How to Write a

Screenplay

Writing for the screen,

especially the big screen, means
you’re composing something meant
for a VISUAL MEDIUM.
Preparing to Write
Become familiar with the FORMAT of
a screenplay.
 STANDARD FORMAT
• 12-point Courier font
• 1.5 inch left margin
• 1 inch right margin (between .5 inches (12.5mm) and 1.25
inches (32mm))
• 1 inch (25mm) top and bottom margins
• Approximately 55 lines per page, regardless of paper size
(top and bottom margins adjusted accordingly). This does
not include the page number, or spaces after it.
• Dialogue speaker names (in all caps) 3.7 inches (94mm) from
left side of page (2.2 inches or 56mm from margin)
• Actor parentheticals (aka wrylies) 3.1 inches (79mm) from
left side of page (1.6inches or 40.6mm from margin)
• Dialogue 2.5 inches (63.5mm) from left side of page (1.5
inches or 38mm from margin)
• Pages should be numbered in the top right corner, flush to
the right margin, a half-inch from the top of the page.
Numbers should be followed by a period. The first page is
not numbered. The title page is neither numbered nor does
it count as page one, so the first page to have a number is
the second page of the screenplay (third sheet of paper,
including the title page), which is numbered 2.
• A screenplay is based around dialogue, rather than
prose or description. YOU ARE WRITING VISUALLY.
Movies are a series of images, so the images in
your screenplay should be striking and engaging.

• Every paragraph of action lines should be three

lines or less. Use the least amount of words
possible describing action or setting and let the
dialogue do the "talking."

• Character BACKSTORY and MOTIVATIONS should come

from a character’s ACTIONS and DIALOGUE, as
opposed to the descriptions. Most description
should come through the dialogue.

• KEEP ALL WRITING IN THE PRESENT TENSE. This keeps

things moving forward in your screenplay.
 The SLUGLINE
This appears in ALL CAPS at the beginning
of a scene and briefly describes the
location and time of day. For example:

INT. DINER - NIGHT

Sometimes sluglines are abbreviated to

something as simple as “LATER” or “BEDROOM”.

INT stands for an interior of a setting,

such as an INT HOUSE

EXT stands for the exterior or outside of a

setting, such as EXT HOUSE.
 Transitions
These help you move from scene to scene in the
screenplay. Examples of transitions include:

• FADE IN and FADE OUT, which are a gradual

opening and a gradual closing to a new scene.
These are usually done at the beginning of a
film and ending of a film. Fade ins provide a
gentle opening to a scene that gives the
viewer time to get settled in.

• CUT TO, which is a quick jump to a new scene.

Most screenplays will move from scene to scene
with the note “CUT TO:” Cutting to a scene
should only be done when you are moving to a
new scene or image..

• DISSOLVE TO, as one scene fades out, a new

scene fades into place.
• CLOSE UP or TIGHT ON: This indicates a close up to a
person or object on screen. For example: “CLOSE UP on
Mia’s face.”
• b.g.: Stands for “background” to note when something is
occurring in the background of the main action. You can
use “b.g.” or “background” to note this in the script. For
example: “Two characters are fighting in the b.g.”
• O.S. or O.C.: Stands for off-screen or off-camera. This
means the character’s voice will be speaking off camera or
from another part of the setting.
• V.O.: stands for voice over, which is when an actor reads
script over a scene, narrating the scene. This appears
under the character’s name, before their voice over
dialogue.
• Montage: A series of images showing a theme, a
contradiction, or the passage of time. Usually used to
show the passage of time in a short period of time on
screen.
• Tracking shot: A tracking shot means a camera follows a
person or an object. As long as the camera isn’t locked
down in place on a tripod and is following a subject, it
is a tracking shot.
• FREEZE FRAME: This is when the picture will stop moving
and become a still photograph on screen.
 Note the DESCRIPTIONS of
setting and character.

These elements should be

done in the least amount
of words, but with lots of
detail.
In “Thelma & Louise”, we are given an
introductory paragraph about Louise:

• LOUISE is a waitress in a coffee shop. She is

in her early-thirties, but too old to be doing
this. She is very pretty and meticulously
groomed, even at the end of her shift. She is
slamming dirty coffee cups from the counter
into a bus tray underneath the counter. It is
making a lot of RACKET, which she is oblivious
to. There is COUNTRY MUZAK in the b.g., which
she hums along with.

