How to write voiceover in a script (ultimate pro guide).
The percentage of movies and TV shows that employ voiceover is fairly low. Most times when you sit down to watch something it won’t have voiceover in it. However, the percentage of spec scripts that employ voiceover is fairly high, so there’s obviously some kind of disconnect going on here.
Unlike many screenwriting “gurus,” we’re not saying that using voiceover in a script is “cheating” or “lazy.” When implemented properly, voiceover can be an extremely effective screenwriting device.
What we’re saying is that you need to have a specific intent for using voiceover in a script. And, if you have an intent, you need to know how to do it properly so it doesn’t come off like you’re “cheating” or “lazy.” Which is what this article is all about. So let’s dive on in!
First, what is voiceover in a script?
We’re not going to get too technical (or boring) here by delving into the differences between voiceover vs. narration, or diegetic vs. non-diegetic voiceover.
To simplify matters, voiceover in scripts falls into three main categories:
1. Character thoughts (we hear a character’s inner thoughts as they occur to them in the scene)
2. Character narrator (we hear a character narrate the story, as if they’re observing the scene, not actually present in it)
3. Unseen narrator (we hear a non-character narrate the story, i.e. a traditional narrator as if they’re reading a novel)
Voiceover in scripts is formatted like so, with (V.O.) next to the character’s name—“MRS. POWELL (V.O.)” or MIKE’S THOUGHTS (V.O.) or “NARRATOR (V.O.).” (But more on formatting later.)
Let’s take a quick look at each of the three main types:
1. Character thoughts.
This form of voiceover is when we hear a character talking but their lips don’t move. We simply hear their inner thoughts in real-time, along with the scene.
Revealing a character’s innermost thoughts in this way can add narrative depth, insight and complexity to them and to the plot, allowing more exploration of their backstory, fears and desires in a way that dialogue and action might not be able.
Example: Hannah and Her Sisters.
2. Character narrator.
Another common form of voiceover is character narration. Here, one of the characters (usually the protagonist) comments on the action happening in the scene, but from a more detached perspective, as if they’re not physically there.
This is sometimes due to the character narrator now being much older than their younger self on screen (Stand By Me), or already dead (Sunset Boulevard).
Example: The Wonder Years.
3. Unseen narrator.
In this use of voiceover, a narrator comments on the action happening on screen from an even more detached perspective, because they’re not a character at all in the story—they’re just the narrator—faceless and unknown to the audience.
Often this kind of voiceover makes the narrative feel more “novelistic,” and so it’s no surprise that it’s frequently found in screen adaptations from novels.
Example: The Assassination of Jesse James by the Coward Robert Ford.
4 steps to determine if voiceover is a good fit for your script.
Now that we’ve established what voiceover is, it’s time to figure out how to write voiceover in a script effectively.
Step 1: Locate your script within the five main genres.
Voiceover is a writing device like any other—flashback, dream sequence, montage, etc. Perhaps more so than in these devices, however, voiceover is applied in different ways in a script depending, on its genre.
For example, if you’re writing a comedy, the voiceover is going to be used in an entirely different way than if you’re writing, say, a thriller.
So, the first step is to place your script within one of the five major genres:
- Drama
- Comedy
- Action/adventure,
- Thriller
- Horror
Note: these are the major genres relative to each movie/show. For example, The Fall Guy might be relatively funny (comedy), and contain a strong love story (romance), but primarily it’s an action movie.
Step 2. Read (at least) five TV shows or movies with voiceover in your genre.
That’s a minimum of five. Ideally, you want to read as many scripts as you can, but five is a good starting point.
We’ve championed the benefits of reading professional screenplays many times here on Script Reader Pro. Here are 50 of the best screenplays to read online and 50 of the best TV scripts to get you started.)
It’s one of the very best ways to learn the craft of screenwriting—and learning how to write voiceover in a script is no exception.
To give you some ideas, here are five movies and TV shows from each major genre that contain voiceover. (Click the title to download a PDF copy of the script.)
