How to Format a Script for the Spec Screenplay Market.

And avoid potentially annoying a reader and kicking them out the story.

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by Script Reader Pro in Screenplay Format
May 1, 2018 127 comments
how to format a screenplay

How to format a script if you want to break into the spec market.

If you’re confused by how to format a script, you’re in the right place. The following post contains excerpts from our book, “Master Screenplay Format: a Clear Guide on How to Format a Screenplay for the Spec Market.

The overall message of the book when it comes to your movie script format is to stay as clear and consistent as possible in order to immerse the reader into the world of the story.

Rather than focus on how to format a script using dogmatic rules, the book focuses on “best practices” and script format choices.

Here are just two of the many anomalies contained in the book and our suggestions for better choices on how to format a script.

How to format a script example #1: misusing EXT./INT.

(This script format example is taken from section 2 on Sluglines)

The format EXT./INT. should be used when quickly cutting between interior and exterior locations. If you want to know how to format a script, we don’t recommend using EXT./INT. as it’s used in the following scene:

screenplay example

If we see Charlotte chatting on her cellphone before entering the gym, this needs an exterior slugline. Then, when she enters the gym, we’d need an interior one, like this:

how to format a screenplay

Similarly, this use of EXT./INT. is also technically incorrect when it comes to script format:

screenplay exampleThis screenwriting format “mistake” sometimes happens when the writer feels a location is simultaneously inside and outside. But, using our earlier rule of thumb, can these characters look up and see the sky? Yes. And so—as with most football stadiums, tennis courts, concert venues, etc.—we’re technically still outside.

So this scene should be labeled as an exterior, like this:

how to format a script

In general, only use EXT./INT. when the action repeatedly switches from inside to outside a location or we’re seeing it unfold in both places simultaneously. High octane car chases and fight scenes are good places to use this technique. Here’s an example of how to format a script in this way:

screenplay example

script format book

How to format a script example #2: misusing caps in sound.

(This script format example is taken from section 3 on Description)

It’s easy to get carried away with describing too many sounds in a script. This tends to lead to putting too many sounds in caps, which then leads to an overall misuse of the technique.

Here’s an example of all three errors:

screenplay example
Putting sounds in caps is something of a personal preference. But from a purist’s point of view, there are a whole host of “irregularities” in this scene.

Should you put all sounds in caps? Is there a difference between sound effects and natural sounds? What about animal noises? Or on-screen and off-screen sounds?

If you want to format sounds by-the-book, it can all get pretty confusing… A good way to make it less so, though, is to divide sounds in a screenplay into just two categories:

♦  Those made by actors (natural sounds)

♦  Those not made by actors (sound effects)

How to format a script and natural sounds. 

These include all sounds made by the actors themselves. Such as laughing, singing, screaming, clapping, banging, knocking, playing musical instruments, etc.

If they’re on-screen, i.e. present in the scene and visible to the camera these sounds don’t get put in caps. If they’re off-screen, i.e. behind a door, under the floorboards or out of view outside, then they do get put in caps.

Sounds effects.

These include all sounds not made by the actors themselves. Such as glass shattering, guns firing, cell phones ringing, music playing on stereos, cats meowing, babies crying, etc. It doesn’t matter if the sound originates on-screen or off-screen, they all get put in caps.

Perhaps the easiest way to remember all this is: all sounds get put in caps, except natural sounds made by actors on-screen.

Let’s take another look at the scene. This time it’s formatted using all the “technically correct” uses of caps for natural sounds and sound effects:

screenplay example

 Here’s a recap of why this second version is technically correct:

It’s best to avoid caps for natural sounds made on-screen.

In the second version of the scene above, people chatting, fingers typing, Ned collapsing on the couch and sighing, etc. are all natural sounds made by the actors themselves and therefore not put in caps.

Note, however, how the writer has overused the number of sounds throughout this scene. There are unnecessary descriptions of keyboards clattering and the sound the couch makes when Ned collapses in it, etc.