The screenwriter provides a clear sense of who

Louise is through her profession (“waitress in
coffee shop”), her clothing and appearance
(“early-thirties, but too old to be doing this,”
“pretty, meticulously groomed”) and her actions
(“slamming dirty coffee cups,” “oblivious” to the
racket). The inclusion of sounds (which also
appear in ALL CAPS in scripts) like country muzak,
also paints a clear setting with very few words.
In “Pulp Fiction”, we are given an introductory
paragraph about the setting:

• A normal Denny's, Spires-like coffee shop in Los

Angeles. It's about 9:00 in the morning. While the
place isn't jammed, there's a healthy number of
people drinking coffee, munching on bacon and eating
eggs. Two of these people are a YOUNG MAN and a YOUNG
WOMAN. The Young Man has a slight working-class
English accent and, like his fellow countryman,
smokes cigarettes like they're going out of style. It
is impossible to tell where the Young Woman is from
or how old she is; everything she does contradicts
something she did. The boy and girl sit in a booth.
Their dialogue is to be said in a rapid pace "HIS
GIRL FRIDAY" fashion.

Tarantino gives us basic details about how many people

are in the setting (“healthy number of people”, young
man and young woman), and he provides specific but
short descriptions of both characters. He also
references “His Girl Friday”, a 1940s film famous for
its rapid fire dialogue. All of these details create a
basic sense of description and character which is then
fleshed out through the dialogue.
Pay attention to dialogue
in your screenplay.
Dialogue is the main tool a screenwriter has for
telling the story in a film.

Note how a certain character uses language in

their dialogue.

• For example, Tarantino has Jules in “Pulp

Fiction” use slang like “Whaddya mean?” instead
of “What do you mean?” and inserts swear words
in Jules’ dialogue. This helps to create Jules’
overall character and personality.

• In “Thelma & Louise”, Louise’s character uses

“Jesus Christ” and “for God’s sake” throughout
her dialogue. This contrasts Thelma’s dialogue,
which is more prim and proper. By doing this,
the screenwriter makes both characters distinct
from each other and shows the audience how each
character thinks and acts through her dialogue.
Note the use of description or visual cues in the
dialogue. Visual cues are small notes of description
that appear before dialogue is spoken. These notes will
appear in parentheses before the character’s dialogue.

• For example, in “When Harry Met Sally”, the writer

notes “(makes a buzzer sound)” before a line of
dialogue from Harry. This is a small note but it
makes it clear that Harry has a certain sense of
humor and way of speaking as a character.

• This can also be done with only one word of

description between dialogue. In “Pulp Fiction”,
Tarantino notes that a waitress is “(snotty)” as she
says something to one of the characters. This gives
the waitress’ lines a certain attitude and provides
context for her dialogue.

Only provide visual cues when necessary. Don’t depend

on visual cues to tell the story for you. The dialogue
and actions of the characters should be able to tell
the story effectively, without visual cues.
Look at different types of shots, like a CLOSE UP or a
TRACKING SHOT. Notice how the screenwriter uses a
specific shot note to create a certain image or moment
of character. Most screenwriters only use shot notes
when they feel it is absolutely necessary and the shot
will best serve the story.

For example, in “Pulp Fiction” Tarantino opens a scene

with a tracking note:

EXT. APARTMENT BUILDING COURTYARD – MORNING

Vincent and Jules, their long matching overcoats
practically dragging on the ground, walk through the
courtyard of what looks like a hacienda-style Hollywood
apartment building. We TRACK alongside.