Voiceover in scripts to download [DRAMA].
Adaptation
It’s a Wonderful Life
Little Children
Marriage Story
Stand By Me
Voiceover in scripts to download [COMEDY].
The Big Short
Election
Life Itself
Sex and the City
Stranger Than Fiction
Voiceover in scripts to download [ACTION/ADVENTURE].
Apocalypse Now
Deadpool
Go
Veronica Mars
War of the Worlds
Voiceover in scripts to download [THRILLER].
Dexter
Double Indemnity
Mr Robot
The Girl On the Train
Shutter Island
Voiceover in scripts to download [HORROR].
Jennifer’s Body
Are
There
Any
Others?
Step 3. Study how voiceover is implemented in your genre.
The best way to learn about how to successfully write voiceover narration in your screenplay is to see how others have done it effectively. Read as many shows and movies with voiceover as you can and make note of their techniques.
Simply reading scripts that utilize voiceover in your chosen genre will undoubtedly help, but the real benefits can be found in really breaking down and studying the use of voiceover in these professional scripts.
Look for commonalities between the voiceovers in each script. Ask yourself “how” and “why.”
Ask yourself HOW the writer is using voiceover.
- Who’s delivering the voiceover?
- What are their speech patterns like?
- What’s the tone?
etc.
Ask yourself WHY has the writer used voiceover.
- Is it purely being used to set up the story at the beginning?
- To show amusing counterpoints to the action?
- To explore a disturbed mind?
etc.
Let’s do a quick overview of how each major genre handles voiceover.
Drama.
Drama is perhaps the perfect genre for voiceover—enabling a writer to really get inside a character’s head and reveal information in a way that’s usually reserved for novels. Or, provide a novelistic feel to the narrative by the use of a narrator.
- Character thoughts/narrator vs. unseen narrator: Drama utilizes both very effectively
- Placement: All – beginning, end, bookend, all the way through
- Tone: Formal, serious, stately, thoughtful
- Humor: Low
Voiceover example: The Virgin Suicides.
Giovanni’s Ribisi’s wonderful voiceover in this movie is used to set the scene and provide background information, reveal the boys’ thoughts and feelings as both teenagers and adults, and ultimately shape the audience’s perspective.
Comedy.
Voiceover in comedies strives to draw humor from juxtaposing words and visuals, showcasing wit, and by giving us insights on what a character’s really thinking.
Some comedies such as (500) Days of Summer, Take the Money and Run and Ted, employ an unseen narrator voiceover, but mostly the genre focuses on characters’ inner thoughts and character narration.
- Character thoughts/narrator vs. unseen narrator: Comedy leans toward character thoughts and narrator over unseen narrator.
- Placement: All – beginning, end, bookend, all the way through
- Tone: Humorous, ironic, irreverent, witty
- Humor: Heavy
Voiceover example: How I Met Your Mother.
Ted Mosby uses future-telling narration to tell his kids the story of how he met their mother. This framing device allows for a non-linear narrative structure, flashbacks, and foreshadowing.
Action/Adventure.
Just like the overall genre, the use of voiceover in action/adventure movies and shows is brash, bold, irreverent. There’s no time for the sedentary pace of voiceovers found in drama, (or even comedy)—action/adventure voiceover is a fast-talking, wise-cracking adrenaline-fueled explosion of words.
- Character thoughts/narrator vs. unseen narrator: Focuses on character thoughts or narrator-based over unseen narrator
- Placement: All – beginning, end, bookend, all the way through
- Tone: Humorous, ironic, irreverent, witty
- Humor: Middling to heavy
Voiceover example: Fight Club.
The voiceover is super-charged, funny and sardonic and reflects his cynical view of the world, drawing the audience into his dark journey.
Thriller.
Thrillers are, of course, all about suspense, psychology and mystery and this is highlighted by voiceover that often focuses on the protagonist trying to work out what the heck’s going on, while also trying to avoid being bumped off.