Use caps for all other sounds.

The music playing, baby crying, and pistol firing are all on-screen sound effects and therefore go in caps.

Note that babies aren’t actors as such, and so are treated the same way as dogs barking and cats meowing. The plates smash off-screen and so they go in caps too. As does the man’s scream, even though it’s made by an actor.

Try to avoid writing “we hear” and “sound.”

It’s not a great idea to pepper your script with lines like: “From the kitchen, comes the SOUND of plates smashing.” Or “Nearby, we hear a baby burst out crying.” In both cases, it’s clear what the actual sound is, and so this should be put in caps instead.

It’s a best practice to only use “we hear” or “sound” when it’s not obvious what the sound actually is. For example: “Tommy freezes. He’s just heard a LOW SOUND coming from the basement.”

Use caps on both the sound and the thing making the sound. 

In the above scene, the sound system, plates, man in the kitchen, baby and pistol all get put in caps as they’re the thing making the sound. Note that if you do use “we hear” it doesn’t go in caps, while “sound” does.

While the above rules may be “right way” of formatting sounds, it’s perfectly fine to eschew many or all of them. Save caps only for those sounds you really want to draw the reader’s attention to—like a bomb going off.

How to format a script for the spec market: conclusion. 

When it comes to script format, your aim as a writer should be to make sure that the dialogue and action lines come to life.

They should paint a picture in as few words as possible. And force the eye down the page at a clip, making the overall story and pace feel even cleaner and faster.

The best spec script format is simply the one that helps the reader see and feel what’s happening on the page as best as it can. And this is what we show you how to do in our book “Master Screenplay Format: A Clear Guide On How To Format a Screenplay For The Spec Market.

And don’t forget to make your life as easier by using one of these 5 best screenwriting software, or these 10 best free screenwriting software options.


If you have any questions at all on how to format a script, please leave them below in the comments section. And if you’d like us to review your script for formatting and grammar errors, please check out our Proofread/Formatting service.

screenwriting mentorship

Enjoyed this post? Read more on how to format a script for the spec market…

Movie Script Format and the Myth of Industry Rules

50 of the Best Screenplays to Read in Every Genre

How to Write a Screenplay That’s Unlike Any Other in 6 Steps

[© Photo credits: Unsplash]


    RE : DIALOGUE : Should this be kept as one text block, or is it acceptable to
    split it into smaller units – if it makes it more readable?

    1. Script Reader Pro says:

      Dialogue should almost always be kept as a single text block of text. Some pro writers do break it up on occasion, but we don’t recommend it for specs.

  2. eightysix says:

    Just never forget one very important thing.

    The guy or girl, this “purist” likely enjoys the smell of their own farts. But ya still have to try and make them like your stuff.

  3. Favour says:

    Hello please how do you format a story that starts with a protest and some of the protesters are being interviewed by a news channel but later the reader would realize that the main characters are watching this protest on television. Like how would you start the script and how would I let the reader know that the live protest is on tv

    1. Script Reader Pro says:

      You could start with something like EXT. BANGKOK STREETS – DAY and show the protestors being interviewed. Later, you could write, say, INT. JACK’S HOUSE – NIGHT and describe Jack watching the protestors being interviewed on TV.

  4. Stephanie says:

    I’m writing a spec script and am attempting to get to p. 10 sooner (I don’t know if that’s a “rule”, but I was criticized for having my inciting incident come too late). So, should this example be on four separate lines?
    She exits. Joe and Sam glare at each other, breathing heavily. Mrs. Swank reenters with GRACE (20), Frances’ plain best friend.

    1. Script Reader Pro says:

      Hey Stephanie, here’s a post on inciting incidents if you haven’t seen it. Re: the line spacing, you could put each sentence on a different line if you wish but that’d expand the script length overall rather than shrink it.

