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Choice of Formatting: Key to presenting your story or adaptation

Updated: Sep 19, 2025


Unlike your story structure that has everything to do with plotting your story line, formatting has everything to do with placing all your words correctly on the page of your script. Think of your story as a gift and the formatting the wrapping and presentation of it. Formatting requires using proper conventions according to your given medium, genre, and often the company that you are writing for. It’s the professional language of the industry, ensuring your story is presented clearly. However, this "language" can have different dialects.


Though specific templates can vary by country, publisher, or broadcaster, each is designed to ensure clarity, consistency, and function when presenting your story. This guide illustrates some of these key differences.


The First Impression: The Title Page

Before a single word of your story is read, the pages that come first make the initial impression and act as your script's business card. Its job is to convey essential information clearly and professionally. A clean, minimalist layout is the industry standard. While minor variations exist (e.g., placement of contact info), the core components are non-negotiable. For spec scripts (those you write and submit unsolicited), you should only include your name and contact details. Agent information or production company details are added later when the script is under representation or in production.


Example A: Standard Screenplay Title Page

This format is standard for feature films and television pilots submitted in North America.


[Centered, approx. 1/3 down the page]


THE ATTIC


Written by


Jane Doe



[Align to bottom-left corner]

Jane Doe

(555) 555-5555


Example B: Standard Stage Play Title Page

The title page for a play is very similar but often includes a subtitle describing the work, such as "A Play in Two Acts" or "A Musical."


[Centered] THE ATTIC A Play in Two Acts by Jane Doe

[Align to bottom-right corner]

Jane Doe

123 Main Street Anytown, USA 12345


The Character List: Introducing the Players



Primarily used in stage plays, the Character List, or Dramatis Personae, appears on its own page immediately following the title page. It gives producers, directors, and casting agents an at-a-glance overview of the roles, including their names, age ranges, and a brief, evocative description. It also includes the place, time and season. This helps them immediately assess the play's casting needs and scope. While this page is omitted from feature film spec scripts, a variation of it is a crucial component of a television series bible.


Example: Stage Play Character List


CHARACTERS

ANNA (30s): A woman haunted by her family's past, pragmatic and weary.

MARK (30s): Anna's husband, heard only offstage. Optimistic and eager to move on.

THE GHOST (Ageless): A silent, ethereal presence.


PLACE

A 200 year old home on Prince Edward Island, Canada


TIME

September 2025


Examples: T.V. Series Bibles

An example of a T.V. series Bible is too long for this blog, however, google your favourite T.V. series and see if you can find a copy of the series Bible. Do several, in fact. Compare.


Note: Look for an upcoming blog post dedicated to a more in-depth look at the series Bible.


Stage Play Formatting 🎭

The format of a play script can change significantly between a standard manuscript for submission in North America and a final published version, particularly in the UK.


Example A: Standard North American Manuscript Style

This format prioritizes white space and clear separation between elements. It is common for contest submissions and initial drafts sent to theatres in the US and Canada.


ACT I

SCENE 1

 

The scene is a dusty, cluttered attic. Moonlight streams in from a single round window, upper center stage. Boxes are piled high. ANNA (30s) stands over an open trunk a bent gentleman's hat on her head.


ANNA

I can't believe he kept all of this.

(She pulls out an old, leather-bound book.)

Every last bit of it.

 

MARK

(O.S.)

Find anything good up there?

 

ANNA

(Calling down)

Just memories.


Note. Character names can be adjusted left or positioned centre.


Example B: Common UK


Published Style



Many published plays in the UK, such as those from publishers like Nick Hern Books or Faber & Faber, use a more compact format. The character name is often bolded and followed immediately by the dialogue on the same line to save page space. Action can be in regular Times Roman or another font. The action may be also be italicized.


Act 1

Scene 1

 

The scene is a dusty, cluttered attic. Moonlight streams in from a single round window, centre stage. Boxes are piled high. ANNA (30s) stands over an open trunk a bent gentleman's hat on her head.

 

Anna I can't believe he kept all of this. (She pulls out an old, leather-bound book.) Every last bit of it.


Mark (offstage) Find anything good up there?


Anna (calling down) Just memories.


Film & T.V. Screenplay Formatting 🎬

While the 12-point Courier narrative format is the global standard for feature films and TV dramas, other formats exist for different types of productions like commercials, documentaries, or multi-camera sitcoms. There are several Courier variations so check to see if there is a specific one required for the company you are submitting to. Courier New is usually a safe bet.


Example A: Standard Narrative Screenplay Format



This single-column format is the industry standard in the US, UK, and Canada for narrative projects. It is universally understood by directors, actors, and production staff.


Note: This blog program does not support Courier so please look for it in your font settings.


INT. COFFEE SHOP - DAY

 

The morning rush. Steam hisses from an espresso machine.

 

JANE (25) in pristine business casual sits at a small table, thumps her pen repeatedly on the tip of her empty espresso cup its meager remains forming a pattern. She checks her watch.

 

LEO (30) in mismatched ill-fitting attire bursts through the door, out of breath, clutching a file. He spots her.

 

LEO

Sorry, sorry! The traffic was a nightmare.

 

JANE

(a tight smile)

It's fine. I was just admiring the  ...

(she glances into her empty cup)

... coffee art.


Example B: Two-Column A/V (Audio/Video) Format

This format is often used for advertisements, corporate videos, and some documentary or news productions. It clearly separates the visual information from the audio information.


VIDEO AUDIO

INT. COFFEE SHOP - DAY SOUND of a busy coffee shop, espresso machine hissing.


CLOSE UP on JANE (25) in pristine business SOUND of a pen thumping on a mug.

casual sits at a small table, thumps her pen

repeatedly on the tip of her empty espresso

cup its meager remains forming a pattern.

