How to format dialogue in a screenplay: top 8 dialogue format “errors.”
Peppering a spec script with dialogue format errors may not completely derail the reader’s experience, but they definitely don’t help.
This is because they tell the reader one of two things:
1. You’re not a very experienced writer and are unaware of how dialogue should be formatted.
2. Or that you are aware but don’t care enough about the script (or the craft of screenwriting) to change it.
Mistakes are obvious.
While it’s true there are no definitive rules on how to format dialogue, dialogue format mistakes are guaranteed to stand out. Which is not a good thing when you want them to be completely immersed in your story and characters.
In this post, we’ve collected together the top eight dialogue format mistakes we see writers make. These are the top eight that should be avoided if you don’t want to give the reader a bad first impression.
So, let’s dive right on in.
Dialogue format quirk #1: interchanging character names.
You’d be surprised how often we see writers jump back and forth between character names.
It may sound obvious but the most important thing to remember when it comes to character names is to keep them consistent throughout the script.
If you introduce a character as ELIZABETH she should appear throughout the script as ELIZABETH. Rather than switch to LIZ or LIZZY. Or worse yet, alternate between all three.
Likewise, if you introduce a character as CAPTAIN LYNCH he should stay as CAPTAIN LYNCH. Rather than alternate between CAPTAIN JAMES LYNCH, CAPT. LYNCH or just LYNCH.
All of the above names are acceptable, but the key is consistency.
Numbered minor characters.
Similarly, make sure all minor characters with numbers instead of names stick to the same format. Try to avoid the following:
Mixing and matching minor characters’ names like this is also very common, but also very distracting for the reader. Stick to COP #1 and COP #2 throughout.
Some valid dialogue format alternatives for numbers are:
• COP 1 / COP 2 etc.
• COP ONE / COP TWO etc.
• FIRST COP / SECOND COP etc.
It doesn’t matter which film dialogue format method you choose as long as you stick to it throughout the screenplay.
Switching numbers with descriptions.
If minor characters have more than a couple of lines, a good way to avoid them sounding so generic is to give them names that hint at their personalities.
Such as GROUCHY COP, JOKEY COP, FRAZZLED COP, etc. Actors will have to audition for these roles after all, so give them something to go on.
Dialogue format quirk #2: embedding dialogue in action lines.
When characters speak, their words should always go in dialogue. They should not be paraphrased within action lines. Here’s an example of an embedded dialogue format that’s to be avoided:
If you ever find yourself writing a character’s dialogue in the action lines, chances are it should go in description. Like this:
Dialogue format quirk #3: misusing (V.O.) and (O.S.).
Sometimes cues are added next to a character’s name in order to indicate we can hear them speaking but they’re not actually in the scene.
VOICEOVER gets abbreviated to (V.O.) and is used whenever we hear a character’s voice, but they’re not physically present anywhere in the scene’s location. They’re somewhere else entirely.
Some examples would be:
• Characters on the other end of phone lines
• Characters on TV or computer screens
• Characters on radios or loudspeakers
• Characters on answering machines or tape recordings
• Characters talking during memories and hallucinations
• Characters narrating events we see on-screen
• Characters’ voices overlapping from previous scenes
OFF-SCREEN gets abbreviated to (O.S.) and is used when a character is just that—off-screen, but not in a completely different location. They’re in the vicinity of the scene, but out of view. A few examples would be characters who are:
• Behind a secret bookcase
• In another room
• Talking before entering a scene
The following scene is an example of how to properly implement (V.O.) and (O.S.) within film dialogue format:
Neither the narrator or Zach are anywhere in the vicinity of the scene and so their dialogue is indicated as (V.O.) Helen is on the other side of the door and so she’s in the scene, just not visible. Therefore her dialogue gets labeled as (O.S.)
Bear in mind also that screenwriting instructors and books do sometimes have different opinions when it comes to using (V.O.) and (O.S.). But we recommend keeping things simple by using the dialogue format method described above.
Dialogue format quirk #4: using too many actor directions.
Actor directions are also known as parentheticals, parentheses, personal directions and wrylies. They should only really be used in the following two circumstances:
• When an actor’s words need clarifying or shaping
• When an actor performs a small action
However, many budding writers tend to rely too heavily on both types.
