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Screenwriting Resources

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”:

  1. Art on the script cover.
  2. Hard, slick Acco covers (with long metal connectors).
  3. “Permanently” bound scripts (i.e., plastic spine binding).
  4. Commercial, “college paper” covers.
  5. Wimpy brads.
  6. Long “dangerous” brads.
  7. Cut “dangerous” brads.
  8. A “clipped” or “rubber-banded” script on non-three hole paper.
  9. Overly thick scripts.
  10. Thin scripts.
  11. Three-ring binding.
  12. Color of card stock cover that inadvertently bugs a reader.

(You’ll notice that I did not include the number of brads, though scripts with one brad generally aren’t too good. And once you turn inside a thin script and discover that it’s been copied on both sides of the paper, you forget the thinness [unless you hate having to fold back the pages to read them].)

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):

  1. Typo/misspelling on the title page.
  2. Typo/misspelling in the first scene header.
  3. Typos/misspellings in the first sentence or paragraph or page.
  4. Triple/double spacing of every/many line(s) on first page.
  5. Lack of spacing between scene header and description and/or between description and dialogue and/or between dialogue and dialogue.
  6. Use of font other than Courier 12-point, ten-pitch, non-proportional.
  7. Extensive use of bold print.
  8. Dialogue that stretches from the left margin to the right margin.
  9. Extra space between character name and dialogue.
  10. Description and/or dialogue typed ALL CAPS.
  11. Extremely narrow or extremely wide outside margins.
  12. Long, long, long descriptive passages.
  13. Handwritten or hand-printed script.
  14. Other glaring, non-standard format usage.

Writers who entered scripts with one or several of these “faults” (non-Courier and lengthy description being the most obvious) have won Nicholl Fellowships.

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.

Greg Beal
Program Coordinator
Nicholl Fellowships in Screenwriting

Below is a comprehensive bibliography of books on screenwriting. Many of these books are available at local bookstores or they can be special ordered.

