But first, what exactly is a movie script?¹ Plenty of people have heard the term thrown around in conversation, but why do screenplays exist?

Especially when so many films are made from existing intellectual property such as graphic novels, books, and even newspaper articles, why aren’t those storytelling mediums used for making a movie?

Given the popularity of IP in Hollywood, should you try to write a novel from your screenplay? This video discusses the differences between mediums and the challenges of writing each.

Well, let’s take a look at one of the most successful adaptations in cinema—that of the Harry Potter books.

As a whole, the series clocks in just under 20 hours of viewing time. Consider then just how long the films would be if the source material, which between all the books is approximately 4,000 pages, had been used instead of a script that hovers around 120 pages per movie.

How to write a movie script is critical, as in many cases the source material needs to be condensed to fit the length of a film.²

Alternately, a 500-word newspaper article might make a great jumping-off point for a film, but it’s hardly enough material to sustain a two-hour movie. However, that’s when the talent of a Screenwriter can be utilized by fleshing out that article and making it an interesting story for the screen.

But even in the absence of source material, a screenplay is fundamental to the filmmaking process. Just as Architects require blueprints for the construction of a building, so too do Filmmakers need scripts to create a film.

As we’re about to dive into, a movie script entails very specific formatting that can not only describe for a reader what is happening in the story but also reveal to a Director, Cinematographer or other entertainment professional the key elements necessary for it to be made into a movie.

A movie script is unlike any other type of storytelling format, as it is meant to be both understood via the written word and ultimately translated into the visual and audio medium of film. For those reasons, the way in which a screenplay is written is extremely specific with clearly defined elements, such as scene headings, action lines, and dialogue.³

These are just a few of the most common script elements, which we’ll break down in depth below. And make no mistake, anyone intent on becoming a Screenwriter should take the time and energy to learn thoroughly what each element is and how it should be used in a screenplay.

Why? Because these elements constitute the foundation of how to write a movie script.

Confused about the many unique elements that go into a screenplay? Check out this video that breaks down script formatting.

A brief explanation of why these elements are necessary breaks down to this: Each succinctly tells the reader what is happening in a particular scene, and for the filmmakers who intend to turn the screenplay into a movie, what they need to assemble to make it happen.

For instance, an opening scene heading can let a reader or filmmaker know that they’re at the Corleone compound as opposed to anywhere else fictionalized or in real life. The following action line might then indicate that there’s a conversation taking place between Vito Corleone and another man. Finally, the initial line of dialogue, “I believe in America,” sets up in a significant way one of the major themes of the story and film.

So let’s go over each major screenplay formatting element:

Scene headings set up where you are in the world of the screenplay. They include location, time of day, and whether or not the action taking place is inside or outside of that location.

Another way to refer to scene headings is with the term slugline. Regardless of what you prefer to call them, scene headings or sluglines should always be clear and concise.

In fact, pretty much everything about a script should be clear and concise, including all action lines.

Action lines are exactly that – text that tells you what is happening in a scene.

How can you create effective and concise action lines? Click on this video to find out.

It’s vital to keep in mind what you are writing with action lines… namely, the action. Refrain from descriptions of a character’s emotional state or anything else that describes non-visual elements of the story.

Character names are another essential part of a script, but as simple as that sounds, there are some key tips to keep in mind when creating yours.

For one, keep them unique. A person reading your script for the first time will likely have difficulty keeping straight three different characters whose names are Tim, Timmy, and Thomas. Instead, have distinct names for each individual in your story.

Two, stay consistent. If you introduce a character as Jennifer, don’t later one use the character name Jenni or Jen, as a reader might think you’re introducing someone new into the story.

There’s no part of a script that isn’t important, but dialogue is an element that can make or break a screenplay. Put in the time and energy to sharpen your dialogue skills.

Dialogue getting you down? This video explains how to improve your dialogue-writing skills.

Among other advice, a good rule of thumb is to have each character’s dialogue be so unique to them that you would know who was speaking it even if you didn’t read their character’s name above it.

On occasion, you might have the need to use subheads. Subheads can be useful when you are trying to point out that a scene is taking place in a specific part of an already established location.

For instance, you might use a subhead to denote a character going to sleep in a bedroom after already establishing that they’re in their house.

Now we’re getting to scripting elements that should be used with discretion. Though not as common as action lines or dialogue, parentheticals can be incredibly helpful for Actors and readers when deciphering how a line is said.

Just how reliant should you be on parentheticals? This video includes what parentheticals are for and how to use them appropriately.

However, it’s critical that Screenwriters remember to not direct an Actor from the page.