Phrases like “beat” (a short pause), “re:” (“regarding”) and “sotto” (softly spoken) are particular culprits. But all actor directions should be used sparingly in film dialogue format. Unlike in this example:
Rather, give the actors a chance to express themselves and play a scene as they see fit. Keeping this in mind will result in a scene that looks more like this:
The only actor direction that’s needed here is Lana throwing the popcorn as it’s not something that can be inferred purely from the characters’ words. Or from the tone of the scene.
Dialogue format quirk #5: employing quirky formatting for actor directions.
We see all kinds of dialogue format variations when it comes to actor directions. In general, however, they should always be in lowercase and should not:
• Have caps on the first letter
• Have a period after the last word
• Be placed next to the character name
• Contain articles such as “a,” “the,” “he,” and “she”
• Describe actions made by another character
• Describe sound effects, camera angles
• Contain dashes, em dashes or ellipses
• Hang alone underneath dialogue
• Refer to one character interrupting another
• Refer to the fact a character’s on the phone if it’s obvious
• Refer to a character listening while on a phone call
Another common mistake is to add actor directions that are too lengthy. Here’s an example of a cumbersome actor direction:
Keep actor directions to a minimum and edit them until they fit on one line, like this:
Another option is to remove the action from the actor direction entirely and place it within the description, like so:
Dialogue format quirk #6: using unusual formatting for subtitles.
The most common mistake when it comes to film dialogue format regarding subtitles is indicating them every time someone speaks. Here’s an example:
If more than a few lines are spoken in a foreign language—say, a whole scene is in Danish—dispense with the actor directions.
Simply indicate at the top of the scene what language the characters are speaking in. Then, when they stop speaking in a foreign language, add END SUBTITLES in an action line, like this:
It doesn’t really matter how you indicate a scene’s dialogue is all in a foreign language as long as it’s clear. And don’t forget to write END SUBTITLES when a foreign language ends, just to make it clear we’re back to English.
If a character is only saying a line or two in a foreign language, then just add it to the actor direction:
Then resume with the normal conversation in English.
Dialogue format quirk #7: emphasizing too many words.
In dialogue format, it’s fine to emphasize the occasional word or line for dramatic effect. Underline, bold or put in italics too many words, however, and it distracts rather than enhances.
Here’s a scene that sums up the perils of overusing emphasis within dialogue format:
Constantly adding inflections like these to characters’ dialogue not only looks cluttered on the page, it’s also guaranteed to annoy the actors. They want to feel free to interpret the lines as they sit fit, not micromanaged on how to deliver them.
Dialogue format quirk #8: incorrectly formatting songs.
Here’s how not to format a character singing in a screenplay:
All singing should be formatted as dialogue, but slightly modified to let the reader know the words are being sung rather than spoken.
The easiest way to do this is to add “singing” as an actor direction, and then format the dialogue as usual, wrapping it in quotation marks if you like.
Here’s the scene again, this time reformatted:
As with email, text and instant messages, some writers prefer to put song lyrics in italics, like this:
Yet another alternative is to end each line with a slash:
Note: if you’re writing an actual musical there’s a whole different set of rules you need to follow in the dialogue format. Such as the fact lyrics get justified left and in uppercase. Most professional screenwriting software has built-in templates for this.
Dialogue format: conclusion.
Studio readers, managers and producers are deluged with typo-ridden, poorly formatted screenplays. Don’t be one of these writers.
Purchase one of the five best screenwriting software on the market and maybe a book on how to format a script. Keep things simple and consistent and focus more on what really matters: your story.
Now, maybe your script’s a masterpiece—guaranteed to start a bidding war between studios. In this case, a few dialogue format errors probably aren’t going to derail its chances.
But… very few spec screenplays are masterpieces. Most can’t afford to give the reader an excuse to stop reading. And multiple dialogue format mistakes jeopardize your chances of the reader taking the script seriously and getting a second read.
We hope this post has helped you learn a little on how to format dialogue. Have we helped you take note of some errors you were making? Or maybe you think we missed a glaring format error that should be included? Let us know in the comments section below.