  5. John says:

    If a main character will almost exclusively be known by their job and rarely their name, such as “THE CAPTAIN” — must you also capitalize the first appearance of their regular name? Example: “Tall and bearded, William McCallum’s grubby white Skipper’s cap proclaims his station. To one and all, our hero is simply — THE CAP’N. ” If he’s always called THE CAP’N, isn’t extra capitalization of his name WILLIAM McCALLUM unnecessary? Especially in a script’s first 10 pages, typically amidst many character introductions?

    1. Script Reader Pro says:

      Yes you only need to capitalize the name he’s going to be known by throughout the script.

  6. John says:

    After “FADE IN” on page 1, must a script ALWAYS begin with a location slugline? What if you are writing in a more prose-like style to draw your reader in? Is it permissible to include the location details later within your action lines instead of using a slugline — “We’re inside a cavernous space-craft…” for example? Or must there always be a formal slugline?

    1. Script Reader Pro says:

      No – you can start with something other than a slugline after FADE IN but it’d be unusual to do so if it’s a location. INT. SPACE CRAFT would probably be the way to go.

  7. John says:

    I really enjoyed your e-Book “Master Screenplay Formatting” – incredibly helpful. Couple of format questions not covered:
    -What’s considered correct slugline format when you need to add a specific geographic location — city & country? Example: it’s important to indicate the location is Mons, Belgium.
    EXT. CANADIAN REAR LINES (MONS, BELGIUM) – DAY (1918)? The Hollywood Standard by Christopher Riley seems to suggest this commas & bracketing technique is okay. Or is there a better way?
    -I was also curious if it’s acceptable to add extra location details in action lines following, such as:
    Will walks along a muddy road outside Mons, Belgium…(etc) to avoid overly long sluglines.
    What’s best practice?

    1. Script Reader Pro says:

      Thanks, John! In this instance it’s probably best to add Mons, Belgium to the slugline, but only once to set it up. If/when you return to the Canadian Rear Lines there’s no need to repeat it. And it doesn’t really matter if you add this in brackets or a dash, just as long as it’s clear.

  8. Steve says:

    How do I format six, separate, on-screen characters, in succession, commenting (like narrators) one after the other, on neutral backgrounds? Do I need to use INT. and an action line for each character? Example:
    Then the comment she is making.
    The the comment he is making.

    Then duplicating this 4 more times?

  9. Donia Kabadou says:

    I’m confused how would I fix it.

    1. Script Reader Pro says:

      Maybe “We hear SWORDS knocking against [whatever it is]”. Or “SWORDS CLATTER against [whatever it is].

  10. Whats Next says:

    How much should be put into describing a setting? Should I go into excessive detail? (where the desks are placed in an office, what’s on the desk, what’s next to or above the desk)
    I have a scene that describes everything from the door, to the floor, the walls – even the spacing of the desks in comparison to the bathroom. Is that too much information?

    1. Script Reader Pro says:

      Hey Wanda – yes that sounds like too much info. If a guy walks into an office, we know generally what an office looks like, so there’s no need to describe what’s in it – the desk, the printer, the filing cabinets, etc. But if there’s something unusual about the office, or you want to get the character’s personality across by the way their office looks, then you could add a few brief extra details.

    2. Steve says:

      How do I format six, separate, on-screen characters, in succession, commenting (like narrators) one after the other, on neutral backgrounds? Do I need to use INT. and an action line for each character? Example:
      Then the comment she is making.
      The the comment he is making.

      Then duplicating this 4 more times?

  11. Sue Scott says:

    I just purchased your “Master Screenwriting Formatting” book today — what a fantastic resource. I highly recommend it! I’ve been writing spec scripts for about nine years (four-time PAGE finalist, two-time Nicholl quarterfinalist, Big Break semi-finalist), and I still picked up some great tips from this formatting guide for the spec market. I love the word “quirky” (made me feel slightly better about a significant error I’d been making for years), and I love how easy the guide is to follow. Thanks!!

