time
• This standard helps producers and directors estimate episode length and production needs
• Digital scripts maintain these dimensions for consistency with printed versions
• Page count typically ranges from 22-35 pages for half-hour shows, 45-70 for hour-long dramas

Margin specifications

• Top margin: 1 inch
• Bottom margin: 1 inch (0.5 inch on the last page)
• Left margin: 1.5 inches
• Right margin: 1 inch
• Dialogue margins: left at 2.5 inches, right at 2.5 inches from right edge
• These margins ensure proper spacing and readability across all script elements

Font and spacing requirements

• Courier or Courier New font, 12-point size
• Fixed-width font ensures consistent character count per line across different systems
• Single-spaced lines within elements (action, dialogue)
• Double-space between scenes and major script elements
• Approximately 55 lines per page when properly formatted

Page numbering conventions

• Page numbers appear in the top right corner, 0.5 inches from the top
• Numbering starts on the second page of the script (first page after the title page)
• Use a period after the page number (1., 2., 3., etc.)
• Revised pages often use suffixes (A, B, C) to indicate multiple versions of the same page
• Title page and any preliminary pages (character lists, etc.) are not numbered

Scene elements

• Scene elements form the building blocks of a television script, guiding the reader through the story
• Proper use of these elements ensures clear communication of the writer's vision to the production team
• Mastering scene elements allows writers to create a vivid and engaging script that translates well to the screen

Slug lines and scene numbers

• Slug lines (scene headings) appear at the beginning of each new scene
• Format: INT./EXT. LOCATION - TIME OF DAY
• Scene numbers added during production, placed on both sides of the slug line
• Example: 14 INT. HOSPITAL WAITING ROOM - NIGHT 14
• Slug lines help organize the script and provide quick reference points for the production team

Time of day indicators

• Common indicators include DAY, NIGHT, MORNING, EVENING, and DUSK/DAWN
• Use CONTINUOUS for scenes that immediately follow the previous one in real-time
• LATER can indicate a time jump within the same location
• Specific times (3:15 PM) used sparingly, only when crucial to the plot
• Consistency in time indicators helps maintain the story's chronology and pacing

Interior vs exterior locations

• INT. designates scenes taking place indoors
• EXT. indicates outdoor locations
• Use I/E. or INT./EXT. for scenes that transition between indoor and outdoor settings
• Clearly defining the setting helps the production team plan for appropriate lighting and equipment
• Example: EXT. CENTRAL PARK - DAY or INT./EXT. CAR - NIGHT

Action description best practices

• Write in present tense, describing what the audience sees on screen
• Use concise, vivid language to paint a clear picture of the scene
• Break long paragraphs into smaller, more digestible chunks (3-4 lines max)
• Focus on essential details that drive the story or reveal character
• Avoid camera directions or technical instructions in spec scripts
  • Instead, describe the visual effect you want to achieve

Dialogue attribution rules

• Character names appear in all caps above their lines of dialogue
• Use (O.S.) for off-screen dialogue and (V.O.) for voice-over
• Indicate if a character is speaking in a foreign language: MARIA (in Spanish)
• For telephone conversations, use (INTO PHONE) for the speaking character
• Dialogue from crowds or unnamed characters can be attributed to VOICES or CROWD

Specialized formatting

• Specialized formatting techniques allow writers to convey complex narrative structures and unique storytelling elements
• These formatting rules help translate specific visual and auditory concepts from the writer's imagination to the screen
• Understanding and correctly applying these techniques demonstrates a writer's skill and attention to detail

Montages and series of shots

• Use MONTAGE or SERIES OF SHOTS centered on the page to introduce the sequence
• List each shot or scene element as a separate action line
• End the sequence with END MONTAGE or END SERIES OF SHOTS
• Can be used to compress time, show character development, or establish setting
• Example:

  MONTAGE - SARAH'S FIRST DAY IN NEW YORK
  
  -- Sarah hails a taxi in front of the airport
  -- She struggles with her luggage in a crowded subway car
  -- A hot dog vendor hands her a loaded dog with "everything on it"
  -- Sarah stands awestruck in Times Square, taking in the lights
  
  END MONTAGE
  

Flashbacks and dream sequences

• Indicate the start of a flashback or dream in the slug line
• Use FLASHBACK - DAY/NIGHT or DREAM SEQUENCE after the location
• For brief flashbacks, can be indicated in the action line: QUICK FLASH:
• End extended sequences with BACK TO PRESENT or END DREAM SEQUENCE
• Maintain consistent formatting within the flashback/dream as with regular scenes

Voice-over vs off-screen dialogue

• Voice-over (V.O.) used for narration or internal thoughts heard by the audience
• Off-screen (O.S.) indicates dialogue from a character not visible in the scene
• Both notations placed in parentheses next to the character name
• V.O. can bridge scenes or provide insight into a character's mindset
• O.S. often used for characters in another room or shouting from a distance

Dual dialogue presentation

• Used when two characters speak simultaneously
• Format dialogue in two adjacent columns on the page
• Character names appear side by side, centered over their respective dialogue
• Useful for overlapping conversations or simultaneous reactions
• Example:

  JACK                    JILL
  I can't believe         What were you
  you did that!           thinking?
  

