Why Proper Formatting Matters
* Readability: Formatting makes the script easy for industry professionals (agents, producers, directors, actors) to read and understand quickly. They need to visualize the story, not be distracted by a messy page.
* Professionalism: Shows you know what you're doing. Incorrect formatting screams "amateur."
* Time Estimation: Correct formatting translates (roughly) to one page of script equaling one minute of screen time. This helps with budgeting and scheduling.
The Essential Elements
1. Scene Heading (Slug Line): Introduces a new scene.
* INT. COFFEE SHOP - DAY
* EXT. PARK - NIGHT
* I/E. CAR - DAY (Interior/Exterior - the action moves between inside and outside the car)
* INT./EXT. HOUSE - CONTINUOUS (The action immediately flows between inside and outside.)
* Explanation:
* INT./EXT.: Interior or Exterior.
* LOCATION: The specific place. Be descriptive, but concise.
* TIME OF DAY: DAY, NIGHT, MORNING, AFTERNOON, EVENING, LATER, CONTINUOUS (if it follows directly from the previous scene in time).
2. Action (Description): Describes what's happening visually.
* MARTHA (30s), sits at a table, nervously stirring her coffee. Sunlight streams through the window.
* The car SCREECHES to a halt inches from the pedestrian. A beat. The driver, JAKE, throws his hands up in exasperation.
* Explanation:
* Use present tense.
* Be vivid but concise. Focus on what we can *see* and *hear*.
* Introduce characters in ALL CAPS the first time we see them. Include a brief age and descriptor if helpful.
* Avoid camera directions (e.g., "CLOSE UP on Martha's hand"). Let the director do their job. Exceptions are for key visual information that *must* be conveyed.
* Use sound cues sparingly. A single CAPITALIZED word is usually enough to indicate an important sound.
3. Character Name: Who is speaking.
* MARTHA
* JAKE
* VOICEOVER (V.O.) - MARTHA (if the character is speaking but not physically present in the scene)
* OFFSCREEN (O.S.) - JAKE (if the character is speaking from somewhere we can't see within the scene)
* Explanation:
* ALL CAPS.
* Centered above the dialogue.
4. Dialogue: What the character says.
* MARTHA
> I just don't know what to do anymore.
* JAKE
> (shouting)
> Are you crazy?! You almost got yourself killed!
* Explanation:
* Normal capitalization and punctuation.
* Keep it realistic and specific to the character.
* Parenthetical directions (like "(shouting)") are used *sparingly* to indicate tone or action *while* speaking. Avoid overusing them.
5. Parenthetical: A direction for the actor.
* MARTHA
> (to herself)
> This is just what I need.
* MARTHA
> (beat)
>I can't say anything.
* Explanation:
* Placed below the Character Name and before the Dialogue.
* Used sparingly for essential acting directions or nuances.
6. Transition: How you move from one scene to another.
* FADE OUT.
* CUT TO:
* DISSOLVE TO:
* Explanation:
* Transitions are usually placed at the end of a scene, right justified.
* Generally, transitions are used less in TV scripts than in features. Most of the time, just starting the next scene works. "CUT TO:" is often implied.
* Use sparingly. Overuse can be distracting.
Example Script Page
```
INT. COFFEE SHOP - DAY
MARTHA (30s), sits at a small table, nervously stirring her coffee. Sunlight streams through the large window. She glances at her watch impatiently.
MARTHA
(to herself)
He said he'd be here at noon.
A SERVER approaches her table.
SERVER
Can I get you anything else, ma'am?
MARTHA
No, thank you. I'm waiting for
someone.
The SERVER nods and walks away. Martha sighs and pulls out her phone.
MARTHA
(into phone)
Hey, it's me. Yeah, I'm here...
No, you're not late... I just...
She trails off as she sees JAKE (30s) rushing toward her, looking flustered.
MARTHA (CONT'D)
Gotta go. He's here.
She hangs up quickly.
JAKE
Sorry I'm late! Traffic was a
nightmare.
MARTHA
It's okay. I just got here myself.
JAKE
Great! So you're ready to go?
MARTHA
Yes, where are we going?
JAKE smirks.
JAKE
That's a suprise.
CUT TO:
```
Formatting Specifics
* Font: Courier New, 12 point. This is the industry standard because it's monospaced (each character takes up the same amount of horizontal space), which is crucial for page-to-screen-time estimation.