    Here are the two questions I couldn’t find answers to in the book (and thank you for offering this opportunity to reach out on your blog):
    1) If I start with a voiceover on a black screen, can (should) it be formatted like this:
    The distinctive lilting voice of ANNA —
    (Followed by ANNA (V.O), and the lines of V.O. dialogue.)
    2) If, in the example above, I was correct in putting the character’s name in all CAPS in the initial description line, can I place her name in all CAPS once more when she arrives on the screen, to give the reader a heads-up that the mini-description of her character/personality will be located there?
    Thank you!
    – Sue

    1. Script Reader Pro says:

      Thanks for the book review, Sue – glad you find it helpful 🙂 Re: Q1, yes the way you’ve laid it out looks clear and good to me. The name should go in CAPS as you say here, and it’s up to you if you want to capitalize again when we meet her but it’s probably best as this is her full introduction, possibly with a surname too, rather than just a voice.

  12. Emma says:

    So I recently chanced on Christopher Nolan’s Batman Dark Knight Rises and realized a different script format between scene description and dialogue i.e.

    Look, you wouldn’t hit a woman any
    more than I would beat up a cripple.

    She kicks his cane from under him, smashes him down.
    Of course, sometimes exceptions
    have to be made.

    The Maid vaults onto the bureau and up to a high window.
    Goodnight, Mr. Wayne.

    The dialogue (of course, sometimes…..) was right beneath the scene description (She kicks……). Same with the other. You can check out the shooting script for further clarification if needed

    I guess his intention was to avoid the use of CONT’D for each dialogue after a scene description.

    So my question is, is this allowed being a new format upgrade or it was merely overlooked because he was already an icon.

    1. Script Reader Pro says:

      Shooting scripts are always good examples to follow when it comes to formatting. They’re kind of different beasts altogether.

  13. Heidi says:

    A question on character names.
    Let`s say in your first scene there`s a minor characther`s who`s a cop. Throughout the script the main charachter encounters several cops. This may be in no speaking roles or with more than two lines. How would you go about naming them? Cop #1 to Cop #35? Or would you name some of them? How do you go about naming the first two if they are in separate scenes?

    1. Script Reader Pro says:

      In general, it’s best to name a character if they have more than a few lines.

  14. oscar julian lopez rincon says:

    great-job, guys!!!

    1. Script Reader Pro says:

      Thanks again, Oscar!

  15. Kendall says:

    First, thank you for putting together great resources.
    How do your format a short passage in time between two events in a scene? For example, a car crashes and to make the scene work with story, you need a number of seconds to pass before a another crash occurs.
    Appreciate the guidance.

    1. Script Reader Pro says:

      Thanks, Kendall. You don’t need any special formatting here. You could just write how one car crashes and then, maybe on another line, how the other car crashes.

  16. Dennis Murphy says:

    After consulting many books about screenplay formatting, I’m still unsure about the maximum number of characters (i.e., letters and spaces) permitted in a line of dialog. I’ve seen as few as 30, sometimes 33, often 35 and rarely 37. Which do you recommend? Also, will my script be tossed for “non-professionalism” if once in a while I exceed the nominal maximum line length by a character or two in order to avoid creating an orphan on the next line?

    1. Script Reader Pro says:

      Professional screenwriting software takes care of this by automatically tabbing down to a new line in dialogue. There may be small discrepancies between them but nothing to get too hung up on.

  17. A.J. Dean says:

    My natural inclination on scene descriptions (action lines) is to be visual and simple. Example:
    A disorganized office, papers strewn about. A rotary phone, wooden desk, typewriter and crooked pictures.

    Notice the second sentence starting with “A rotary…”… is this kind of style where I am simply stating items without a proper sentence acceptable and effective if I am consistent? Otherwise, I would have to say: “There is a rotary phone and typewriter on a wooden desk. Pictures on the wall hang crooked.”

