How to Write a Script for TV — Anatomy of a Screenplay Part 3
TV Show Script Format — In this episode of Anatomy of a Screenplay, we break down all the rules of writing for TV.
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Anatomy of a Screenplay Pt. 1 ►► https://bit.ly/as-pt
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Chapters:
00:00 - Introduction to Anatomy of a Screenplay Pt. III
00:43 - Screenwriting for TV vs Movies
02:07 - Chapter 1: Single-Camera Formatting
05:42 - Chapter 2: Multi-Camera Formatting
07:37 - Chapter 3: Structure
12:55 - Takeaways
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THE IMPORTANCE OF TV WRITERS
Traditionally, film is regarded as the director’s medium, and television is the writer’s. While much about TV and film has changed since this wisdom was minted, it still holds true that a great TV show requires great writing. In the previous Anatomy of a Screenplay episodes, we focused on television’s older sibling, film. Now, we look at the TV script formatting and structural conventions that go into the small screen.
HOW TO WRITE A TV SHOW SCRIPT FORMAT
First, it’s important to note that television formatting isn’t that different from film formatting. Most things, in fact, remain the same. Dialogue, scene headings, action—all these conventions are identical, at least for single-camera TV shows (more on that in a minute).
The one big difference is act headings. Most movies have an act structure, but their screenplays do not explicitly delineate where acts begin and end. TV scripts, however, do. Often bolded and underlined, a writer will mark the act’s start and completion. This is because TV writing has traditionally been made to fit in between commercial breaks, which take place in act breaks. That said, now that commercials are less relevant with streamers and cable, some TV writers have stopped noting act breaks.
MULTI-CAMERA TV WRITING 101
TV script formatting is very different for multi-camera shows (sitcoms like Friends or The Big Bang Theory). Dialogue is double-spaced, scene numbers are marked differently, and characters involved in a scene are listed under the heading. Additionally, there are “story days,” which tell crew members what day in the narrative a scene is, signaling costume changes, etc. This formatting results in these TV scripts running way longer than the typical page-per-minute rule — a 25-minute episode is about sixty pages.
TELEVISION WRITING STRUCTURE
Television writing is very different from film when it comes to structure. Most films have three acts. Drama television shows have 5-6 acts, each lasting about 10 pages. Half-hour shows vary as well. 30 Rock, for example, has two acts. A problem is presented in Act 1 and is resolved in Act 2. Other shows, meanwhile, have a more conventional 3-act structure. Where the TV show will air will affect how many acts you have.
Ultimately, a great TV show has a compelling story with memorable characters. This has to be present, no matter the format or screening context. But when getting your foot in the door, ensuring your script follows the right structural and formatting rules is crucial.
#FilmTheory #VideoEssay #Filmmaking
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♬ SONGS USED:
“Opening Titles (Lost)” - Michael Giacchino
“End Credits (Lost)” - Michael Giacchino
“Wake Up” - Ben Frost
“Nancy and Barb” - Kyle Dixon
“Angel Theme” - Darling Violetta
“Seinfeld Theme” - Jonathan Wolff
“I’ll Be There For You” - The Rembrandts
“Tossed Salad and Scrambled Eggs” - Kelsey Grammer
“Yo Home to Bel-Air” - DJ Jazzy Jeff & The Fresh Prince
“Pagoda of Shame” - Michael Giacchino
“Me and My Big Mouth” - Michael Giacchino
“Breaking Bad Theme” - Dave Porter
“Won’t Get Fooled Again” - The Who
“Teardrop” - Massive Attack
“House M.D.” - John Erlich & Jason Derlatka
“Here Comes The Bride” - Wagner Bridal Chorus
“Mercury” - Alon Ohana
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