* Margins:
* Left: 1.5 inches
* Right: 1 inch
* Top: 1 inch
* Bottom: 1 inch
* Character Name Indent: Approximately 3.7 inches from the left margin. (Your screenwriting software will handle this automatically.)
* Dialogue Indent: Approximately 1 inch from the left and right margins (resulting in a dialogue block of about 4.5 inches wide).
Screenwriting Software
Using dedicated screenwriting software is highly recommended. It handles all the formatting automatically, allowing you to focus on writing. Popular options include:
* Final Draft: The industry standard (paid).
* Celtx: (Subscription Model)
* WriterDuet: (Subscription Model)
* Fade In: (Paid, one-time purchase, often considered the best alternative to Final Draft).
* Highland 2: (Free and paid versions; excellent for plain text writing).
* Trelby: (Free and open-source).
Important Considerations for TV Scripts
* Act Breaks: TV scripts are typically structured around act breaks, where commercials would go. The number of acts depends on the type of show (e.g., a network drama might have 4-5 acts, a sitcom might have 2-3). Use `END OF ACT ONE` etc., right-justified, before the transition to the next scene. A Teaser is common before Act One.
* Pilot vs. Subsequent Episodes: A pilot script has to do a lot of heavy lifting. It needs to introduce the world, the characters, and the overall tone of the show. Subsequent episodes can dive more deeply into specific plotlines or character arcs, assuming the audience is already familiar with the basics.
* Series Bible: A "series bible" is a document that outlines the entire show, including character biographies, episode summaries, long-term storylines, and the overall tone and style. While you don't need this when starting out, it's something to consider as your project develops.
* Character Arcs: Think about how your characters will change and develop over the course of the series. What are their goals, their flaws, and their relationships with each other?
* TV Writing is a Collaborative Process: Keep in mind that TV writing is usually a team effort. Showrunners, writers' rooms, and network executives will all have input into the final product.
Key Formatting Differences between TV and Feature Scripts
* Act Breaks: TV scripts have act breaks, while feature scripts don't.
* Scene Length: TV scenes tend to be shorter and more frequent than in feature films.
* Pacing: TV pacing is often faster, especially in sitcoms. You need to keep the audience engaged and coming back after commercial breaks.
* Teaser: A teaser is a short scene or sequence at the beginning of a TV episode, before the opening credits, designed to hook the viewer.
* "END SCENE": While less common, some professional TV scripts include "END SCENE" at the end of a scene block.
Example TV Script Snippet (with Act Break)
```
INT. MONICA AND CHANDLER'S APARTMENT - NIGHT
Monica is setting the table for a fancy dinner. Chandler is pacing nervously.
MONICA
Relax, honey. They're going to love
it. I made your favorite, lasagna.
CHANDLER
I just want everything to be perfect.
This is a big deal.
MONICA
I know. But they already think you're
amazing. Remember when he got drunk at
the wedding and kept calling you "the
funniest guy in the world?"
CHANDLER
(grimacing)
Yeah, that was... something.
The doorbell rings.
MONICA
That's them! Wish us luck.
Chandler takes a deep breath. Monica opens the door to reveal CHANDLER'S PARENTS. His MOTHER is impeccably dressed. His FATHER is... not.
CHANDLER'S MOTHER
Monica, darling! It's so lovely to see
you. And you must be Chandler. You've
lost weight!
CHANDLER
Mom, Dad, welcome! Come on in.
END OF ACT ONE
```
Tips for Success
* Read Scripts: The best way to learn is to read professionally written scripts from shows you admire. You can find many online.
* Practice: Write, write, write! The more you practice, the better you'll become at formatting and storytelling.
* Get Feedback: Share your scripts with other writers and get their feedback. Be open to criticism.
* Be Patient: Breaking into the TV industry is tough. Don't get discouraged by rejection. Keep honing your craft.
Things to Avoid
* Camera Directions: Unless absolutely necessary.
* Overly Detailed Descriptions: Keep it concise and focused on what's visible and audible.
* Unnecessary Parentheticals: Let the dialogue speak for itself whenever possible.
* Inconsistent Formatting: Be meticulous about following the rules.
* Typos and Grammatical Errors: Proofread carefully.
By mastering these basics and consistently practicing, you'll be well on your way to writing professional-quality TV scripts! Good luck!