    I feel like my first example, my inclination, more efficiently paints the picture of what I want in the scene so long as I’m not interested in the details of specific placement and informs a reader or filmmaker of what is needed. Thanks for any feedback.

    1. Script Reader Pro says:

      If the first version feels better to you then stick with that, but either is fine. 🙂

  18. Louise says:

    Thanks for this awesome information.
    I have a question for you.

    I recently submitted my script to a ‘reader’ agency and overall they said my formatting was great. They did make the following comment on my formatting for dialogue being spoken on the phone. “The writer has issues with format as it regards phone calls. This requires more than a simple parenthetical. We advise the writer to study up on this.”

    I wrote this as:
    I have been reading books, articles, spoken to colleagues and there doesn’t seem to be a ‘right way’ …so how do I get past this comment if it’s all based on personal preference?
    Thanks so much!

    1. Script Reader Pro says:

      You’re right, much of learning how to format a script means simply sticking to what works best for you. However, (V.O.) during a phone call is generally put beside the character name rather than underneath it.

  19. Angelica says:

    Ӏ use Word can I submit to screenplay competitions?

    1. Script Reader Pro says:

      It depends on the contest’s rules of submission. We’d recommend purchasing some pro screenwriting software.

  20. Johnny McCarron says:

    I really liked how you said dialogue and actions lines should come to life. As an amateur screenwriter, I really want my films to bring out strong emotion in viewers. Anything I can do to achieve that in my scripts is awesome!

  21. Rachael Beauchamp says:

    Great article on formatting. I have a quick scene that takes place inside and outside a vehicle where a guy is being yanked out, I set the scene like this?
    As Than Myo opens the door, Tatmadaw Soldier #1 yanking it
    open, dragging him out onto the ground, gun to his face.

    1. Script Reader Pro says:

      Looks good. Although you can probably lose “Driver Side” in the slugline and switch “yanking” to “yanks” and “dragging” to “drags.” Also, let us know if the land rover is moving if that hasn’t already been established.

      1. Rachael Beauchamp says:

        Thanks for the reply, and the tips on yanks as opposed to yanking and drags as opposed to dragging. The reason I used Driver Side in the slug line, is because the very next shot is the passenger being dragged out on the passenger side, should I do this differently? The Land Rover has been stopped in a previous shot.

        1. Script Reader Pro says:

          Are we already aware that Than Myo is driving? In this case, it’s probably not needed as we’d assume he’s pulled out from the driver’s side.

          1. Rachael Beauchamp says:

            Wow!, great tip, as many times as I’ve read the thing from beginning to end, this fact has slipped right past me. Yes it’s actually established early on that Than Myo is driving, so you are right, I need to loose the driver side description in the slug line. Thanks so much

          2. Script Reader Pro says:

            No problem, Rachel – good luck with the script!

  22. Dan says:

    Thank you excellent post, just what I was looking for!

  23. Lamarr says:

    Good post. I definitely love these screenwriting advices. Stick with it!

    1. Script Reader Pro says:

      Thanks, Lamarr!

  24. Fleurette M. Van Gulden says:

    I show a scene with voices heard from an enclosed traveling carriage, so I wrote: From inside the carriage, Megan and Devlin Livingston’s voice. ( Followed by v.o.dialogues) I was advised not to preempt. Do you consider that a choice of the reader? I deliberately chose to introduce those characters in later scenes.

    1. Script Reader Pro says:

      So we’re outside a carriage hearing voices being spoken inside? In that case, the dialogue coming from inside the carriage should be (O.S.) not (V.O.). And I agree with not preempting. Lose the line “From inside the carriage, Megan and Devlin Livingston’s voice” and just write the dialogue (as long as it’s clear where the characters are.)

  25. max harmann says:


  26. Dominic says:

    Can I call you? I want to talk to one of your readers about my format problems?