Hence practically every film noir of the 1940s and 50s contained voiceover—as do some of the genre’s more modern incarnations, such as Memento. (Interestingly, another neo-film noir, Bladerunner, was infinitely improved by removing the 1940s gumshoe voiceover from the original 1982 theatrical cut.)
Alternatively, take the David Fincher movie, The Killer, or a TV show like Dexter. The Killer is a hitman and Dexter Morgan is a serial killer who targets other criminals. Both narrate their dark thoughts and justifications for their actions and in both cases the narration creates a contrast between their personas and monstrous inner worlds.
- Character thoughts/narrator vs. unseen narrator: Thrillers are almost entirely character thoughts or narrator-based rather than unseen narrator
- Placement: All – beginning, end, bookend, all the way through
- Tone: Lost, alone, inquisitive, ironic, nihilistic
- Humor: Low to middling
Voiceover example: Memento.
Leonard Shelby’s fragmented voiceover mirrors his memory loss, creating a unique storytelling experience. The movie wonderfully utilizes voiceover narration to place viewers directly into his fractured perspective.
Horror.
We couldn’t think of any other horrors outside of Jennifer’s Body that contains voiceover, and there’s probably good reason for this. (Maybe Interview With a Vampire? But it’s more of a fantastical drama than anything.)
For a start, if the protagonist delivers the voiceover, it implies that they survive their ordeal (even though technically they might not) which immediately lowers the life or death stakes of the narrative.
Secondly, imagine if we heard the protagonist’s thoughts as they realize something’s hunting them in the mountains, or that their child is a demon… it simply doesn’t work. This is because horror is all about showcasing visceral, life and death stakes. And this is best served visually, with less not more dialogue.
This isn’t to say you should never use voiceover if you’re writing a horror or trying to come up with an idea for a horror script—but it’s a pretty strong signal that maybe it should be left out.
Voiceover example: Jennifer’s Body.
This is the closest horror script we could think of that contains voiceover, but even this isn’t a straightforward classic horror like, say, The Shining or Paranormal Activity. In Jennifer’s Body, the protagonist’s voiceover is amusing, the tone, quirky black comedy, the vibe, completely off-kilter from a traditional horror movie.
With that said, now it’s time to do a deep dive on the type and use of voiceovers in similar movies/TV shows to yours.
Step 4: Determine intention.
Once you’ve researched how voiceover is employed in your chosen genre, it’s time to decide if it fits the particular script you’re writing, or intending to write.
What you don’t want to do is just add voiceover just for the sake of it, because it’s “edgy” or “cool,” or you need to shoehorn exposition into the narrative, and voiceover seems the easiest way to do it.
If you want to learn how to write voiceover in a script the right way, then it must always be with intent—to achieve a specific goal. In other words, there must be a dramatic motivation for employing voiceover.
Check the list below to see if any do or could apply to your story. This list isn’t exhaustive, but it’s a good jumping off point for you to see if voiceover and your script could be a good match.
1. Your script is set in a high-concept or super complicated world.
Voiceover can efficiently establish setting, backstory, or concepts that visuals alone might struggle to convey. It’s great at establishing the rules of a world—as seen in films like The Lord of the Rings: Fellowship of the Ring—guiding the audience through complex lore and settings with ease.
Or introducing a brand new wacky concept, such as a world where no one’s ever told a lie, as in The Invention of Lying.
2. Your protagonist is psychologically damaged and morally questionable.
If your protagonist is mentally unstable, alone, schizophrenic, unable to tell dreams from reality, etc. voiceover can be a perfect way to let the audience into their mind and reach a level of understanding with them that might be much harder otherwise. If they’re also morally questionable, even better!
Try to imagine movies like Fight Club, Memento or The Killer, with no voiceover. We’d have much less connection to, and understanding of, the protagonist.
