Feature Format

an original template by
_________________________
The Script Lab

format n. the way in which something is arranged: shape, size,

and presentation.

FADE IN:
EXT. ROYAL AND ST. PETER - STREET CORNER - DAY
Each scene has a complete heading starting whether it is
interior or exterior, giving a specific description of
the location and indicating day or night, dusk or dawn.
Morning, afternoon, and evening ARE NOT times of day in
scene headings. This is visual writing, and morning and
afternoon look the same as day; evening is night.
If you want the audience to know that Royal and St. Peter
is in New Orleans, it helps to point out a recognizable
landmark such as Jackson Square or St. Louis Cathedral.
The Eiffel Tower, the Statue of Liberty, or The London
Bridge are often used for such identification purposes.
If a card printed on the screen is needed to indicate
location, date or era, it should be written:
CARD:
New Orleans, French Quarter, 2005
EXT. STREET CORNER - DAY
Sometimes you may only want the audience to know a
general sense of the location, such as at a street
corner, in a forest, or on a country road.
If you dont want to be specific, dont include any
identifying landmarks, but make sure you describe the
atmosphere that is specific to that location.
The first time a CHARACTER is introduced, the characters
full name is written in all CAPS.
After that, either use the characters first or last name
when writing him or her in description. Be consistent.
CHARACTER
Dialogue is typed in a narrower format
than scene descriptions. Character names
are always in CAPS.
If your scene description changes to a new subject, new
visual, new element, etc., skip a line between sections.
Use spacing on the page for emphasis, pacing, and rhythm.
Limit your description paragraphs to three or four lines.

2.

Long description paragraphs are too thick, overwhelming ,

hard to read, and tend to lack the correct dramatic
emphasis. The more white space on the page, the better.
CHARACTER
When a characters speech is carried over
a significant...
Character grabs his beer bottle and hurls it through the
TV screen.
CHARACTER (CONTD)
...action, describe the action in proper
descriptive form and repeat the
Characters name at the top of the
finished dialogue with (CONTD).
Character picks up a framed photograph of his wedding
day.
CHARACTER
Minor actions...
(teary eyed)
...of a word or two can be placed inside
(parentheses) and indented.
Sometimes you want to HEAR a character before seeing (or
without ever seeing) that character, yet the character is
in the scene, unexpectedly appearing from behind a door.
NEW CHARACTER (O.S.)
Put (O.S.) following the characters name
in dialogue to indicate Off Screen as
he or she speaks.
Sometimes we can hear the characters thoughts or there
is a narrator speaking to us who is not in the scene.
ANOTHER CHARACTER (V.O.)
Put (V.O.), for Voice Over, after the
characters name.
There are instances where voice over is an effective
tool, but it should never be used as a crutch to cover.
It is easy to tell us with V.O. - harder to show us.
If you want to emphasize a SOUND, often a sound that
comes from O.S., capitalize it. It is not necessary to
capitalize all sounds, only those you want to emphasize.
CUT TO:

3.

INT. CAFE CHARLIES - DAY

There is no need to type CUT TO: between scenes. We
assume that we cut from scene to scene unless specified
otherwise.
There are occasions to indicate FADE OUT: or DISSOLVE TO:
or MATCH CUT: or another optical effect. But most effects
are decided during editing, so use them sparingly.
Unless you are the writer already signed on to direct the
film, never direct on the page. Avoid dictating camera
moves, zooms, and pull backs in the scene description.
ANGLE ON or CLOSE ON are other ways of directing on the
page and are so vague, the are ultimately meaningless.
Decide what you want us to see and describe it. Period.
INT. CAFE CHARLIES - KITCHEN - DAY
If you have script writing software like Final Draft 8,
the program will format everything for you; however, if
you are new to screenwriting, format is essential.
No one will read your script if it doesnt look correct.
CHARACTER
Character names are approximately
centered. Set the tab at about 4 inches
from the left.
Scene description indents to 1 1/2 inches on the left
side and stops at 1 inch from the right.
CHARACTER
Dialogue is indented about 2 1/2 to 2
3/4 inches on the left and 2 to 2 1/4
inches on the right.
The top and bottom margins are approximately 1 inch.
INT. CHARACTERS APARTMENT - NIGHT
The major factors in determining a new scene are location
of the camera and time of day.
There is a change in scenes if we cut from day to night
at the same location. It is also a new scene if we cut
from one room to the next room in continuous time.

4.

If, however, the camera stays in one location but can see
into another, it is not a new scene. If Character 1 is in
the bedroom while he speaks with Character 2, who brushes
her teeth in the bathroom, it is still the same scene.
If youre writing a telephone scene or a scene where
characters speak from two locations in which the scene
takes place, dont write INTERCUT between the locations.
INSIDE BATHROOM
If the characters speak through a door, for example,
identify the logical cutting point from one side of the
door to the other - when the greatest reaction occurs.
BACK IN BEDROOM
It might be necessary to cut back to the original
location for another reaction of bit of information.
Remember, discovering character is not in what he or she
says; character is revealed through how he or she reacts.
EXT./INT. CHARACTERS CHEVY PICK-UP - DAY
Some situations arent interior or exterior, but instead,
some kind of combination. If were inside the car with
the character, but the car is outdoors, the heading would
be as above. If we are outside the car, it would be:
EXT. CAR - DAY
We must know if were seeing the inside or outside of the
car - or sailboat, or tent, or porch. Be simple and pick
the heading that best describes the visual situation.
EXT. SUPERDOME - DAY
Some locations are too big for a single scene heading and
it can become unclear where the action is set.
A park, a gymnasium, or a stadium doesnt adequately tell
us what part of the larger location is used.
AT THE CONCESSION STAND
will be one location of action in the stadium.

5.

ON THE PLAYING FIELD

Could have most of the important athletic action while...
IN THE STANDS
Our heros estranged father proudly watches his son
return a punt for the game-winning touchdown.
BACK ON THE FIELD
The players lift our hero on their shoulders,
celebrating their victory.
Subheadings indicating parts of a large location
streamline the reading of a script and clarify where the
action takes place in more or less continuous time.
If, however, a lot of time takes place between scenes say between the first and fourth quarter - it is better
to give a new, complete scene heading.
EXT. - SUPERDOME - PARKING LOT - DAY
Be concise. In scene description, give the briefest
description possible that emphasizes whats important.
Be clear. Make sure you have complete clarity in your
descriptions to what can be seen and heard.
Be creative. Clear, concise writing does not mean to be
boring. Describe action in an original voice, but never
editorialize. It wastes page space, and helps no one.
EXT. ROYAL AND ST. PETER - STREET CORNER - DAY
Remember: Communicating means being understood. And
your goal with the script is to communicate - so make
yourself understood.
Even though youve watched the movie hundreds of times in
your own mind, you must still put yourself in the theater
as an audience would and see it from their perspective.
Be clear in your thoughts and what the audiences sees,
and it will be clear on the page.
FADE OUT.