Scripts are Elements

From the formatting and style standpoint, a script is nothing but a collection of elements. Look at the
script below and you'll see what I mean. Even better, move your mouse around the sample page and,
where your mouse cursor turns into a pointing finger, click there and look in the frame below...

From the element standpoint, the key to successful formatting and powerful writing is knowing what the
elements are, how and when to use them and how they should look.

Keep in mind that different types of scripts have different formats. For example, sitcom scripts look
different than the picture above which is a film script. Don't worry, we'll cover the different kinds of scripts
after we handle the basics of film scripts.

In the next chapters, we'll discuss the different elements and how to use them. The elements most
commonly used in a film script are:

• Action
• Scene Headings
• Character Name
• Extension
• Dialogue
• Parenthetical
• Transition
• Shot
• Dual-Dialogue

We'll also cover elements typically used only in television and play scripts:

• Act numbers
• Scene Numbers
• Cast List
If you haven't been there, take a look at: Show it don't tell it, but don't direct it... unless you have to.,
otherwise, dive into the elements above!

Action

Definition

Action is also called "business" or "description." It's what we see on the screen or stage. It describes, in
the most visual way it can, what happens.

Description

What to say about Action? Here's a sample:

Mark walks down the hall. He looks in the

bedroom and, seeing nothing, scratches his
head. He continues down the hall with a
curious expression on his face.

Notice that the above action doesn't read like this:

Mark walks down the hall. He thinks there

might be something in the bedroom, so he
looks in. He wonders why he doesn't see
anything and scratches his head. "Hmmm,"
he thinks and then continues down the hall.

The difference? The first one shows it, the second one tells it. We can't see a character thinking. But we
know that characters who are thinking will behave in a certain way. Describe the behavior, not the
intangible mental process.

In Action, you have more room to make your writing creative than you do in other elements, but I
recommend you use your creativity to tell the story well, not to show off your vocabulary or cool prose
technique. You want the reader to be impressed with and immersed in the story, not hung up on you.
Trust me, if you keep an agent engrossed in your story for 120 pages, she'll be infinitely more impressed
with you than if your Action reads like Hemingway.

Use your action paragraphs wisely. Depending on the effect you're trying to create, you can either put
each separate action in its own paragraph or lump a bunch of action into one. For example, the
following shows the effects of separate paragraphs:

The Alien stalks the surviving crew

members, slowly gaining on their position.
Commander Walker, checks his scanner for
life signs.
Nothing.

Notice how that builds the tension and keeps the images separate in your mind. Next let's see the effect
of putting many actions in one paragraph:

The ball flies high into center. Miller

chases it, sliding on the wet grass.
Halloway runs from left toward the ball, too.
Fans reach over the center field wall,
fighting for position to catch the dropping
ball. Miller dives. Halloway leaps. The fans
jostle...

You'll have to see the movie to find out what happens next. But do you see the different kind of tension
that putting all those actions together creates? So, use Action to create the effects you want to create in
the mind of the reader.

One other thing. Avoid passive verbs and conjugations of "to be" (is, isn't, am, are, etc.). Also, avoid
prepositional phrases when a good adjective or adverb will do. These two things bore the reader and
usually take up more room than their more interesting, active replacements. Which sentence reads
better to you:
Banner paces in his cell, running his
fingers through his mohawk hair.

or

Banner is pacing in his cell and is running

his fingers through his hair which is in a
mohawk style.

Boy,. I sure hope you liked the first one better. It's more powerful, more active, more direct, more
visual...just what a script should be.

Formatting

Simple. Use the same margins as your Scene Headings: 1.5" from the left and 1" from the right. Action
is mixed case and single spaced.

There is one blank line before each Action paragraph (sometimes, there will be zero blank lines, when
you need to use Short Lines).

Sometimes, in Action, you'll want to capitalize certain words... we'll talk about that in the Emphasis
chapter. There are also occasions for using specific abbreviations.

Scene Headings

Definition

A Scene Heading, also known as a Slugline (from typesetting days), tells the reader where a scene
takes place. In other words, where are we standing? Where do we put the camera? Look at some of the
examples below:

Description
EXT. JIM'S HOUSE, PATIO - NIGHT
INT. CONNER AEROSPACE, CONNER'S OFFICE - ESTABLISHING
INT./EXT. WALKER FARMHOUSE, KITCHEN - CONTINUING
SPACE MISSION 6 H.Q., 1900Z - SUNLIGHT

These might look very different to you, but notice the sections of the Scene Headings and they'll start to
feel the same.