She checks her watch.


WIDE SHOT as LEO (30) bursts through the LEO: Sorry, sorry! The traffic was a

door, out of breath. He scans the room, nightmare.

spots Jane.


JANE looks up, forcing a tight smile. JANE: It's fine. I was just admiring the ...


JANE glances into her empty cup. JANE (CON'T): ... coffee art.


Example C: Multi-Camera Sitcom Format

This format is standard for multi-camera television comedies filmed before a live studio audience (e.g., Friends, The Big Bang Theory). Action lines are often in all caps, and dialogue is double-spaced to make it easier for camera operators and the director to follow during a live taping. The key visual difference is the centered character name above the dialogue block.


INT. JERRY'S APARTMENT - DAY

 

JERRY IS AT HIS KITCHEN COUNTER, METICULOUSLY ARRANGING A BOWL OF CEREAL. ELAINE ENTERS, TOSSING HER KEYS ON THE COUNTER WITH A CLATTER.

 

                                     ELAINE

                         You will not believe the day I've had.

 

                                     JERRY

                                (Without looking up)

                         Let me guess. The guy at the coffee shop

                         spelled your name "Alayne"?

 

ELAINE STOPS, STUNNED.

 

                                     ELAINE

                         How did you ... No! Worse. He drew a

                         little heart next to it.


As mentioned before, there are "spec scripts." These are unsolicited scripts written for T.V. or film with the intent to pitch to potential producers and directors. Spec scripts are void of any camera directions that would be found in a "shooting script" designed to indicate the specific shots to be taken in each scene. Rather, in the spec script the writer must guide the reader's "eye" through the lens by way of suggestion through description rather than dictating specific shots. For instance: action that says, "the lights of the fireworks reflect in her eyes" indicates an extreme close up.


Radio Play (Audio Drama) Formatting 📻



Audio drama scripts vary, often according to the internal style guide of the primary broadcaster, like the BBC in the UK or CBC in Canada. The goal is always maximum clarity for sound engineers and voice actors.


Example A: Common North American Manuscript Style

This style closely mirrors a screenplay, using SFX: for sound effects and keeping elements on separate lines for readability.


INT. OLD CABIN - NIGHT

 

SFX: CRACKLING FIRE, HOWLING WIND OUTSIDE

 

MUSIC: TENSE, LOW UNDERSCORE

 

CHLOE

(Whispering)

Did you hear that?

 

SAM

It's just the wind, Chloe.

 

SFX: A LOUD THUMP ON THE ROOF, FOLLOWED BY SCRATCHING

 

CHLOE

That was not the wind.


Example B: Common UK / BBC Radio Style

The BBC has a long-established "scene style" for radio. It often uses FX: instead of SFX:, and cues are numbered for easy reference in the studio. Sound effects are often written in bold and/or underlined to stand out distinctly from dialogue.


1. INT. OLD CABIN. NIGHT.

 

FX: CRACKLING FIRE, HOWLING WIND OUTSIDE

 

MUSIC: TENSE, LOW UNDERSCORE

 

CHLOE: (WHISPERING) Did you hear that?

 

SAM: It's just the wind, Chloe.

 

FX: A LOUD THUMP ON THE ROOF, FOLLOWED BY SCRATCHING

 

CHLOE: That was not the wind.

 

Tools of the Trade 🛠️

Using screenwriting software will handle the technical measurements (margins, indents, pagination) for you, allowing you to focus on the story. Industry standards include:


  • Final Draft: The most widely used software in the film and television industry.

  • Celtx: A popular, cloud-based option with free and paid tiers.

  • WriterDuet: A collaborative screenwriting tool that's great for writing partners.

  • Studiobinder: Good for scripting, scheduling, creating call sheets etc.


Formatting Guides, Guilds, & Resources



For specific submission guidelines and templates, always check directly with the company, festival, or guild you're submitting to. Here are some key resources.


Publishers & Broadcasters



Guilds & Associations


Canada 🇨🇦

  • Playwrights Guild of Canada (PGC): The national association for professional playwrights. They offer a standard play format guide for members.

  • Writers Guild of Canada (WGC): Represents professional screenwriters in Canada, setting industry standards and agreements.

  • LMDA Canada: The Canadian chapter of the Literary Managers and Dramaturgs of the Americas. While not a formatting authority, their members are the professionals who read and analyze scripts, so understanding their work is key.

USA 🇺🇸

  • Dramatists Guild of America: The professional association for playwrights, librettists, composers, and lyricists, offering model contracts and resources.

  • Writers Guild of America (WGA): Comprised of WGA West and WGA East, this is the primary guild for screenwriters. Their website is a hub for industry standards.

  • Literary Managers and Dramaturgs of the Americas (LMDA): The main US/Canada organization. Their site offers resources for new play development.

UK 🇬🇧

  • Writers' Guild of Great Britain (WGGB): The trade union for writers in the UK, covering TV, film, theatre, radio, and more.


Conclusion

When formatting your script, communicate with clarity and professionalism. When in doubt, always seek out the specific submission guidelines or "house style" of the company, publisher, or broadcaster you are targeting. Script formatting isn't just about following a set of rules, but about wrapping the gift of your story in the best packaging possible. The better the gift, the better the packaging will likely be. It shows you gave it thought, take pride in what you have to share and that you care for the person it is intended for. Like any gift, you will want to present it in the form that your recipient will appreciate most. Speak their language. Communicate in a way that makes them happy and they will feel that you care. If you do, the likelihood is, they will too.




For more tips and useful information check out the blog posts or for personal assistance with your latest project reach Susanna at scriptsbysusanna@gmail.com. 

 
 
 

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