Intercut telephone conversations

• Begin with INTERCUT - PHONE CONVERSATION
• List both locations in the slug line: INT. JACK'S OFFICE/INT. JILL'S CAR - DAY
• Alternate between characters' dialogue without repeating the slug line
• Can indicate actions for each character between lines of dialogue
• End with BACK TO: and the location where the scene continues

Software and tools

• Screenwriting software streamlines the formatting process, allowing writers to focus on storytelling
• These tools ensure industry-standard formatting and provide features to enhance productivity
• Understanding the capabilities and limitations of different software options is crucial for aspiring TV writers

Popular screenwriting software

• Final Draft: Industry standard, offers templates for various TV formats
• Celtx: Cloud-based option with collaboration features
• WriterDuet: Online platform with real-time collaboration capabilities
• Fade In: Affordable alternative with comparable features to Final Draft
• Highland 2: Minimalist option that uses Fountain markup language

Formatting templates and macros

• Pre-set templates available for different types of TV scripts (sitcom, drama, etc.)
• Customizable templates allow writers to save preferred settings
• Macros automate repetitive tasks like inserting scene headings or transitions
• Keyboard shortcuts speed up the writing process and maintain formatting consistency
• Title page generators ensure proper layout of script cover pages

PDF vs printed script differences

• PDF format preserves formatting across different devices and operating systems
• Printed scripts may have slight variations in page breaks due to printer differences
• PDF scripts often used for electronic submissions and table reads
• Printed scripts still preferred for production purposes and on-set revisions
• Some software offers both PDF export and print optimization features

Revision marks and colored pages

• Asterisks in the right margin indicate revised lines
• Different colored pages represent various stages of revisions:
  • White (original), Blue (1st revision), Pink (2nd), Yellow (3rd), Green (4th)
• After Green, the cycle repeats with Goldenrod, Buff, Salmon, Cherry, etc.
• Revision marks help track changes and ensure cast and crew have the latest updates
• Some software can automatically generate and track these revision marks

Industry expectations

• Understanding industry expectations for script formatting is crucial for aspiring TV writers
• Adhering to these standards demonstrates professionalism and familiarity with the television industry
• Proper formatting ensures scripts are easily readable and translatable to the screen

Network vs streaming format differences

• Network scripts typically adhere to stricter formatting rules due to commercial breaks
• Streaming scripts may allow for more flexibility in act structure and page count
• Network scripts often include act breaks and specify commercial placement
• Streaming scripts may have longer scenes and fewer act breaks
• Both formats require clear, concise writing and proper use of standard script elements

Spec script vs production script

• Spec scripts are written on speculation to showcase a writer's skills
• Production scripts are used for actually filming the episode
• Spec scripts avoid camera directions and excessive technical jargon
• Production scripts may include more detailed scene numbers and revision marks
• Spec scripts focus on storytelling, while production scripts also serve logistical purposes

Script length guidelines

• Half-hour comedies typically range from 22-35 pages
• Hour-long dramas usually fall between 45-70 pages
• Page count can vary slightly based on the show's specific format and pacing
• Pilots may run slightly longer to establish the world and characters
• Streaming platforms may allow for more flexibility in episode length

Common formatting mistakes

• Overuse of camera directions or technical terminology in spec scripts
• Inconsistent scene headings or improper use of transitions
• Excessive use of bold, italics, or underlining for emphasis
• Incorrect margins or font choices that deviate from industry standards
• Overly detailed action descriptions that slow down the pace of reading

Script submission etiquette

• Proper submission etiquette is crucial for making a positive first impression in the TV industry
• Following these guidelines demonstrates professionalism and respect for industry standards
• Adhering to submission protocols increases the chances of your script being read and considered

Cover page requirements

• Include the script title, centered and in all caps, about 1/3 down the page
• Place "Written by" below the title, followed by the writer's name
• Add contact information in the bottom left or right corner (name, address, phone, email)
• Include the draft date in the bottom right corner
• Avoid using images, logos, or elaborate designs on the cover page

Binding and packaging norms

• Use plain, three-hole punched paper for printed scripts
• Secure scripts with brass brads in the top and bottom holes only
• Avoid using fancy binders, folders, or covers for submissions
• Include a simple cover letter if requested, but don't attach it to the script
• For mailed submissions, use a sturdy envelope or box to protect the script

Electronic submission formats

• PDF is the preferred format for electronic script submissions
• Ensure the file name includes the script title and your name (e.g., "SCRIPT_TITLE_by_YOUR_NAME.pdf")
• Keep file sizes manageable, typically under 5MB
• Use a professional email address for correspondence
• Follow any specific submission guidelines provided by the recipient

Watermarking and copyright protection

• Consider adding a subtle watermark to PDF submissions for tracking purposes
• Register your script with the Writers Guild of America (WGA) or U.S. Copyright Office
• Include copyright information on the title page: © [Year] [Your Name]
• Avoid sending unsolicited scripts without proper legal protection
• Be cautious about sharing your work on public forums or websites