The Scene Headings start with an indication of whether you're inside or outside. INT. means "interior."
EXT. means "exterior." Sometimes you might want to use EXT./INT. if, for example, a scene starts
outside and moves inside, or INT./EXT. if it moves the other way. You don't need to use the combination
descriptions. It's just as likely you can start the scene EXT. JIM'S HOUSE, OUTSIDE and, at the
appropriate time, the scene changes to INT. JIM'S HOUSE, INSIDE

The next part of the Scene Heading tells where you are, generally. In other words, at a house, in a
building, at a park, etc. The key here is the generality. As you reuse these, you want to be consistent.
That is, don't refer to Jim's house as "JIM'S HOUSE," "JIM JONES'S HOUSE" and "MR. JONES'S
RESIDENCE." You want to keep this consistent so the reader can easily know where you are in general
terms. If your script is in production, you want these to be consistent so the production manager can
easily find and schedule all the scenes that take place at that location. Believe me, the last thing you
want is a Production Manager or Assistant Director screaming, "What do you mean this is supposed to
be the same location we were at last week? We tore down the location we were at last week!"

The next part of the Scene Heading is the specific description of where you are. If you're at a house,
where in the house? If you're in a space ship, which compartment of the ship? You might not need to
use this part of the Scene Heading if it isn't relevant. If, for example, you're EXT. BIG OFFICE
BUILDING, that might be all the relevant information you need for the scene. If it doesn't matter that
you're EXT. OFFICE BUILDING, 2 FEET FROM THE STREET don't say it. In the last example above,
we're in space (assumedly outside) the More about what to say and not say in "Show it don't tell it, but
don't direct it... unless you have to."

When it comes to specifics, you might have to get really specific and add another level of description.
Let's say, you're doing a time travel story and scenes in the same place jump between times. You might
end up with INT. ASTRODOME, ON THE FIELD, 1996 and INT. ASTRODOME, ON THE FIELD, 2005
Another thing that you might put in the "specific" section is ESTABLISHING, like: EXT. EMPIRE STATE
BUILDING, ESTABLISHING - DAY. This says that we just need a shot of the location so we can
"establish" that this is where we are. Typically, after an establishing shot, the next scene takes place in a
specific location at the same place. So, after establishing that we're at the Empire State Building, the
next scene might be INT. EMPIRE STATE BUILDING, OBSERVATION DECK - DAY.

The last piece of a Scene Heading is the timing section. DAY and NIGHT are the most common ones
you'll use. If you need to get more specific, do it. If the scene needs to happen as the sun sets, say
SUNSET. If the scene takes place 20 minutes after that, you can say DUSK. Production Managers hate
scenes that take place around sunrise and sunset because you only get one chance at getting that shot
on any day. Don't let that stop you from writing romantic sunset scenes, though. Just realize you might
be the catalyst for an anxious assistant director actually yelling the famed cliche, "Come on people,
we're losing light here!"

When you have a number of scenes in a row that take place in a continuous manner, it seems silly to
keep saying - DAY at the end of each of the Scene Headings. You have a couple of choices here. One is
using the timing indicator, "CONTINUING." Look at the following example:

EXT. DAYTONA SPEEDWAY, PIT STOP - DAY

Miller puts on his racing suit and steps into the Indy car.
INT. MILLER'S CAR - CONTINUING

In another situation, with multiple scenes occurring In the same general location in a continuous
manner, you can leave out the timing indicator:or use "SAME TIME"

INT. CLAIRE'S HOUSE, LIVING ROOM - DAY

Claire watches TV with her kids
INT. CLAIRE'S HOUSE, DINING ROOM - SAME TIME
The dog eats scraps under the table.
INT. CLAIRE'S HOUSE, BEDROOM
Dad knits a skirt.

If you have multiple scenes occurring at the same time, use the timing indicator "SIMULTANEOUS." For
example:

INT. CHEZ STADIUM, KITCHEN - DAY

A bomb ticks its way down from 2 minutes.
EXT. CHEZ STADIUM, PARKING LOT - SIMULTANEOUS
The spy checks his watch as it counts down from 2 minutes.

You can also use "SAME TIME" instead of "SIMULTANEOUS"

These aren't all the time indicators possible, but certainly the most common. Use your common sense,
artistic license and good judgment to create whatever you need. Remember, the whole point of a Scene
Heading is simply to tell the reader quickly, easily and efficiently, where the scene takes place.

