Also read >>> Glorious 12 point Courier
There is no absolute “standard” format used by all professional screenwriters working in the American film industry. Slight variations abound in scripts written by professionals. That said, professional scripts will invariably resemble the formatting guide that follows. Nuances may vary – margins slightly different, a dash here or there, parentheticals used this way or that – but overall, professional screenplays fit these guidelines.
Realize that “shooting scripts,” the form in which scripts are most often available at libraries and elsewhere, are not the form in which most professional writers submit their scripts. Submission scripts, sales scripts, first draft scripts – all share certain characteristics: no scene numbers, few if any camera shots designated and sequences written in master scenes.
Your script does not have to mimic the following pages exactly, but it should closely resemble them. If you’re confused about which nuances are acceptable and which would push your script into an “out-of-format” category, you would do well to follow these guidelines and eliminate those questionable nuances.
Screenplay Format Sample (PDF)
Script Problems to Avoid
Can your script give a reader a negative impression before the reader starts reading?
The answer is “possibly,” and whether it does will vary from reader to reader. Does a negative first impression mean that a script will be automatically dismissed? Of course not. If a script is good enough, no minor “fault” is going to stop it. But why cause a reader to have a negative first impression of your script if you can easily avoid it?
Writers who entered scripts with one or several of these “faults” (variant covers and brads are the most obvious) have won Nicholl Fellowships. Undoubtedly, many scripts with some such “faults” have sold.
Twelve foibles that might cause a reader to think less of your script before it has been “cracked” (the following tips apply almost exclusively to paper scripts):
- Art on the script cover.
- Hard, slick Acco covers (with long metal connectors).
- “Permanently” bound scripts (i.e., plastic spine binding).
- Commercial, “college paper” covers.
- Wimpy brads.
- Long “dangerous” brads.
- Cut “dangerous” brads.
- A “clipped” or “rubber-banded” script on non-three hole paper.
- Overly thick scripts.
- Thin scripts.
- Three-ring binding.
- Color of card stock cover that inadvertently bugs a reader.
What about after the cover is turned?
Fourteen foibles that might invoke a poor first impression (based only on a script’s title page and page one):
- Typo/misspelling on the title page.
- Typo/misspelling in the first scene header.
- Typos/misspellings in the first sentence or paragraph or page.
- Triple/double spacing of every/many line(s) on first page.
- Lack of spacing between scene header and description and/or between description and dialogue and/or between dialogue and dialogue.
- Use of font other than Courier 12-point, ten-pitch, non-proportional.
- Extensive use of bold print.
- Dialogue that stretches from the left margin to the right margin.
- Extra space between character name and dialogue.
- Description and/or dialogue typed ALL CAPS.
- Extremely narrow or extremely wide outside margins.
- Long, long, long descriptive passages.
- Handwritten or hand-printed script.
- Other glaring, non-standard format usage.
Remember, these remarks are based on subjective observation of subjective reactions. Not all readers are affected by the same “problems” when picking up a script. And if Shane Black were to have six typos on page one, would anybody care? Probably not. Until you are paid to write scripts, it’s probably more reasonable to be careful about your submissions.
