Feature Film
The definitive screenplay format — from INT./EXT. to FADE OUT. Master the rules that get scripts read and produced.
A feature film screenplay is a document written in a highly specific, industry-standard format that translates directly to screen time — roughly one page per minute. It is simultaneously a blueprint for production and a sales tool for studios, producers, and financiers.
The UK and US markets both use the same core screenplay format, though UK scripts may reference BAFTA or BFI style guides. The format exists for a functional reason: it allows a reader to quickly assess timing, scope, and the cost of production.
| Element | Left Margin | Right Margin | Width |
|---|---|---|---|
| Scene Heading | 1.5" | 1" | Full |
| Action | 1.5" | 1" | Full |
| Character Name | 3.7" | — | Centred block |
| Parenthetical | 3.1" | 2.9" | ~2" |
| Dialogue | 2.5" | 2.5" | ~3.5" |
| Transition | — | 1" | Right-aligned |
Every scene opens with a scene heading (slug line) in UPPERCASE. It must state three things: interior or exterior, the location, and the time of day.
- 01INT. or EXT. Interior scenes use INT., exterior use EXT. Scenes that move between both use INT./EXT. Never abbreviate the location itself.
- 02CONTINUOUS Use CONTINUOUS instead of a time of day when a scene immediately follows the previous without a time cut. LATER indicates a time jump within the same location.
- 03Specificity Be as specific as needed but no more. "INT. HOUSE" is too vague for a shooting script; "INT. SARAH'S BEDROOM — NIGHT" is correct. Sub-locations use a dash: "INT. POLICE STATION — LOCKER ROOM".
Establish the world, the protagonist, and their ordinary life. The inciting incident disrupts this world and launches the central story question. Ends with the protagonist committing to the journey.
The longest act. The protagonist pursues their goal, encountering escalating obstacles. A midpoint shift raises stakes. The "All Is Lost" moment near the end of Act II forces a fundamental change.
The climax. The protagonist confronts the central antagonist/problem with everything they have learned. Resolution — whether triumphant, tragic, or ambiguous — answers the story question opened in Act I.
- 01Character names are always in CAPS on their own line, indented to approximately 3.7" from the left edge of the page.
- 02Parentheticals are used sparingly — only when the reading of a line is not obvious from context. Overusing them is a hallmark of amateur writing. Never use them to direct performance.
- 03(V.O.) indicates voice-over narration. (O.S.) or (O.C.) means a character is heard but not seen on screen. Place these after the character name in parentheses.
- 04(CONT'D) When a character's dialogue continues after an action line interruption, add (CONT'D) to their name on the second block. Most software handles this automatically.
- 05Beat A (beat) pause in dialogue indicates a significant pause, a shift in thought, or a moment of non-verbal communication. Use it deliberately.
Modern screenwriting uses minimal transitions. The "CUT TO:" between every scene is considered outdated. Use only when a transition has narrative meaning.
| Transition | When to Use |
|---|---|
| FADE IN: | Opening of the screenplay only. First line of the script. |
| FADE OUT. | End of the screenplay, or end of a major act. Ends with a full stop. |
| CUT TO: | Only when the cut itself is dramatically significant. Otherwise, omit. |
| SMASH CUT TO: | A jarring, abrupt cut used for shock or comedy. |
| MATCH CUT TO: | A visual or audio match between two images. Describe the match in action. |
| DISSOLVE TO: | A slow blend between scenes, usually indicating a passage of time. |
| INTERCUT WITH: | Two simultaneous scenes cross-cut, e.g. a phone conversation. |
- Font Courier Prime 12pt
- Top margin 1"
- Bottom margin 1"
- Left margin 1.5"
- Right margin 1"
- Page count 90–120 pages
- Avg runtime ~1 min/page
- Line spacing Single
- Scene heading ALL CAPS
- Action Mixed case
- Character ALL CAPS
- Dialogue Mixed case