This indicates the camera will be moving along with the

hit men as they walk, creating a sense of movement on
screen.
Writing the Screenplay
 Brainstorm story ideas.
• One of the best ways to do this is to think about
films or movie characters that you love and enjoyed
watching on screen. Do you love a particular genre,
such as romantic comedies, action films, or horror?
• Consider writing a movie script in a genre you enjoy.
It’s likely you know the most about a genre you are
interested in and your passion will come through in
your writing.
• You can also think about a childhood memory that has
always haunted you or an experience you can’t stop
thinking about.
• You may be interested in a particular time period,
such as feudal era Japan, or 1970s California, and
begin to generate story ideas that have characters
interacting in a specific time period or setting.
• Write about feelings and types of people you know
and are passionate about. This will help you convey
your story to others.
Identify a hero or heroine.
• Create a character's storyline that you feel you can write
about and who will hold your and your audience's attention.
Think about people you know, people you read about in
newspapers, or people who catch your eye on the street or at
the train station.
• Your hero or heroine may be tied to a theme, such as war,
loneliness, or love. Or your hero or heroine may be a reaction
against the stereotypes of a genre or theme, such as a lonely,
lovesick witch or a caring, gentle gangster.
• Create a character profile for your main character. Character
profiles are questionnaire style writing prompts that help
writers get to know their characters better.
• The details you write in a character profile won’t all appear
in your film script. But knowing as much as possible about your
character will help you think of them as a real person. You can
ask yourself: “What would my main character do in this scene?
What would my main character say or respond to this?” And feel
confident you have the answers that will move your script
forward.
 Create a LOG LINE
A log line is a one-sentence summary of your story. They are usually
used as a marketing tool, such as when a studio executive asks you to
give her your best pitch. A log line can also help you focus your
writing on the most important aspects of your story and keep your
story on track. It generally contains three elements:

• A protagonist: This is your hero or heroine, the person your

audience will root and cheer for, or at least feel for. You can
have more than one hero or heroine, but each protagonist must be
distinct and each have their own redeeming qualities.

• An antagonist: This is your anti-hero or heroine, the person

acting against your protagonist.

• A goal: This is what will motivate and propel your protagonist

forward in the story. What does your protagonist want?

The log line does not use names of characters, but instead focuses on
their personas or character type.

“After wishing her baby brother away , a 15 year old girl enters
another world to rescue him from the dominion of the Goblin King.”
 Write a treatment.
For a first draft of a script, a treatment is a helpful tool to frame
your story and figure out a first sketch, as well as break the story
into THREE ACTS:

• Title of the Film: The title of your film may change over time, but
it’s a good idea to come up with a working title that summarizes your
screenplay. The best titles are usually the most simple and to the
point, such as: “When Harry Met Sally” or “Pulp Fiction”. The title
should tell your reader or viewer about the script as a whole, but
also leave them interested enough to keep reading or watching. Avoid
long or cumbersome titles, as they can convey that your ideas aren't
focused.

• Log line: Take the log line you crafted in the previous step and
place it at the beginning of your treatment.

• Synopsis: Expand on your log line to include the names of characters,

short details about their characters, and a basic idea of how they
get from A to B in the story. Treatments may also include snippets of
dialogue and description. But the main focus of a treatment is to
summarize the overall story.
 Create a script outline.
This is where you focus on the structure of the script. The script outline
is a guideline for you to tell the story effectively. A feature length
screenplay is made up of 50-70 scenes. Each scene should have a setting and
something that happens to or happens as a result of the characters' actions.
These 50-70 scenes should be essential to the story. Most full-length
screenplays are 100-120 pages long, and are broken into three acts:

• Act 1 is about 30 pages long and introduces the setting, the characters
and the inciting incident. The inciting incident, or the event that gets
your protagonist moving, normally takes place about 10 to 15 pages into
the script.

• Act 2 is about 60 pages and is the main bulk or meat of the story. This
is where your protagonist identifies her goal or purpose and encounters
obstacles that work against her goal or purpose. Her problem or issue
gets worse, or her goal becomes more difficult to achieve. There should
be urgency and tension in Act 2 that continues to build up.

• Act 3 is often shorter than Act 1, and is usually about 20-30 pages long.
This is where you have the story’s climax, the last-ditch attempt by the
protagonist to achieve her goal. This climax will also determine the end
of the script. The dust settles and your heroine could ride off into the
sunset, or get knocked down by her horse.
 Compose a flash draft.
• A flash draft is your first attempt at the
script, where you write quickly, don’t think
too much about what you are writing, and
avoid editing. Some screenwriters try to
write flash drafts in one week, or several
days. If you begin with a strong logline, a
strong treatment, and a strong story outline,
you should be able to pull off a strong flash
draft.