  27. apollo figueras says:

    Movie Production
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  28. allana says:

    It’s all starting to come together now… Slowly.

    1. Script Reader Pro says:

      Good to hear, Allana!

  29. Nicolas West says:

    Do voiceover symbol go beside the character name? My screenwriting tutor says it goes underneath.

    1. Script Reader Pro says:

      That’s right, Nicolas. It goes beside the name.

  30. Sophie Heinzmann says:

    I’m a screenwriter from Berlin Germany. Would love to move to los angles one day and become a professional. Thank you for the inspiration.

    1. Script Reader Pro says:

      I’m sure you’ll make it, Sophie. Good luck!

  31. J. M. says:

    Hi! I’m writing my first script. My question is about line spacing (Word).
    When to skip lines and when to use single-spacing? In a dialogue, should I skip lines or use single-spacing?

    INT. DINER – DAY (skip line)
    It’s a local tourist place, but off-season empty. (skip line)
    The waitress approaches her with a coffee pot.
    CLEMENTINE (add space before paragraph)
    Hi, it’s me again! My home away from home. (add space after paragraph)
    Coffee? (add space after paragraph)
    God, yes. You’ve saved my life! Brrr! (add space after paragraph)

    Am I right?
    Thanks in advance!

    1. Script Reader Pro says:

      Yes there should be a space between characters speaking. We recommend purchasing a screenwriting software program rather than trying to write in Word. A professional one (or even a free one) will deal with line spacing for you.

      1. J. M. says:


        1. Script Reader Pro says:

          You’re welcome, JM!

  32. Rob B. says:

    Two questions:
    1) Could you do the Gym scene like this?
    EXT. GYM — Day
    Charlotte talks on her cellphone as she enters the —
    INT. GYM — DAY
    — walks down the hallway toward the changing room.
    2) Would you also consider writing it this way, to remove the “and?”
    Ned pulls out a PISTOL. FIRES at the ceiling.

    1. Script Reader Pro says:

      Yes, you could do both. Cheers!

  33. Lillian says:

    I think this post is broadly right. There isn’t right and wrong but a reader at a studio is going to stop reading if they see certain things on the first page like no sluglines.

    1. Script Reader Pro says:

      Well, if the writing’s good, even sluglines can be discarded. They won’t stop reading if it’s clear on the page what’s happening and the story is pulling them in.

  34. Kylo says:

    I have a script that needs formatting. How do I get this service please?

    1. Script Reader Pro says:

      You can check out our Proofread/Formatting service here.

  35. Eaternity says:

    One more question if I may. Do you know of any proofreaders/editors that can go over a spec script to tidy it up and make it professional? (so it will be read and not thrown in the bin).
    I feel I”m to close to it and more than likely made some common mistakes…

    1. Script Reader Pro says:

      Yes, we have two services that could help with this: A Proofread/Formatting service and a Line Edit. Cheers!

  36. Eaternity says:

    Great article as always… I was wondering if you can tell me where I might be able to find finished sample spec scripts.
    All the scripts online are completed shooting scripts… with camera angles and direction also SFX cues. Which I was told is a big no no, if you want your script to be read and hopefully produced.
    Keep up the great work…

  37. Nadine says:

    When should we use cut to, resolve to , fade in/out etc.?

  38. Hakeem says:

    How should I use Continious?

    1. Script Reader Pro says:

      You can add CONTINUOUS to a slugline when we’re following a character (or something) in a smooth transition from one location to another. For example:


      Joe throws away his cigarette and heads back inside.


      He sees Tommy exiting the bathroom and stops dead in his tracks.

  39. Jessica Green says:

    I am really loving these examples. Going to buy your how to format a script book when I get paid.

    1. Script Reader Pro says:

      Thanks, Jessica, really appreciate it!

  40. Matthew Sanders says:

    What about I./E CAR MOVING?

