Basic Guidelines for Screenwriting - Nisi Masa

NISI MASA Script Contest 2009 - European short film Competition – A Short Scriptwriting Guide 

Basic Guidelines for Screenwriting 

by Fedor Sendak 

Introduction 

Believe it or not, but there are some rules and conventions you are expected to follow when writing 

a script for the NISI MASA Script Contest. You may ask “Why follow any rules, if screenwriting is 

about creativity?” Well, there is an answer to that: 

When you desire to have your script read to professional people from the film industry, you best try 

and follow these conventions as much as possible, always and whenever you submit your writings. 

How clueless they might seem to you, script readers (like: commissioning editors and producers) 

who have a pile of scripts on their desk might most likely throw "unconventionally" formatted and 

styled scripts into the trashcan without even reading them. Simply because in this way they 

separate the newbie’s from the (may be upcoming) professionals. It saves them a lot of time. Since 

we want to raise the professionalism of new talent, let's start today with getting you familiar with 

these professional standards. At the same time, this format will give our jury a better opportunity to 

compare and read your script without any confusion in the lay out. 

The lay out of your script 

A script layout should look something like this: 

A Short Screenwriting Guide © 2006-2009 by Fedor Sendak Limperg


Length and format 

There are certain standards in formatting who will help to gauge more or less how long a film a 

script will make. This is very useful for producers. With a well written script, these standards allow 

us to measure a script's length by saying that: "a page of script equals roughly a minute of screen 

time". This is a very rough guide and not to be completely trusted. For instance action films scripts 

often are short but take longer on screen compared to a dialogue based script. 

Since the NISI MASA Script Contest is a competition to write a short film, it is important to -more or 

less- be able to judge how many pages you write. So when you follow the standard format for 

scripts, it ensures the same amount of “screen action” is covered by each page (on average). In 

standard format, a page is roughly equal to a minute of screen time. So by looking at your page 

numbers we should be able tell how long your film is. Therefore also don’t forget to number your 

pages, and start at 1 on the first page with a scene on it. 

Standard Format Rules 

Here is a basic list of how your script should be formatted. 

Typeface: Courier size 12 

To achieve the standard format, always use Courier (or New Courier) Size 12. 

This is a fixed-width font. 

Margins 

Left margin should be 4 cm 

Right is 1.3 cm 

Top and Bottom 

Make them 2.5 cm each. 

Dialogue 

6.5 cm from the left 

will be about 7.5 to 9 cm wide 

shouldn't extend more than 15 cm from the left. 

Please, never make the mistake to CENTRE dialogues or character names! 

Character's Name 

at 9.5 cm and above the dialogue. 

Page Numbers 

should be located in the upper right hand corner and then double space and continue 

writing. 

See the sample script page (next page) and notice 

− the font used (Courier) 

− the size of margins all round 

− the number of lines on a page 

− the length of the lines of dialogue (always indented) 

− the spacing between scenes, etc. 



Sample page (reduced) 

First Page 

A screenplay always begins with “FADE IN:” This has nothing to do with a fading transition on the 

screen, but it is an international custom for how you should start your script. 

Last Page 

At the end of your script you should type The End and centre it, or double space, to the far right of 

the page, and type FADE OUT. Again this “FADE OUT” has nothing to do with a fading transition 

on the screen, but it is just customary to end your script in this way. 

Scene Headings: Location 

INT/EXT: This refers to the location of the scene. If it is inside it is INT (for interior); if it is set 

outside it is EXT (for exterior). This should be followed by the location. 

Scene Headings: Time 

DAY/NIGHT: This refers to whether the scene occurs in the day or night. This follows the location. 

Note: There is no such thing as EVENING or MORNING. Just use DAY or... NIGHT!! 



Introducing your characters 

The first time a character appears in your script, you write the name in CAPITALS, followed by a 

'first impression'-description of the character. Please do not write only the age of this person. I 

mean, how can we ever see a person is 44 or... 45? Just use your screenwriting talent, and come 

up with something better. When you write: “JOHN a fragile, middle aged man” it is already better. 

Acting instruction under dialogues 

Avoid acting instructions under the dialogues as much as possible. The emotions should be clear 

from the context most of the time... don’t take the easy way by writing it under the dialogue. That 

will not make good cinema in the end! 

No numbering for scenes 

Avoid numbering scenes at this moment. Do not forget to number the pages though. 

You only number the scenes when it is a 'shooting script' which will only be seen by yourself or 

when actually shooting the film. Now, they make no sense, since scenes can still move within the 

script. 

Don't direct inside the script. 

An often seen mistake is to include camera movements in your script. Although we admit there are 

occasions that this can't be avoided, in 99% of the cases it shouldn’t be there. This should be the 

job of the director, not the writer. Directing terms includes “CUT TO”, “WIDEN SHOT”, “PAN 

ACROSS”. You only use these – very very rarely - when the moment will be completely 

misunderstood without it. In general these are terms only for the shooting script. This is why you 

might see them in some professional scripts. Those scripts are not meant to be read by people like 

from a jury. Actually it will “clog up” and distract the read. Your script should flow smoothly as a 

readable piece, not a series of instructions. 