3. Your script has a novelistic feel to it, or is adapted from a novel.
Let’s say you’re writing a drama (or even a comedy) and you want to convey that elegant, portmanteau, sense of style to the narrative. Voiceover narration could be a great way to go. Done right, it immediately adds a sense of sophistication—whether it’s the protagonist’s thoughts we’re hearing or the words of an unseen narrator.
For drama, check out The Assassination of Jesse James by the Coward Robert Ford. For dramedy, Alex Ross Perry’s Listen Up, Philip and for comedy, Youth In Revolt.
4. Your script contains some kind of gimmick that lends itself to voiceover.
In some cases, voiceover is just as inevitable in a script as the sun rising and setting every day. You just know it belongs because the story almost demands it.
For example, when Zach Helm came up with the idea of a man realizing that he’s a character in a novel, (Stranger Than Fiction) it’s no wonder that he wound up including the voiceover of the author in the script—a voice that only the protagonist can hear.
Likewise, if something has already happened to the protagonist, like they’re a murderer who’s already been caught (Double Indemnity) or they’re already dead (American Beauty), or you have multiple characters relaying their version of the same event (Rashomon), then it makes perfect sense to utilize voiceover narration.
5. You want to misdirect the audience.
An unreliable narrator creates a sense of mystery and helps keep the audience on their toes. So if your script’s protagonist is someone who can’t necessarily be trusted, maybe giving them some voiceover that misdirects and misleads the audience could be a good move.
Again, Rashomon is a great example of this. Others would be Teddy Daniels’ version of reality in Shutter Island or, of course, Verbal Kint’s voiceover in The Usual Suspects.
5 tips for crafting the perfect voiceover in a script.
Voiceover is actually quite difficult to execute in a way that doesn’t feel “lazy.” It’s so common to see narration that adds nothing to a script besides exposition that could easily be written using regular dialogue or visuals.
But… if you have the right tools in your arsenal, voiceover narration can really enhance your story. So how do you write voiceover in a script in a way that actually helps your storytelling?
1. Identify your narrator.
Who is the voice guiding us through the story? Is it an omniscient narrator, a specific character, or multiple characters? Establishing a clear voice from the outset fosters consistency and allows you to develop the narrator’s personality.
Voiceover in a script should be active and engaging, just like regular dialogue. Use strong verbs and keep sentences concise.
2. Be deliberate.
Before writing voiceover, it’s absolutely crucial to determine its purpose. What information or perspective does it offer that visuals alone cannot? Is it revealing internal conflict, providing context, or offering a subjective view of events?
If you can’t find a purpose for your voiceover narration besides exposition or information dumps, do not use it. It has to have meaning and intention behind it, or else it will fall flat.
3. Show, don’t tell.
While voiceover can provide exposition, it should still follow the “show, don’t tell” principle of writing. Don’t give the audience everything. And if it can be explained in visuals or dialogue, don’t put it in the voiceover.
Try to avoid using it to explain what the audience can already see or understand. For tips on how to do this, check out our post, Show Don’t Tell: How to Turn a Talky Script Into a Visual Masterpiece.
4. Dialogue vs. narration.
Voiceover shouldn’t simply mimic dialogue. It should be more introspective, reflective, or even poetic. A lot of times voiceover is used to express something a character can’t or won’t say in dialogue. Aim for language that elevates the screenplay and complements the visuals.
But don’t overwhelm the audience with too much information at once. Long, winded sections of voiceover can be exhausting, and the audience might lose focus and interest.
5. Brevity is key.
Don’t rely on voiceover as a crutch for weak storytelling. Let the visuals do the heavy lifting, and use voiceover narration strategically to enhance the narrative.
Voiceover thrives on conciseness. Keep it tight and impactful, avoiding long-winded monologues that might lose the audience’s attention. Also, don’t use it too often. This isn’t a novel.
You shouldn’t need to use it in every scene. Instead, be deliberate about where you’re going to use it. Just at the beginning, just at the end, or both? Scripts that have voice over all the way through, often only introduce it at act breaks—using it as a bridge between one act and the next.
