Single-space dialogue, like a feature script. TV writers refer to the camera (sometimes as “we”). (Check out the Lost or Stranger Thingsscripts.) Fragment sentences with double-dashes for a new shot. Use italics, underlining, caps and bolding for emphasis. No more than four lines of action-description. Many writers add (D1) or (N2) to mean Day One or Night Two in the fictional timeline. The second continued page says CONTINUED: (2).Īdd scene numbers on either side of bolded scene headings.Įstablish DAY or NIGHT in scene headings, then use CONTINUOUS or LATER. Unless the scene ends exactly at the bottom of the page, use CONTINUED: top left and (CONTINUED) bottom right. This is where half-hour and one-hour formatting diverge… Now, finally, you’re ready to start your script. These vary, but usually contain some, if not all, of this information: I mention this because TV writers are also producers (partly responsible for budgets).Īfter writing the set list, close the title page and save your document. A typical one-hour drama might have 60% interior sets and 40% exteriors. Single-camera comedies (like Brooklyn 99) shoot exteriors too. Multi-camera sitcoms (like Big Bang Theory) film on standing sets, using stock footage for exteriors, limiting locations and characters. Establish the house, then indent rooms below it. Some TV scripts also have a REVISION HISTORYon the next page to keep track of changes (White, Blue, Pink, Yellow, Green, Goldenrod, Buff, etc.). The bottom right in bold is revision information: On the bottom left of the title page, list contact information. TV writers use Courier 12 for the script, but sometimes Times New Roman for elements of the title page. Single-camera half-hour comedy scripts tend to be shorter.)įormatting the TITLE PAGE, CAST LIST, and SET LIST: Total 21-41 pages (Multi-camera sitcom scripts tend to be longer. Here are some typical examples of act break structure. Pick a show in your genre and analyze its specific formatting and structure. Streaming video on demand (SVOD) shows (like Netflix’s Stranger Things) and some cable shows don’t need written act breaks, but they still have inherent act turning points and you’ll need END EPISODE (capped, underlined and centred) at the end. Remember to write END OF ACT ONE before you write ACT TWO. Next, write your act breaks into the script (centred, capped and underlined). TV writers in Vancouver tend to use Movie Magic Screenwriter. TV writers in LA tend to use Final Draft. But you’ll need screenwriting software eventually. Set dialogue 2.5 inches (6.3 cm) on each side from the margins. Write the character names in caps 3.5 inches (9 cm) from the left margin. If you don’t have screenwriting software yet: Set margins 1.5 inches (3.8 cm) from the left page edge. So, when you’re writing an original TV pilot script, how do you know which rules apply? There are some guidelines that apply to all TV scripts. In television, every genre and every series has a different formatting style.
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