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Liked this post? Read more on how to format dialogue and your spec script…
Why You Should Stop Thinking of Movie Script Format in Terms of Rules
10 Best FREE Screenwriting Software Options For Writers
How to Format a Script If You Want to Break Into the Spec Market
[© Photo credits: Pixabay / Unsplash]
Thank you for all of the insight. My one question is how would I format internal dialogue? For instance if Luke asks John a question, then jokes inwardly that John will not know the answer, how would I format that correctly?
You could either add voiceover (V.O.) and have the audience hear Luke’s thoughts, or make it clear through Luke’s expression or action that he knows John won’t know the answer. A “smug smile” as he waits for the answer, for example.
Thanks for the insight.
Thanks Antonia!
This is quite helpful. I got my screenplay all the way to an LA agent who loved the concept and story but killed me on formatting. This is helpful.
Question: If I have 3-4 sentences in Dialogue, or a longer speech, what are the rules in terms of spacing the end of a paragraph between the next line in the same dialogue?
Is there spacing at all?
Thanks,
Thanks for reaching out, Eric! Are you using a professional screenwriting software? If so, all spacing will be taken care of automatically. If not we’d highly recommend you choose a free or paid option and you can check out our favorites here: 12 Best Free Screenwriting Software and here: 6 Best Paid Screenwriting Software.
Thank You! This article helped me a lot and I am much clearer on understanding some things. Makes a lot of sense.Great article!
That’s good to hear, thanks Jackie!
Great read! As a beginner, I’m concerned with unnecessary clutter. This piece was very helpful! Thank you!
Thanks for reading, Dave – glad it helped!
Great read! As a beginner, I’m concerned with unnecessary clutter. This piece was very helpful! Thank you!
How many times to write the name of a character who spoke previously in a same scene on their following dialogues
How many times to write the name of a character who spoke previously in a same scene on their following dialogues
How do you format a scene with only one character?
I’m writing a scene where a character is interacting with a room and making comments. How would you format that? Would I have to put “CHARACTER (CONT’D)” after every action? I hope this question makes sense haha
Makes sense. Maybe it’d be best to turn off the CONT’D feature and write as normal.
How do I format a dialogue when the actor isn’t soliloquizing but thinking out loud to the hearing of the audience? or rather his thoughts are heard or seen by the audience?
If it’s a direct to camera address, you could write something like “aside, to audience” in parentheses. Or if he/she is more thinking out loud, something like “to him/herself” or “thinking out loud” or “under his/her breath” would work.
Hi, I’m writing a Thai short movie in English. All the dialogues are in Thai, except a few in Japanese. Should I mention (in Thai, subtitled;) in every dialogue scene? Or just mention once that all dialogues are in Thai? If so, where should I mention it? Please advise on this.
Do you mean most of the dialogue is in Thai? Then this should be stated upfront in the description rather than whenever a character speaks. Then, when someone speaks in Japanese, you can add this in a parenthetical.
how to put foley on my script?
hi, guys. amazing, job.
Thanks, Oscar!
If the song a choir is singing is in Hebrew, in first century Palestine, must I format all singing as dialogue?
Yes, the lyrics should generally be formatted as dialogue.
Thanks a lot! This helps a lot. I’ve found that I unintentionally control a lot of my character’s actions as I write because it helps me visualize it and keeps the emotional momentum going, but that’s caused some confusion as to what I should include and what I shouldn’t like one example being “silently contemplating, he takes a breath and heads inside” and another being “she smiles at his approach.”
Can’t see much wrong with those examples, Erik 🙂 Problems tend to arise when writers do things like describe every action involved in pouring a glass of wine or something.
This has really helpful, thank you it will help me understand how to format dialogue in a screenplay.
Glad to hear it, Kevin!
I noticed a lot of scripts on blacklist have much longer description passages with less dialogue, or there will be a few lines dialogue and then a passage of description. Is there a hard and fast rule for applying this. I notice in Tarantino’s scripts he’ll have passages with quite a bit of dialogue, then he’ll break away with a line or two of description. I want to tell the story the way it needs to be told, and I don’t necessarily want to follow a trend, if that means more dialgue with specfic description placed throughout so be it or less dialogue, so forth. Is there a rule a clear cut rule between passages of dialogue and passages of description?
There are no fixed rules – we would just recommend you keep your description clear and concise.