    1. Script Reader Pro says:

      That’s explained in the book, but essentially you only want to use this slugline when we’re flipping rapidly between two locations – like a moving car as you suggest.

  41. Ashlee says:

    First class! Thank you script reader pro for helping advance my screenwriting knowledge a little more every day.

    1. Script Reader Pro says:

      You’re welcome, Ashlee – glad you find the site helpful.

  42. Phil R Desmond says:


    Newspaper reporters hot-footed it to be there despite only being given moments notice. Newt enters the building and approaches Captain Yates.

    Is this what you mean? I should have a new scene header when Newt enters? Before he meets Captain Yates?

    1. Script Reader Pro says:

      That’s right, Phil. You should also probably make it clear where we are, as “crime scene” isn’t really a location.

  43. Nicky says:

    Can anyone tell me the difference between this book how to format a screenplay and the one by Chris Ripley?

    1. Script Reader Pro says:

      Our book is purely made up of the most popular formatting “errors” that we see in spec scripts that hold back the read, along with suggestions on how to improve them.

  44. Stan Butler says:

    You might like to know the example using Int/Ext hardly ever happens. I would have chosen a bigger mistake for this post like too many montages.

    1. Script Reader Pro says:

      You’re right, many specs contain too many montages, but that’s not really a formatting error – more of a stylistic choice that gets overused.

  45. Seamus says:

    Perhaps it is important to recognise how to format scripts. I had not taken it that seriously but will do now. Thank you.

    1. Script Reader Pro says:

      Learning how to format a script is pretty important, Seamus. Glad the post helped.

  46. Terry says:

    Where can I download the book?

    1. Script Reader Pro says:

      Do you mean our formatting book? You can find that here.

  47. H Wilson says:

    But a script does not need perfect formatting in order to sell. Just great story.

    1. Script Reader Pro says:

      True, but you don’t want to give the wrong impression by sending out a script with a ton of formatting irregularities.

  48. Julie says:

    I want to know how to format a phone call. Is it Voice Over or Off camera or something else?

    1. Script Reader Pro says:

      It depends. We have a post here on how to write a phone conversation in a screenplay.

  49. Ankit garg says:

    If we are not using we hear or SOUND, how are we then supposed to differentiate between on screen and off screen sounds?

  50. Ankit garg says:

    You have said dont use “we hear” or SOUND.. But then how do we distinguish if the sound is on screen or off screen? Baby cries or Sound of baby crying. “we hear clattering sound from the kitchen” or clattering of utensils. Both these have different connotations, one sounds on screen and the other off screen?

    1. Script Reader Pro says:

      Hi Ankit, we say in the post try to avoid using “we hear” or “Sound” but it’s not a hard and fast rule. There aren’t any codified rules when it comes to formatting.

  51. Nick Lowe says:

    Awesome post. I actually made that mistake in the second example. Thanks guys!

    1. Script Reader Pro says:

      Thanks, Nick!

  52. Stavros says:

    Sorry, this formatting process seems overblown and micro specific. If the reader, producer, studio, can’t see, feel through, in harmony with, the scripts intention, it appears an anal analysis and explanation of the tiny specifics involved with reading. It also is a waste of time when it comes to the written word. Yes, there should be format for lazy readers, but the purpose is to open the story for understanding, not microscopic analyses. Thank you

    1. Script Reader Pro says:

      Not sure what you mean by “there should be format for lazy readers.” The formatting should be clear for all readers to understand so they can just relax and enjoy the story.

  53. sergei says:

    Hi, I would like example of what to do when a character doesn’t know another characters name. Do we write the name in for the character?

    1. Script Reader Pro says:

      It depends whether it’s important for the story that the reader knows the character’s name or not as well.

  54. Ted Ingerson says:

    Love this. Keep up the great work for us struggling writers ScriptReader Pro!

    1. Script Reader Pro says:

      Thanks for reading, Ted!