  • Adams, Max. The Screenwriter’s Survival Guide (Warner Books, 2001).
  • Argentini, Paul. Elements of Style for Screenwritiers (Lone Eagle, 1998).
  • Armer, Alan A. Writing the Screenplay (second edition, Wadsworth, 1993).
  • Aronson, Linda. Screenwriting Updated: New (and Conventional) Ways of Writing for the Screen (Silman-James Press, 2001).
  • Axelrod, Mark. Aspects of the Screenplay: Techniques of Screenwriting (Heinemann, 2001).
  • Ballon, Rachel Friedman. Blueprint for Writing (1994).
  • Berman, Robert A. Fade In: The Screenwriting Process (second edition, Michael Wiese Productions, 1988).
  • Blacker, Irwin R. The Elements of Screenwriting (Collier, 1988).
  • Blum, Rick. Television and Screen Writing: From Concept to Contract (third edition, Focal Press, 1995).
  • Brady, Ben & Lance Lee. The Understructure of Writing for Film & Television (Univ. of Texas, 1988).
  • Brady, John. The Craft of the Screenwriter (Simon and Schuster, 1981).
  • Breimer, Stephen F. The Screenwriter’s Legal Guide (second edition, Allworth, 1999).
  • Buzzell, Linda. How To Make It In Hollywood (Harper, 1992).
  • Caldwell, Sara & Marie-Eve Kielson. So You Want to be a Screenwriter (Allworth, 2000).
  • Callan, K. The Script is finished, Now what do I do? (Sweden Press, 2nd edition, 1998).
  • Cannon, Doran William. Authorship: The Dynamic Principles of Writing Creatively (Hannah House, 1993).
  • Cole/Haag. The Complete Guide to Standard Script Formats, Part I: The Screenplay (CMC Publishing, 1980 [revised edition, 1983]).
  • Cooper, Dona. Writing Great Screenplays for Film and TV (Arco/Prentice-Hall, 1994).
  • Coopersmith, Jerome. Professional Writer’s Teleplay/Screenplay Format (WGA, East, 1970).
  • Corliss, Richard. Talking Pictures: Screenwriters in the American Cinema 1927-1973 (Overlook Press, 1974).
  • Corwin, Stanley J. The Creative Writer’s Companion: Selling Your Ideas for Movies, Books, Electronic Media, and More (St. Martin’s Griffin, 2001).
  • Cowgill, Linda. Secrets of Screenplay Structure (Lone Eagle, 1998).
  • Dancyger, Ken and Jeff Rush. Alternative Screenwriting: Writing Beyond the Rules (second edition, Focal Press, 1995).
  • Davis, Hadley. Development Girl (Doubleday, 1999).
  • de Abreu, Carlos & Howard Jay Smith. Opening the Doors to Hollywood: How to Sell Your Idea (Custos Morum, 1995).
  • Dmytryk, Edward. On Screenwriting (1985).
  • Dunne, John Gregory. Monster: Living Off the Big Screen (Random House, 1997).
  • Egri, Lajos. The Art of Dramatic Writing (Simon & Schuster/Touchstone, 1960; first edition, 1946).
  • Egri, Lajos. The Art of Dramatic Writing (Simon & Schuster/Touchstone, 1960; first edition, 1946).
  • Engel, Joel. Oscar®-Winning Screenwriters on Screenwriting (Hyperion, 2002).
  • Engel, Joel. Screenwriters on Screenwriting (Hyperion, 1995).
  • Field, Syd. Four Screenplays: Studies in the American Screenplay (Dell, 1994).
  • Field, Syd. Screenplay (Dell, 1982).
  • Field, Syd. The Screenwriter’s Problem Solver (Dell, 1998).
  • Field, Syd. The Screenwriter’s Workbook (Dell, 1984).
  • Field, Syd. Selling a Screenplay: The Screenwriter’s Guide to Hollywood (Dell, 1989).
  • Flinn, Denny Martin. How Not to Write a Screenplay (Lone Eagle, 1999).
  • Froug, William. The New Screenwriter Looks at the New Screenwriter (Silman-James Press, 1992).
  • Froug, William. The Screenwriter Looks at the Screenwriter (Silman-James Press, 1991; first ed., 1972).
  • Froug, William. Screenwriting Tricks of the Trade (Silman-James Press, 1992).
  • Froug, William. Zen and the Art of Screenwriting (Silman-James Press, 1996).
  • Geller, Stephen. Screenwriting (Bantam, 1985).
  • Gilles, D. B. The Screenwriter Within: How to Turn Your Head into a Salable Screenplay (Three Rivers Press, 2000).
  • Goldman, William. Adventures in the Screen Trade (Warner, 1983).
  • Goldman, William. Which Lie Did I Tell? (Pantheon, 2000).
  • Halperin, Michael. Writing The Second Act: Building Conflict and Tension in Your Film Scripts (Michael Wiese Productions, 2000).
  • Hamilton, Ian. Writers in Hollywood 1915-1951 (Carroll & Graf Publishers, 1991).
  • Harmon, Renee. Create The Suspense Film That Sells (Ciara Productions, 2000).
  • Harris, Erich Leon. African-American Screenwriters Now (1996).
  • Hauge, Michael. Writing Screenplays That Sell (McGraw-Hill, 1988; HarperCollins, 1991).
  • Herbert, Katherine Atwell. Writing Scripts Hollywood Will Love (Allworth, 1994).
  • Herbert, Katherine Atwell. Selling Scripts Hollywood (Allworth, 1999).
  • Hicks, Neill D. Screenwriting 101 (Michael Wiese, 1999).
  • Hicks, Neill D. Writing the Action-Adventure Film (Michael Wiese Productions, 2002).
  • Hicks, Neill D. Writing the Thriller Film (Michael Wiese Productions, 2002).
  • Hollywood Creative Directory / Agents & Managers Directory (Lone Eagle Publishing [updated regularly]).
  • Hollywood Creative Directory / Producers (Lone Eagle Publishing [updated yearly]).
  • Horton, Andrew. Writing the Character-Centered Screenplay (Univ. of California Press, 1994).
  • Howard, David & Edward Mabley. The Tools of Screenwriting (St. Martin’s Press, 1993).
  • Hunter, Lew. Lew Hunter’s Screenwriting 434 (Perigee, 1993).
  • Iglasias, Karl. The 101 Habits of Highly Successful Screenwriters (Adams Media, 2001).