• Focus on getting your ideas out when

composing your flash draft. Stopping to
agonize over word choice or proofread can
hamper the composing process. Just brainstorm
and write freely.
 FINAL TIPS FOR
REVISING YOUR SCREENPLAY
 Keep your dialogue to
three lines or less.
About 95% of your dialogue should
be short and to the point. The use
of monologues in screenwriting is
also important, and can be done
well, but the majority of your
dialogue should be quick back and
forth exchanges. Avoid prose-y
speeches. Back and forth banter
will keep things moving in your
script.
 Make your characters’
dialogue distinct.
• Your characters are all living, breathing individuals, so
make their dialogue correspond to their upbringing, their
background, and their perspective on life.
• Its especially important to make your characters’ dialogue
different if you have more than one character speaking in
a scene (which most good screenplays will have).
• Leave the obvious dialogue out. Dialogue should always be
about doing more than one thing at a time. Dialogue that
only tells the reader some backstory about a character or
only functions to answer a character’s question is not
doing enough on the page.
• If you are going to use monologues in your script, they
should be brilliant and necessary for the development of
your story and/or the development of your characters.
• It can be tempting to make your characters sound "fancy"
by using archaic language, especially when you're writing
a period film or historical piece. So, remember that your
characters still need to sound like real people to modern
viewers. Don't get so wrapped up in stuffy language that
your characters aren't engaging.
 Enter a scene late and end
a scene early.
• Avoid the temptation to ramble on in
descriptions of your characters or of a setting
or scene. Screenwriting is less about the
beautiful details and more about ending a scene
early to give the viewer a reason to keep
watching. A good trick is to cut out the first
sentence and the last sentence of a scene. If
the scene still stands without both sentences,
leave them out.

• For example, in “Pulp Fiction”, Tarantino ends

many scenes right at a pivotal moment, such as
two hit men killing a target or a fighter
knocking someone out. He then cuts from the
pivotal moment directly to a new scene. This
keeps the action of the story moving and the
viewer engaged.
 Give your characters big
stakes and big goals.
One of the big draws of film writing is that you can show big events
and images in a large format, also known as SET PIECES. Set pieces are
usually high impact sequences that are captivating and even grandiose.

But even in a film about two people talking to each other in different
settings (“When Harry Met Sally”) or about two women on the run
(“Thelma & Louise”), there should always be big stakes and big goals
for the characters.

• Harry and Sally are both looking for love and companionship, and
after a decade of friendship, realize they have found it in each
other. So the stakes are high because their friendship may end if
their romantic relationship doesn’t work out and the goals are high
because they are both after a universal goal: love.

• Thelma and Louise also both have high stakes and goals. A series of
events in the film push both characters into a situation where they
could both end up in jail, which is high stakes. So their big goal
is to elude the law and somehow, get out of their situation with
their freedom intact.
Make sure your screenplay has
a beginning, middle, and end.
IT ALL COMES BACK TO THE
THREE ACT STRUCTURE
• Your screenplay, no matter how
unique or interesting the subject
matter is, should be able to fit
into three acts.
• There should be an Act 1 with an
inciting incident, an Act 2 with
the protagonist’s goal and rising
action or obstacles that get in
the way of their goal, and an Act
3 with a climax and an ending.
 CHECK YOUR FORMATTING
• Before you can read your screenplay to others you
need to check that the script is formatted properly.
• Check that your script begins with a “Fade in”, a
title card, and a description of setting.
• Confirm your script contains lines of description of
each character, especially if this is the first time
that character appears in the script.
• Note that all character names appear in caps and all
sounds appear in caps.
• Confirm all visual cues are in parenthesis.
• Check for transitions, such as “Cut to”, “Fade to”,
or “Dissolve to” between scenes.
• Confirm there are notes at the bottom of the page
that say (MORE) or (CONTINUED) if the page breaks in
the middle of dialogue or a scene.
• Check for page numbers, top right, on each page.
Read the screenplay
out loud.
Note how the dialogue is working
to propel the story forward and
how the scene transitions are
working. Listen to how your
characters speak and ask
yourself if the screenplay would
work well on the big screen.