Formatting

The first thing you may have noticed is that Scene Headings are uppercase... ALWAYS.

Next, you may have noticed that the INT or EXT is followed by a period. Occasionally, you'll see other
punctuation like a colon or a dash or no punctuation. Don't do this unless you know that the person who
is reading your script expects something other than a period.

The spacing after the period is also up for debate. Two spaces after the period is common and
accepted. One space is also okay. This one's more up to your aesthetic sense than industry rules. Use
whichever you like best unless you know that the expected reader prefers one or the other.

The general description is usually separated from the specific location description by a comma. Again,
rarely, you'll see something else, like a dash. Don't do this unless the reader expects it.

Similarly, the punctuation before the time indicator is most often a space, a dash and another space.
Sometimes you'll see no spaces, sometimes you'll see two dashes, sometimes you'll see no spaces and
two dashes. Not to sound like a broken record, but use the former unless you know the reader expects
something else.

The margin settings are 1.5" from the left edge of the page to 1" from the right edge.
You want to keep your Scene Headings to one line, if possible. If you need a Scene Heading that takes
two lines, try to break up the text at one of the natural break points: between the general and specific
locations, for example. You do not want to break a Scene Heading so the time indicator is the only thing
on the second line.

Finally, you would like to have 2 blank lines before each Scene Heading. Yes, this will make your script
longer than if you had only 1 blank line preceding the Scene Heading and, yes, 1 blank line is
acceptable. Two blanks looks better and also makes the script read faster. So, if you can, use 2. If you
have to, to keep the script from being too long, use 1. As always, if the reader expects something
specific, give it to her/him.

Character Name

Definition

Couldn't be more obvious, the Character Name element is where you indicate who's talking.

Description

Not much to say, except that you want to be consistent. Don't call a character MR. JONES in one part of
the script and DAVE somewhere else (with Scriptware, it's easy to check to see if you've done this; you
just look at the Character List and see who's on it... then you can change the wrong ones with just a
keystroke or two).

If you have two characters speaking simultaneously and saying the same thing, you can make a
character name out of both of their names. For example:

BOB AND RHONDA

Wait! Stop!

If you had two characters saying different things at the same time, use Dual-Column Dialogue.

Try to avoid using Names that look similar to avoid confusing the reader. Some suggest that you don't
have two characters who have names that start with the same letter for this same reason.

To introduce a Character in a mysterious way, by hearing her/his voice, without revealing who it is, call
the character something like MAN'S VOICE or WOMAN'S VOICE. Since we're hearing but not seeing
them, it would typically be: MAN'S VOICE (V.O) or WOMAN'S VOICE (O.S.). (You wouldn't underline the
extension, that's happening because those are links). Then, in the Action, you can reveal to the reader
that:

...we see that the voice belongs to:

MARTHA
Hello, dear.

Formatting

A Character Name is uppercase, 3.5" from the left edge of the page. There is one blank line before a
Character Name.

Extension

Definition

An Extension is a technical indication about a character's Dialogue, placed to the right of the Character
Name. For example, an indication that the dialogue happens off screen or as a voice-over. An Extension
is not a place to tell the actor how to read the dialogue or to indicate some action happening on the
screen.
Description

There are a couple of standard Extensions: O.S. and V.O. "O.S." means "off screen" -- the character is
physically present, but not visible on the screen (behind a door, under a bed, etc.). On TV shows, you'll
sometimes see O.C. (for off camera) instead of O.S. "V.O." means "voice-over" -- the character isn't on
the screen but we hear the voice (a narrator, a voice on an answering machine, etc.). This is called a
voice-over, because the actor records her/his voice at a time other than when the scene is being shot,
and the voice is placed "over" the scene. It's still a voice over, though, if the actor records her/his voice
and the recording is played back as the scene is being shot.

DR. JOSEPH (O.S.)

Hey, someone let me out of this freezer!
WALLY (V.O.)
That was when I knew... plug in the freezer!

Formatting

The Extension is uppercase and enclosed with ( )'s. There is one space between the end of a Character
Name and the opening parenthesis of an extension.

Dialogue

Definition

Dialogue is simply every word we hear on the screen. Everything that comes out of everyone's mouth
(whether we see them on the screen or not).

Description

Simply, write what you want your characters to say.

BOB
But I don't know what to say.
It's not like I, well, it's not
like this is something I enjoy.