Thanks. Much appreciated.
Thanks, Brock!
I have a question. Normally it is said to not have a character speak too many lines at once. Three is the recommended norm. However, I find this a bit vexing for the writer. Does not Tarantino use dialogue liberally, as well as Scorsese? The truth is some of my characters are chatty, others use words sparingly. Should the writer feel limited by this rule? I realize this is more style and less a format question.
The “three lines of dialogue or less” is just a general rule, but nothing’s set in stone.
I’m a reader at a top agency and I mostly agree with all these. #1 is a killer, so confusing.
Thanks, Brian!
Congratulations!
I have not found yet how it refers to “FLASHBACK” and “SOME TIME BEFORE/AFTER”
Best regards
I’ve wanted to know how to format dialogue forever. I feel like you guys are only skimming the surface here and holding back. GIVE US MORE!
More coming soon 🙂
Thank you for putting this together it will help me dialogue format alot.
You’re welcome, Lynda!
where can i find an agent?
Have you seen this post on how to get a screenwriting agent?
Good work srp .
Thanks, Timothy.
I dont think anyone uses slashs anymore in their dialogue format for singing
It’s all completely up to you. It’s just one of the options 🙂
Can you please check my dialogue format? How much will that cost thank u.
We’d need some more info so please email us directly. Thanks.
All very basic don’t most writers know this? ?
These are the kind of dialogue format questions we get all the time – that’s why we turned it into a blog post.
I have a scene in which a character is making lots of actioins as he talks, like rapid fire with his hands, taking things, throwing things. So my question is how do I format this? With wrylies describing every action as he speaks? But you say not to use to many wrylies .
An alternative would be to state at the top of the scene something like “Jack speaks rapidly, taking things off the shelves and throwing them as he talks.” And then write out his dialogue without any parentheticals.
Very nice i am beginner writer from tehran and found your sight. Thank you for helping us.
Welcome aboard, Farhad!
Very helpful! Thank you!
I’ll save this post for future consultations, but I’m sure I have to hire a script doctor anyway 😀
Thanks, J.M. we look forward to it!
When sending a synopsis to an agent do you send it as an attachment, or copy and paste it in the email?
It’s best to ask for their submissions policy first. Good luck, Florian.
Thank you so much or such an AWESOME tutorial!
You’re welcome, thanks, Cory!
I am a professional filmmaker and screenwriter from Greece. Just recently I came up with an exciting idea and a script for a feature film that I believe you may be interested in discussing. Can I email you my pitch and script?
We’re not a production company.
Some people take formatting waaaaaay too seriously. Like c’mon theres more to a script than formatting.
True 🙂
How do I format dialogue when its in sign language?
Treat the same way you would subtitles. If the character is just saying a line in sign language, this can be noted in a parenthetical. If they’re talking in sign language for a whole scene or more, state it at the top of the scene (or first time we meet them.)
Another difficult area mastered due to your excellent advice.
I use Writer Duet but perform solo.
Thank you.
Thanks a lot, William!
Is it easier to do dialogue format in screenwriting software?
A resounding YES.
Random examples of script dialogue being formatted “correctly” whateber that means. Thanks for just wasting 10 minutes of my time.
Wonderful read. Enjoy every comment.
How do I format dialogue in a animation movie?
Exactly the same way as in a feature script.
I need someone to help me with my completed script. I have been praying to find an honest person to read it and who knows maybe we both can change a few things in the script. I wrote this after an operation.
Here’s our script coverage services page, Aimee. Cheers.
I totally agree with your thoughts.
However, if we’re going to be fair, there’s also lots of say about WHO writes the dialogue format.
Tarantino doesn’t write the same as Mamet.
Do I use dialogue format for SMS?
You can do if you like. Just pop “text message” or “SMS message” in a parenthetical or brackets next to the character name.
Love to you all. This has been sooooooo helpful!
Thanks so much, Bea!
People spend way too much time fussing about formatting. It;s your story that counts
Yes, many writers get hung up on it. That’s why we always say you should often do what feels right and stick to it, rather than try to follow set “rules.”
