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
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How to Format a Script If You Want to Break Into the Spec Market
[© Photo credits: Pixabay / Unsplash]