Parentheticals can be used on occasion if a Writer wants a particular emphasis for a line of dialogue. In general, though, the dialogue should be clear enough on its own to tell an Actor the intention of it.

You might write an entire script without ever needing to use an extension.

But for scenes that occur with a character speaking off screen, or a character using voiceover in a story, it is a necessary part of the screenwriting process.

FADE IN and FADE OUT are two key parts of a script. The former officially introduces the reader to the story about to be told, and the latter indicates that the story has reached its end. Those transitions aside, it’s important that Screenwriters use very sparingly any other transitions.

Writers who rely on transitions to tell a reader that we’re going from one scene to another, or to indicate a certain type of camera shot, are failing to trust that reader or the other filmmaking professionals who may one day produce their script.

Transitions should be used sparingly in your script, and this video provides a look at when and how to use them effectively.

While on the rare occasion they can be useful, think twice – and then think again – about whether you really need to use that transition in your script.

For a Screenwriter, having depth of understanding as it regards screenplay formatting serves two purposes. First, as mentioned above, correct formatting allows anyone reading or working from the screenplay to understand the story and how it can transition to the screen.⁴

Says Screenwriter Sara Strange, “The Writer’s main goal is to create a fluid reading experience. When you veer too far from proper/expected format, you create roadblocks/speed bumps for the reader that distract them from what’s truly important: the story.”

Want more screenwriting tips? This video has them!

Second, though this may be considered a less tangible benefit, it demonstrates to others that the Screenwriter is of a professional caliber and knows how to write for the medium.

For example, if a Manager, Agent, Producer or Executive comes across a script full of confusing scene headings, wordy action lines or dialogue attributed to the wrong character, it can be the difference between wanting to move forward with the Writer or script and passing on it no matter how great the story.

In short, Writers should understand the importance of a good first impression, and solid script formatting can go a long way towards it.

As Screenwriter Courtney Suttle emphasizes, “Every Studio Exec, Agent, Literary Manager, Script Reader, Producer, Director, etc. has hundreds of scripts sitting on their desk at any given time and they are looking for any excuse to make that pile smaller. Improper, sloppy formatting provides an immediate excuse to toss the script directly into the pass pile. Don’t be that Writer.”

Beyond the more technical aspects of how to write a movie script, Writers must also always be striving towards creating the best story possible – and there are many ways to do it.

We’ve already mentioned theme. There’s also character arc. Conflict. Emotional weight. Plot progression.

All these elements and more can support an interesting and dynamic story, but all of them typically reveal themselves within the three-act structure. The term three-act structure is used quite often in the entertainment world, but why is it so important for a screenplay?⁵

A solid story structure is part of every great script. Head over to this video to learn how to cultivate this essential screenwriting skill.

On how to approach three-act structure, Suttle notes, “Keep it simple, as every story has a beginning, a middle, and an end. That’s your three-act formula. My job as a Writer is to provide the reader with the motivation to keep turning the page no matter which act they’re in.”

But how exactly to keep the reader turning those pages? Let’s use The Godfather again as an example.

How interesting would it be if the story was just that a young man takes over the family business from his father? We go from point A to point B with no conflict, thematic value, or character development.

But imagine instead that the story was the following: A young man wanting to escape the violent lifestyle that has allowed his father to become a wealthy and influential mafia figure ends up taking it over from him after the father is on the receiving end of an attempted hit and his older brother the victim of a successful one.

Now that’s a story! Not to mention the assassination of his first wife and the execution-style hits on his many rivals that set him up as the unopposed mafia head.

At its core, a three-act structure provides the foundation for a writer to create a story filled with conflict that keeps the reader or viewer intrigued, as well as giving the characters within the story the chance to make decisions or be on the receiving end of others’ actions that inform their character growth for better or for worse.

Or as Strange succinctly explains, “I’m old school and like the general 1) put your character up a tree; 2) throw rocks at them; 3) get them out of the tree structure.”

Must a script always follow the three-act structure? This video offers an argument in favor of four-act structure.

As with script formatting, it’s essential that aspiring Screenwriters continue to nurture their expertise by learning all they can about three-act structure, including the rare instances in which they may break the rules! But the reason why three-act structure has such a stronghold in screenwriting is that it works.

The first act provides the inciting incident which gives a reason as to why we’re following this story now and continues with the first major plot point. Moving into the second, the conflict should build, though the protagonist may experience the occasional “victory” along the way to keep the plot moving in a surprising and interesting way.

With the second major plot point, we enter the third act, which is where the climax of the story will take place, as well as the resolution.