  • Joseph, Eric. How to Enter Screenplay Contests... & Win! (second edition, ifilm publishing, 2001).
  • Katahn, T. L. Reading for a Living (Blue Arrow, 1990).
  • Katz, Susan Bullington. Conversations with Screenwriters (Heinemann, 2000).
  • Kaufman, Millard. Plots and Characters: A Screenwriter on Screenwriting (Really Great Books, 1999).
  • Keane, Christopher. How to Write a Selling Screenplay (Broadway Books, 1998).
  • King, Vicki. How to Write a Movie in 21 Days: The Inner Movie Method (Harper & Row, 1988).
  • Kosberg, Robert with Mim Eichler. How To Sell Your Idea To Hollywood (HarperPerennial, 1991).
  • Krevolin, Richard. Screenwriting From the Soul (Renaissance, 1998).
  • Lazarus, Tom. Secrets of Film Writing (St Martin’s Griffin, 2001).
  • Lefcourt, Peter & Laura J. Shapiro. The First Time I Got Paid for It (Public Affairs, 2000).
  • Lerch, Jennifer. 500 Ways To Beat The Hollywood Script Reader (Fireside, 1999).
  • Lewinski, John Scott. The Screenwriter’s Guide to Agents and Managers (Allworth Press, 2001).
  • Lucey, Paul. Story Sense: Writing Story and Script for Feature Film and Television (McGraw-Hill, 1996).
  • McGilligan, Patrick, editor. Backstory 1: Interviews with Screenwriters of Hollywood’s Golden Age (University of California Press, 1986).
  • McGilligan, Patrick, editor. Backstory 2: Interviews with Screenwriters of the 1940s and 1950s (University of California Press, 1991).
  • McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting (Harpercollins, 1997)
  • Meibach, Howard. Spec Screenplay Sales Directories (In Good Company Products, Santa Monica, C [updated regularly]).
  • Mehring, Margaret. The Screenplay: A Blend of Film Form and Content (Focal Press, 1990).
  • Mernit, Billy. Writing the Romantic Comedy (HarperResource, 2000).
  • Miller, William. Screenwriting for Narrative Film and Television (Hastings House, 1980).
  • Nash, Constance and Virginia Oakey. The Screenwriter’s Handbook (Barnes & Noble, 1978).
  • Packard, William. The Art of Screenwriting (Paragon House, 1987).
  • Palmer, Linda. How to Write It, How to Sell It (ST. Martins Griffin, 1998).
  • Pope, Thomas. Good Scripts Bad Scripts (Three Rivers, 1998).
  • Press, Skip. The Complete Idiot’s Guide to Screenwriting (Alpah Books, 2001).
  • Press, Skip. Writer’s Guide to Hollywood Producers, Directors & Screenwriters’ Agents 1999-2000 (Prima Press, 2001).
  • Rainford, Nancy. How to Agent Your Agent (ifilm publishing, 2002).
  • Reichman, Rick. Formatting Your Screenplay (Paragon House, 1992).
  • Root, Wells. Writing the Script (Holt, Rinehart & Winston, 1979; Henry Holt, 1979).
  • Rotcop, Ken, as told to James K. Shea. The Perfect Ptich: How to Sell Yourself and Your Movie Idea to Hollywood (Michael Wiese, 2001).
  • Sautter, Carl. How To Sell Your Screenplay: The Real Rules of Film and Television (New Chapter paperback, 1992).
  • Schanzer, Karl and Thomas Lee Wright. American Screenwriters (Avon, 1993).
  • Seger, Linda. The Art of Adaptation: Turning Fact and Fiction into Film (Henry Holt, 1992).
  • Seger, Linda. Creating Unforgettable Characters (Henry Holt, 1990).
  • Seger, Linda. Making a Good Script Great: 2nd Edition (Samuel French, 1994).
  • Seger, Linda. Making a Good Script Great (Samuel French, 1999).
  • Straczynski, J. Michael. The Complete Book of Scriptwriting (revised edition,Writer’s Digest Books, 1996).
  • Stuart, Linda. Getting Your Script Through The Hollywood Maze (Acrobat Books, 1993).
  • Suppa, Ron. This Business of Screenwriting (Lone Eagle Publishing, 1999).
  • Tierno, Michael. Aristotle’s Poetics for Screenwriters (Hyperion, 2002).
  • Taylor, Thom. The Big Deal: Hollywood’s Million-Dollar Spec Script Market (Quill, 1999).
  • Trottier, David. The Screenwriter’s Bible (third edition, Silman-James, 1998).
  • Vale, Eugene. The Technique of Screen and Television Writing (Touchstone, 1982).
  • Vogler, Christopher. The Writer’s Journey: Mythic Structure for Storytellers & Screenwriters (Michael Wiese Productions, 1992; revised edition available).
  • Walker, Michael Chase. Power Screenwriting: The 12 Stages of Story Development (ifilm publishing, 2002).
  • Wallace, Pamela. You Can Write a Movie (Writer’s Digest Books, 2000).
  • Walter, Richard. Screenwriting: The Art, Craft and Business of Film and Television Writing (Plume, 1988).
  • Walter, Richard. The Whole Picture (Plume, 1997).
  • Webber, Marilyn. Gardner’s Guide to Screewriting: The Writer’s Road Map (GGC Publishing, 2000).
  • Wharton, Brooke A. The Writer Got Screwed (but didn’t have to) (HarperPerennial, 1996).
  • Whitcomb, Cynthia. Selling Your Screenplay (Crown, 1988).
  • Whitcomb, Cynthia. The Writer’s Guide to Writing Your Screenplay (The Writer Books, 2002).
  • Whiteside, Rich. The Screenwriting Life (Berkley Boulevard, 1998).
  • Wilen, Lydia & Joan Wilen. How To Sell Your Screenplay (Square One, 2001).
  • Wolf, Andrea Leigh. Sell Your Screenplay: Your Guide to the Independent Film and Television Producer (Robert D. Reed, 2001).
  • Wolff, Jurgen and Kerry Cox. Top Secrets: Screenwriting (Lone Eagle, 1993).
  • Wolitzer, Meg. Fitzgerald Did It: The Writer’s Guide to Mastering the Screenplay (Penguin, 1999).
  • Yoneda, Kathie Fong. The Script-Selling Game (Michael Weise Productions, 2002).