Some format difficulties can be easily solved by using screenwriting software. 

Check out the next pages to find the right program to use for your script! 



ABOUT SCREENWRITING SOFTWARE 

There is software available that helps you getting your script into the right format. 

Below some of the most know programs for screenwriting including their websites. 

Many screenwriting programs are standalone desktop applications. Others are web applications 

and run in a web browser, so no need to install any software. These work with a personal log in. 

There are also applications available as add-ins for generic word processors such as Microsoft 

Word. Sometimes screenwriting programs also incorporate production scheduling and budgeting 

capabilities or provide additional collaborative editing tools. 

REMARK: We haven’t tested all these programs. If you have any experience or 

recommendation, please let us know. Write me at fedor@meccapanza.eu and I will 

implement all valuable information you give me. 

SCREENWRITING SOFTWARE FOR FREE 

Page 2 Stage 

Platform: Windows 

Page 2 Stage is designed expressly for people writing screenplays, scripts, and plays. 

The program is available in 30 languages. Page 2 Stage is now free. 

However, you must enter a username and password to unlock Page 2 Stage. Otherwise the 

scripts you create in demo mode will always be marked 'demo'. 

http://www.page2stage.com 

ScriptBuddy (free version) 

Platform: Internet application 

ScriptBuddy is Web-based. In order to use it, you need an account with ScriptBuddy. Your 

screenplays are stored in your account so no one else can access them. 

http://www.scriptbuddy.com 

ScriptTeX 

ScriptTeX is a free macro package for TeX to format screenplays and other scripts. 

http://www.aidtopia.com/software/scripttex 

Sophocles 


A standalone word processor for writing screenplays and other dramatic scripts. It provides 

customizable, industry-standard support for feature film and television formats, along with 

advanced, fully automated revision handling for screenplays in production. Sophocles also 

provides a number of unique tools to help you visualize your story’s overall structure. 

http://download.cnet.com/Sophocles-Screenwriting-Software/3000-2079_4-10030931.html 

Zhura 


Zhura is a free web-based screenwriting software application for writing and formatting screenplays 

to the film industry standard, as well as other formats. Zhura allows users to collaborate on scripts 

in public or in private groups. 

http://www.zhura.com 

Scripped 


Scripped is an online screenplay services company offering three services: script writing, script 

registration, and script coverage. Scripped currently does not facilitate collaboration among 

screenwriters. 



http://scripped.com 

SCREENWRITING SOFTWARE FOR SALE 

Script Wizard 


Full service script writing add-on to Microsoft® Word. (PC only). 

Tools to write, format, page break, scene number, edit, proof, print and deliver scripts via fax or 

email. Ideal for both professionals and students working in Microsoft Office environments. 

Script Wizzard is not for free. Check out the website. 

http://www.warrenassoc.com/sw_overview.php 

http://www.warrenassoc.com 

Final Draft 

Platform: Windows and Mac 

Final Draft is a word processor specifically designed for writing movie scripts, television episodes 

and stage plays. It combines word processing with professional script formatting in one package. 

http://www.finaldraft.com 

Movie Magic Screenwriter 

Platform: Mac 

The program is designed to automate the formatting of Action, Character Name, Dialog and other 

elements associated with writing screenplays using Command line completion. This is done mainly 

via the Tab and Enter/Return keys. 

http://www.screenplay.com 

Movie Outline 


Movie Outline was created by a produced writer to take the complexity out of the screenwriting 

process. Its intuitive design is based on the principle of step-outlining which allows you to plan your 

cinematic structure, develop characters and format your screenplay scene by scene. 

http://www.movieoutline.com 

Montage 

Platform: Mac 

Montage is screenwriting software developed for Mac OS X. Montage allows the creation, editing, 

and management of screenplays on Macintosh computers. Montage can import Final Draft 

documents. text and RTF formatted files, it includes custom, pre-formatted templates for film, TV, 

and theater. 

http://www.marinersoftware.com/sitepage.php?page=104 

http://www.marinersoftware.com 

DreamaScript 


DreamaScript Screenwriting Software allows you to use templates and methods. 

MAC/PC 

http://www.dreamascript.com 



GENERAL ADVICE FOR WRITERS OF SHORT SCRIPTS 

Short film means short story 

First and foremost be aware that you are writing a short film. Make sure you write a story which 

can be completed in a couple of minutes. That might exclude some stories you want to tell. You will 

have to save these for later. 

Keep it Simple if Possible 

When your script is easy to shoot from a production point of view, the better its production values 

will be. This because the time, energy and money can be spent on doing it well rather than to just 

managing to do it. So be smart! We advice you to use a maximum of 3-4 main characters (i.e., 

those who and take a major part in the story). Your audience has only ten minutes to get to know 

and understand your characters, so the fewer you present the easier it will be for them to make an 

impact. Notice that it is not compulsory. We also advice to use a maximum of three locations, but 

of course you are free to ignore our advice in this. 