There's not a whole lot of advice to give here beyond the ever-present, "show it, don't tell it." Apocalypse
Now could have been a guy's head, on the screen, as he narrated the story, but who would pay to see
that?! Same thing in your dialogue: see if there's a way to write so that we get to see something rather
than hear someone talk about it (unless you have a good, dramatic reason, to not show us...
ooooohhhh, mysterious).

In a similar vein, be careful of monologues. Readers get a bit concerned when they see a page that's
99% Dialogue. After all, for movies and TV shows at least, we want to see something beyond a talking
head. If you have a monologue, ask yourself, "Are there ways to break this up with some action (either
the speaking character's, the listening character's, or something in the environment)?" Breaking up a
monologue makes a page read faster and, remember, we want them to keep turning the pages!

Formatting

Dialogue margins are 2.5" from the left and 2.5" from the right.

Parenthetical

Definition

A Parenthetical is a direction to the Actor about how to read the Dialogue.

Description

Here are some samples of dialogue with Parentheticals:

BOB
(sarcastic)
Of course I love you.
MARTHA
 (trying not to
explode)
Can't you be serious for once?
(a beat, then)
Wait, who are you?

Here are some bad Parentheticals:

MIKE
(reaching for gun to
shoot the alien)
Stop!
HARRY AND SALLY
(they keep arguing as
they walk out the door)
Am not. Am too. Am not. Am too.

What makes the second examples "bad" is that they're describing Action, not giving information to the
actor about reading the line. In other words, proper format asks you to not do this:

ZEKE
I don't think you should stay
(he cocks his shotgun)
We don't want you here.

but instead do this:

ZEKE
I don't think you should stay.
He cocks his shotgun.
ZEKE
(continuing)
We don't want you here.

Notice the "continuing" Parenthetical above. You put those in when a character's dialogue is split by
Action (or, sometimes a Shot.). Some studios insist on these, some insist you don't use these. So,
again, I would use them unless I had a specific reason not to.

If you had other Parenthetical direction to add, you would put it after the "continuing" like this:

ZEKE
(continuing; calmly)
We don't want you here.

Formatting

Parenthetical margins are 3" from the left and 3.25" from the right. If a Parenthetical takes up more than
one line, indent the lines after the first 1 character so that the text on all of the lines start in the same
vertical column.

Transition

Definition

A Transition indicates that we are, in some way, moving to a different scene or shot.

Description

Some common Transitions are:

CUT TO:
PAN TO:
FADE OUT.
MATCH CUT:
PULL BACK TO REVEAL:
WIPE TO:
DISSOLVE TO:
There are dozens more... but the important thing is this: DON'T USE THEM! Most of the time you don't
need Transitions. Think about it. If you have one scene, then another, it's obvious that you're cutting to
that scene. Otherwise, how would you get there. So why say "CUT TO:"? Now "how" you cut to get
there is a different story. The second reason to avoid Transitions falls into the "Don't Direct It" category.

Again (and of course), there are reasons why you would undeniably need to use a Transition to achieve
a particular effect (usually comedic or frightening) like:

They walk off into the sunset.

CUT TO:
CLOSE UP of BOB's face. There's something odd about how
he looks, his hairstyle, his coloring.
PULL BACK TO REVEAL WE'RE:
EXT. BIG CLIFF'S - DAY
And we see that the man is actually hanging upside down
from a bungee cord.

Get it. There, the Transition is an important tool. It would have been boring to read:

They walk off into the sunset.

EXT. BIG CLIFF'S - DAY
Bob hangs upside down from a bungee cord.

It's not even worth describing what the different transitions mean since they're all directorial phrases
(you can find them in editing books and directing books) and since so many of them are obvious and
part of our colloquial speaking. If you really need a Transition, type whatever you like to best
communicate the effect you want.

There only two Transitions that you definitely want to use in every script: FADE IN: and FADE OUT. Start
every script with FADE IN: and end every script with FADE OUT. (notice that it ends with a period, not a
colon).

Formatting

Transitions are 5.5" from the left edge. They are uppercase and end with a ":" except the last FADE
OUT. The first FADE IN: is a special Transition that has the same left margin as your Action, 1.5" from
the edge.

Shot

Definition

A Shot is an indication, within a scene, that the focus shifts to a specific person or thing.