I found this article to be very helpful in going forward as a screenwriter. Being a lyrical poet I just wrote my first screenplay. I have used rhyme and meter as a lifeline for continuity and shaping the concepts. I found using the traditional way of writing easier to see the shapes of the verses in between the addition of Character names and added background for the reader/director. I’m going to practice writing from the center of the page.
Thanks again for your advice,
David
Thanks, David!
Great info jus what I was looking for. Thank u.
Thanks, Janelle.
good info thanks but you dont mention how to format dialogue on tv or radio? Please advise
If someone is talking on a TV screen or radio they’re not in the location of the scene, therefore their dialogue is (V.O.)
Wonderful. Many screenwriting pages confuse this things so much but you lay it all out so clearly.
Thanks, Amanda!
How do I format dialogue of someone talking as a ghost? So we can’t see them but their in the scene?
Technically this would be (V.O.) seeing as the actor won’t physically be in the scene, but you could just write the dialogue as normal and establish in the description that the character’s invisible.
Wonderful!
Dan Curry, 7-Time Emmy winner for Star Trek, and my good friend, has BEAT MY HEAD TO THE TABLE many times with writing my script for project abaddon (my feature film). I’ve now hired Steve Longi with Longitude Entertainment and he’s helping me hon the story and script in prep for pitching to Steve Spira at Warner Bros. They called me back in January.
I now have a real shot…
Check out my trailer at the website (I built) and here’s the logline:
Actually, here are two versions
LOGLINE
PROJECT ABADDON is a Sci-Fi action adventure about a futuristic VR/game designer, who rarely ever leaves his house, sets out on a journey to solve the mysterious death of his father. He discovers he’s alive, but unwittingly triggers an ‘alarm’, installed by an alien race, that threatens to annihilate humanity in order to “save the Earth”.
Or…
Haunted by loss, a struggling futuristic VR/game designer stumbles upon clues surrounding the supposed death of his father in the sci-fi action adventure Project Abaddon. Aided by a mysterious warrior and a motley crew of interstellar life forms, he ventures into the far reaches of outer space to find the answers, but in doing so, accidentally triggers an alarm installed by a hostile alien race that threatens the existence of mankind on planet Earth.
Great article.
Thank you,
Thanks, Pete – sounds good, best of luck with the script.
I found this article to be very helpful in going forward as a screenwriter. Being a lyrical poet I just wrote my first screenplay. I have used rhyme and meter as a lifeline for continuity and shaping the concepts. I found using the traditional way of writing easier to see the shapes of the verses in between the addition of Character names and added background for the reader/director. I’m going to practice writing from the center of the page.
Thanks again for your advice,
David
Thanks, David!
Very informative. I have written several scripts. I use Movie Magic Screenwriter. I found the (V.O.) and (O.S.) can clearly be misunderstood. You clearly told and showed the differences. Thanks for the post.
Thanks a lot, Michael!
Dialogue format is my weak point , hate formatting phone calls, tvs , offscreen voiceover but this really help .
Glad it helped.
The best instructions you’ve emailed so far, Thanks a million
Glad you liked it, Reg!
Hi — 2 questions.
I was a bit confused by the formatting to showed for song lyrics. Having written STAGE MUSICALS, the format is to CAP all the lyrics. I have been told that this would also work in SCREENPLAYS. Have I committed a format crime?
Also, having used Final Draft since the very beginning, I wondered what you had to say about (O.S.) as opposed to (O.C.), the latter which you didn’t mention. Could you please clarify that?
Thank you.
There are no crimes when it comes to dialogue format 🙂 We’re just saying what’s general practice, but no one’s going to throw your script out the window if you use ALL CAPS. Likewise with (O.C.) You can use this instead of (O.S.) but it’s more common in TV than features.
I found the article interesting and accurate. I read a lot of scripts and I find a big problem is that the writer wants to direct the scene. Then why hire a director? Example, “Close up on John” or “pan the crowd”. Those are director choices, not the writer. By the time the script gets to filming, all that may change. Writers should write the story. Much like a book. Give the producer a story script. Down the road, the script can be turned into a shooting script.
Thanks, Greg. There’s nothing wrong with using camera angles occasionally but they definitely shouldn’t be overused. That’s when things can get distracting for the reader – when there’s a PAN ACROSS, CUT TO, TILT UP on every other line.