Voiceover in a script: the major pro and the major con.
If we had to boil down the use of voiceover to one major pro and one major con, it’d be these:
Voiceover’s biggest pro.
Voiceover narration adds an emotional layer to the story. A character’s heartfelt narration can deepen audience connection with them and the events on screen.
Viewers want to feel this type of connection when watching their favorite movie or TV show. They want to really get invested in their characters. And voiceover is a great way to establish this relationship.
Voiceover’s biggest con.
Using voiceover kind of goes against the grain of what you should normally do in a screenplay which is show don’t tell.
This can mean you risk relying on dialogue to explain things, rather than letting the reader see things happen through action.
This is a big issue with many spec scripts as it is, and so adding a voiceover into the mix—and all that extra dialogue—can sometimes mean adding fuel to an already dialogue-heavy fire.
Voiceover script format.
Formatting voiceover narration in a screenplay is easy. First, write the narration itself just like you would write dialogue for a character. Then, to indicate voiceover, put the abbreviation (V.O.) in parenthesis next to the character’s name.
This goes before the description of the action the voiceover will be playing over. For instance:
NARRATOR (V.O.)
He decided his navy cashmere sweater was just elevated
enough to impress her, but didn’t make him look like a
pretentious trust fund kid who had never struggled a day
in his life.
INT. BEDROOM – NIGHT
Ted searches through his armoire, looking for the perfect outfit…
***
Don’t confuse voiceover script format with a character saying something offscreen.
Voice over is indicated by (V.O.) while a character saying something offscreen is indicated by (O.S.). This is a common mistake, so be on the lookout for it.
How to write voiceover in a script – frequently asked questions.
Q. What is voiceover narration in a script?
A. Voiceover narration, also sometimes just called narration, is a storytelling technique that uses a voice/narrator to deliver a message or tell a story.
Q. Should I use a narrator in my script?
A. It depends. Can you express everything you need to in your dialogue or visuals? Then, no, you shouldn’t use voiceover narration. Do you feel there is a purpose (emotional, structural, etc.) for a narrator? Then, yes, go for it!
Q. What is the difference between (O.S.) and (V.O.) formatting in a screenplay?
A. (V.O.) is used to indicate the voice of a narrator, while (O.S.) is used to indicate a character speaking from offscreen (i.e. another room, or on the phone).
Q. Is using voiceover narration in a screenplay cheating?
A. Not when used correctly. As a matter of fact, it is probably harder to do narration well than it is not to do it at all. If you’re writing narration and it feels like you’re cheating, you might be doing it wrong. See the above guide for tips on how to write voiceover in a script the right way.
How to write voiceover in a script: conclusion.
The power of voiceover is not to be underestimated. In today’s filmmaking world, where a good story, strong characters, and a connection with the audience are more important than ever, using it effectively can make your script stand out among the thousands of others.
Following the tips in this tutorial will help you use develop the skills you need to properly write voiceover and incorporate it into your storytelling. Again, just make sure you tread carefully. It’s all about finding the sweet spot between making things interesting for the audience and letting the visuals tell their own story.
Some stories just don’t call for a character voiceover or a narrator. It’s not always necessary, even though it can have some interesting benefits. Be careful not to force narration into your script just because you feel it’s lacking depth.
There are other ways to introduce this depth, so make sure voiceover is the right choice before you dive in. For tips on how to write a compelling story check out our list of the 14 Best Screenwriting Books That’ll Help Kickstart Your Career.
But don’t shy away from voiceover narration if you feel it’s the best choice for your script. It can really make or break a story, and once you master it, your screenplay will thank you.
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We hope you enjoyed our guide on how to write voiceover in a script. We’d love to hear from you. What are your favorite movies with voiceovers? How do you think voiceover can help your storytelling, or is it more of a hindrance than it’s worth in your eyes? Tell us in the comments!
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