Description

Here are some sample shots:

CLOSE ON BOB'S NOSE

ANGLE ON THE RANSOM NOTE
MARK'S POV
INSERT - TIMER OF THE BOMB
BACK TO SCENE

First things first: when using Shots, stay acutely aware of the Show It Don't Tell It, But Don't Direct It,
rule! It's very easy to use Shots when they really aren't necessary at all, or when you could achieve the
same effect with some well written Action. Like Transitions, you only want to use Shots when you really
need them to convey a particular effect. Here's an example that's familiar to you:

MAN'S VOICE (V.O.)

This tape will self-destruct in five
seconds.
CLOSE ON THE TAPE RECORDER
The tape begins to SIZZLE and slowly smolders until
it's engulfed in smoke.
You could make two arguments about that example. The first is that you need the Shot to emphasize the
important event of the tape self-destructing. The contrary argument is that without the Shot, the Action
makes it clear that the tape is self-destructing and you don't need to tell the director that he needs to be
"close on the tape recorder" because she'll figure out how to shoot it on her own. Both of these
arguments are valid. This is another case where you have to use your best judgment. Some studios,
producers and shows that we know use shots extensively. Others, not at all. You find them more often in
scripts that are in production, rather than those being submitted to be read.

Notice the Shot "BACK TO SCENE." This is one that you might use after you have focused on a
particular part of the scene to indicate that you want to return the focus, well... back to the scene in
general. In the example above, you could do:

CLOSE ON THE TAPE RECORDER

The tape begins to SIZZLE and slowly smolders until it's
engulfed in smoke.
BACK TO SCENE
Jim tosses the recorder into the trash and walks into the
museum.

Again, there's no specific list of Shots, use your imagination to create Shots that help tell your story in
the most creative, simple and effective way you can. By the way, see Abbreviations if you don't know
what POV means.

Formatting

Shots are uppercase and use the same margins as Scene Headings: 1.5" from the left (the right margin
doesn't matter because you don't want a shot that takes more than one line). You normally want 1 blank
line before a Shot, but some writers use 2, like a Scene Heading (sometimes they do this to lengthen a
short script, sometimes it's for style).

Dual-Column Dialogue

Definition

Dual-Column Dialogue (or Dual-Dialogue) is used to indicate two characters speaking simultaneously.

Description

Dual-Dialogue looks like this:

MIKE BETH
I'm singing in the rain... Stop it please, you're going
Just singing in the rain... to make me crazy with your
What a glorious feeling... damn singing!
I'm happy again.
(humming, now) VINNIE (O.S.)
Hmm-hmmmm-hmm-hmm-hmm-hm... Could you shut the hell up!
Hmm-hmmmm-hmm-hmm-hmm-hm... Some of us are trying not to
Hmmm-hmmm-hmmmm-hmm-hmm-hmm vomit here.
Hmm-hmmmm-hmm-hmm-hm.

The essence of this is simple. Just two columns with normal Character Name, Parenthetical, Extension
and Dialogue pieces in them. Remember, the idea here is when you have two (or more) characters
speaking at the same time, saying different things. If you have more than one character speaking over
another, just type it like the above. Which character is in which column is up to you. If example above, it
makes more sense to have the singing in the left column since the people in the right column are
reacting to it (the reader will see the singing first, and then read the reactions... you probably did that
yourself, yes?). There will be situations where this is reversed based on the effect you're trying to create.

If you have a character talking and, in the middle of his dialogue, you want someone else to start
chatting away, just split up the first character's dialogue like this:

ZELDA
Like I was saying to Marty,
Marty, I said, what's a guy
like you doing in a retirement
community like this?
ZELDA IRIS
 (continuing) Oh, that Marty, what a
And Marty, he says, Zelda, catch he is. If I still
Marty says, I don't get had the you know what...
it myself. I'd you know what.

Formatting

Dual-Dialogue margins are a bit narrower than standard Dialogue margins. For the first column, the
Character Name starts 2 3/4" from the left, Parenthetical margins are 2 1/4" from the left and 4.5" from
the right, Dialogue margins are 2" from the left and 4" from the right. For the second column, the
Character Name starts 5 3/4" from the left, Parenthetical margins are 5 1/4" from the left and 1 1/4 from
the right, and Dialogue margins are 5" from the left and 1" from the right. There is one blank line before
the first Character Name in Dual-Dialogue (just like a regular Character Name).

Act Numbers

Definition

The Act Number indicates what Act you're in. It can indicate the beginning of a new act or the
continuation of the current Act. Act numbers are usually only used in Sitcom or Play scripts.