Dialogues 

The screen is first and foremost a visual medium. Find ways of telling visually what is 

happening or what is important. Sound-&-vision scenes in place of dialogue will move the 

action forward and can cover a lot of ground quickly. Where possible, show it rather than explain it 

in the dialogue. With dialogue, avoid long speeches unless there is a particular reason for one - 

short sharp exchanges can work better than long discussions. Try to use rich and interesting ones 

rather than the mundane speech we might hear every day. 

A thing to keep emphasizing on is that scripts are the basis of the visual medium of film. Don’t say 

what you can show instead. If the character is upset don't have him say "I'm really upset!” just 

show it to us, cinematographically. E.g. have him smash a cup on the table instead. 

First Draft 

Realize your first draft can be full of mistakes and errors! Yes! It is just a sketch! Just get that story 

out. Put it on paper as quick as possible. No worry, it might be not visual enough. This is not a 

problem for the first version of your artwork. You can correct all this later. You can still improve on 

it until you send it. Read our tips again, and you can still then change things that appear not good 

enough. Writing is rewriting! 

Style and Visual storytelling 

Try to see each sentence (or sometimes paragraph) as a shot. Write down only pieces of visual 

information... things we can actually see. Beautiful prosaic sentences don't belong here. That's for 

a novel. You are writing a blueprint for a film at the moment. Find your style. A script should be 

easy to read. Images have to appear when one reads it. A dry and clear style will have the best 

result. 

Order of Information 

What you see first, you write first. Write it the way it appears on the screen. So if you have written 

something we cannot actually see... think it over. Try to tell the thing in a visual (or aural) way. 

Credibility 

Literally everything can happen in the universe of cinema. But when you involve people in your 

story, make their decisions credible. If you want your characters to do something unusual or 

unlikely, then give them the motivation to do it. That's all it takes to make your audience believe 

and go along with the story. But also remember, the imagination of people is also huge! Use it... 

People lose interest only when a character does something they can not imagine that someone 

would do ever do that. Even in a science fiction piece, characters should behave credibly within the 

terms of the story - i.e., “In that situation, yes, he or she would do that . . .” Anyone who knows 

about acting and writes should try to ask themselves: “How would it be to play this as an actor?”. It 

will make you write a playable and solid, credible script. 



Conflict and crisis 

Drama is mostly about conflict and crisis – not about people wanting the same things or agreeing 

with each other. A scene will often work best if characters want opposite things at the same time. 

And a attractive script often begins with a character at an emotional crossroads, and the decision 

they take leads to the story most of the time. Screen your ideas and writings on this. 

Indirect Information 

As remarked before, people have a huge imagination. Also people are socially and psychologically 

smarter then you might think. Therefore it is recommended to keep the audience busy with 

thinking, while they are watching your film. If not, they might get bored easily and you will loose 

their attention! One way to do this is to check your script on how the information gets to your 

audience. Do they have to make their conclusions themselves, or are you making them for them. If 

they have to think, they will get more involved, and you will reach their heart more easily. 

USEFULL TIPS: 

� Make sure your story is a suitable story for a short film. 

� Write visually, since the primary quality of film is visual storytelling. 

� Give information indirectly, to make the audience actively go along with the story. 

� Use dialogue imaginatively and only for what is not possible to express in images or sound. 

� Make your character's actions and decisions credible, so the audience can identify 

themselves with them, or at least imagine a person who acts like that, could exist. 

� Write a producible script. A script which can be shot easily and in a short time. 

� Preferably use a maximum of 3-4 main characters. 

� Preferably use a maximum of 3 locations. 

� Remember variety in people, places and scenes makes your film more vivid. 

� Rewrite your script and keep improving it. 

USEFULL CHECKLISTS 

Before you start 

These questions might be helpful to ask yourself about character before you start your screenplay. 

� Who is your story about? 

� What kind of trouble are my characters in? 

� What does your character want and what will your character do to get it? 

� What is your character most afraid of (his/her ghost)? 

� What's the big question the audience will be wondering about throughout the movie? 

While writing 

These questions might be helpful to ask yourself when you are in the middle of writing a 

screenplay, or when (you think) you are finished. 

� Is there an opening hook? 

� Can you put the primary conflict more up front? 

� Do you set the Genre and Tone of the film from the start? 

� Did you introduce the protagonist in a unique and interesting way? 

� Why does the story start at the point it starts? 

� What is your movie really about? 

Our last advice 

Please realise "Writing is re-writing". The first draft won’t be as good as you wish it would be. Of 

course it is not good! A first draft never is. It is in the refining, re-writing, re-plotting and fine-tuning 

that great scripts get made. So our advice: don’t think too much. To get started is important, since 

you will make the script by writing it, not by thinking about writing it a thousand times.

Basic Guidelines for Screenwriting - Nisi Masa

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