  55. Rob says:

    Great article, but I respectfully question why shouldn’t we write this scene as:
    EXT./ INT. – GYM – DAY
    Charlotte enters the gym, talking on her cellphone. She walks down the hallway toward the changing rooms.
    Is it not true that:
    1) It’s a bang-bang action description of her changing scene locations. It’s not written in your scene description that she’s “chatting outside.” If she were, “chatting outside”, then it would definitely require its own scene heading. But, in my opinion, since she is “moving” into the gym — as the action in your scene is described (i.e. the scene [begins] with her entering the gym), it seems it should be acceptable.
    2) Adding a unnecessary scene heading wastes several lines of valuable page space. (or not, if the writer is trying to pad their script with more white space)
    3) Doing it under one scene heading offers better mental continuity for the reader, because their train of thought isn’t interrupted by having to [stop – read the new scene heading] then resume reading the action description.
    My two cents, for what it’s worth.

  56. Patrick says:

    There’s conflicting information about what should be on the cover (card stock). Do we leave it blank since the title page follows or should the title information be on the cover as well?

    1. Script Reader Pro says:

      Yes, leave the card cover blank.

  57. Charles Simmons says:

    More formatting examples please.

  58. Larry says:

    This is just dumb. Noone cares if we go inside and outside without their immediately being a scene heading.

    1. Script Reader Pro says:

      It’s confusing to the reader (not to mention production crew) if it’s not clear that we’ve changed location.

  59. Carla Ruiz says:

    I think this is one of the best posts I’ve read on how to format script. Thank you.

    1. Script Reader Pro says:

      Thanks, Carla. Glad to hear it!

  60. Isabella Palladino says:

    Very helpful. Thanks.

    1. Script Reader Pro says:

      You’re welcome, Isabella.

  61. Jeremiah says:

    How cаn I find out morе of these formatting mistakes?

    1. Script Reader Pro says:

      Here’s the link to our book: How to Format a Script for the Spec Market. You’ll find all the most popular “errors” we see in spec scripts in there.

  62. Rick says:

    In my opinion and according to Dr. Format, the only sounds that should be capitalized are ones that are very important. I also believe the rules for television and film are different.

    1. Script Reader Pro says:

      Thanks, Rick, we agree.

  63. Michael Rogers says:

    In the second example of the misuse of capitalizing SOUNDS, why did you capitalize SOUND SYSTEM? Did I miss something? Are you to capitalize what the sound emits from as well?
    When you say, a BABY CRIES, the BABY is a character that we are being introduced to for the first time, so BABY is capitalized, correct?

    1. Script Reader Pro says:

      Thanks, Michael. As we say in the post “While the above rules may be “right way” of formatting sounds, it’s perfectly fine to eschew many or all of them and save caps only for those sounds you really want to draw the reader’s attention to—like a bomb going off.” Technically, though, it’s “correct” to put the sound in caps as well as the thing making the sound. Hence the sound system is creating the music so gets put in caps. The same applies to the baby – it’s not a character we’re being introduced to.

  64. Michael says:

    “It’s best to avoid caps for natural sounds made on-screen.” You’re just arbitrarily inventing rules, you realize that?

    1. Script Reader Pro says:

      As we say in the post, it’s best to avoid deliberately putting natural sounds made by actors such as sighing, sneezing, typing on keyboards, etc. in caps. It’s better to leave caps for important sounds you want to draw the reader’s attention to.

  65. vignesh says:

    Great work really useful..
    But If a character walks from road to the coffee shop in a CONTINUOUS SHOT.. Then what about the INT. & EXT.

    1. Script Reader Pro says:

      Yes, it’s best to keep the INT. EXT. when using a CONTINUOUS.

  66. Tatiana says:

    I like the way how you explained it , clear and simple , yet directly to the point. It really helps a lot. Especially capital in sound. Thank you so much for the wonderful tips.

    1. Script Reader Pro says:

      Thanks, Tatiana, glad you found it useful!

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