Description

Act Numbers look like this:

ACT II
ACT THREE
ACT 4

The numbering style you use depends on both your taste and/or the style in use by the show for which
you're writing. In other words, if you're writing a "Murphy Brown" script, use the numbering style that
they use (more about this in Give 'em what they want

There are a couple of other acts that don't have numbers but, instead, have names. If you have these,
there will be no more than one before Act 1 that might be called TEASER, COLD OPENING, or
PROLOGUE. There might also be one following the final act called EPILOGUE or TAG. In a sitcom, a
teaser, or cold opening takes place before the first commercial break and the tag takes place after the
last commercial. Both of these parts of the script don't have anything specifically to do with the story and
could be removed from the show (which is often what happens when a show gets syndicated so that the
syndicators can squeeze in more commercials). The prologue and epilogue occupy the same place at
the beginning and end of the show, but are an integral part of the story. See what the show's standard
for using these are before you decide you need to use them.

Some shows only want you to put the Act Number on the first page of a new act. Others want you to put
it there and on the first page of each new scene within the act (see Scene Numbers). Typically, there is
only one scene in a Prologue, Teaser, Cold Opening, Tag, or Epilogue.

Similarly, some shows want you to indicate the ending of an Act by typing something like:

END OF ACT 5
END OF TEASER

That would be the last line of the page, then, the top of the next page would be the next act.

Formatting

Act Numbers are uppercase. Center them horizontally on the page. For a new act, put the Act Number
2" from the top of the page. Start each new Act on a new page.

The End Of Act indicator is also centered horizontally and uppercase. Put two blank lines between it and
the last line at the end of the act.

If a show uses letters instead of numbers for each act, it typically will not use certain letters. Most
commonly, shows will not use the letters "i" or "o" because the capital versions of those letters look too
much like the numbers one and zero.

Scene Numbers
Definition

The Scene Number indicates that you're starting a new scene. Scene numbers are usually only used in
Sitcom or Play scripts (in film scripts that are in production, the Scene Heading will be numbered, but
that's a different story -- see Numbering?).

Description

Scene Numbers look like this:

SCENE II
SCENE THREE
SCENE 7
SCENE P

The numbering style you use depends on both your taste and/or the style in use by the show for which
you're writing. In other words, if you're writing a "Cybill" script, use the numbering style that they use
(more about this in Give 'em what they want.)

Sometimes you will repeat the Act Number above the Scene Number like:

ACT V
SCENE 2

Then, the next scene is:

ACT V
SCENE 3

Some shows start renumbering the Scenes for each act, others let the Scene Numbers just continue to
add sequentially. For example, this:

ACT SIX ACT SIX ACT SEVEN

SCENE D SCENE E SCENE F

versus:

ACT SIX ACT SIX ACT SEVEN

SCENE D SCENE E SCENE A

Like you would with Act Numbers, sometimes you will indicate the end of the Scene by putting END OF
SCENE X at the end of the previous scene.

Formatting

Scene Numbers are uppercase and centered horizontally. If the Scene Number follows the Act Number,
put one blank line before the Scene Number. Otherwise, put the Scene Number 2" from the top of the
page. Start each new scene on a new page.

If a show uses letters instead of numbers for each scene it typically will not use certain letters. Most
commonly, shows will not use the letters "i" or "o" because the capital versions of those letters look too
much like the numbers one and zero.

If you have more than 26 scenes, start numbering from the 27th like this: AA BB CC DD EE FF, etc.

If you use an End Of Scene indicator, put 2 blank lines between it and the last line of the previous
scene.

When both an Act and a Scene end, just use the End Of Act indicator.

Cast List
Definition

The Cast List is used in Sitcom scripts to indicate which characters are speaking and appearing in the
following scene.

Description

Cast Lists are on the line following Scene Headings and look like this:

INT. JERRY'S APARTMENT - DAY

(JERRY, ELAINE, GEORGE)
SPACE - NEAR THE QUADRANGLE BORDER
(DR. CONNER, MARCUS, JERRY, ELAINE, GEORGE)

Check the format used for the show you're writing for the exact formatting specifics. The variations you'll
see in Cast Lists include whether the list is in order of appearance or importance and, based on the
above, whether the list shows speaking characters first, then non-speaking characters.

Formatting

The Cast List is on the line directly below a Scene Heading, enclosed in parenthesis, with the same
margins as the Scene Heading. The specific show will determine if the Cast List should be uppercase or
mixed-case and if there's a specific order they want you to use for the characters in the list.