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Formato Serie TV

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This document provides guidelines for formatting a TV show screenplay, including formatting for scene headings, character names, dialogue, foreign languages, intercutting scenes, on-screen text, and beginning and ending acts and episodes. Key elements include identifying the episode and writer at the top, dividing into acts and scenes, identifying characters and locations, and outlining conventions for dialogue, transitions, and on-screen visual elements.

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SCREENPLAY FORMAT FOR TV SHOWS "Episode Title" Written by Name of Writer Name (of company, if applicable) Name of agent Email Address number of agent Phone Number draft # if for spec.
SERIES TITLE "Episode Title" TEASER FADE IN: EXT. LOCATION #1 - DAY Action goes here. INT. LOCATION #2 - NIGHT More action goes here. CHARACTER #1 Hi, Im Character #1. CHARACTER #2 And Im Character #2. CHARACTER #2 (CONT'D) (pause) I just paused. CHARACTER #1 (beat) I just took a beat. If scene action interrupts a character's speech on the same page... CHARACTER #1 (CONT'D) Now Im talking again. End the Teaser and each Act like this. FADE OUT. END OF TEASER
2. ACT ONE FADE IN: EXT. LOCATION #1 - NIGHT Heres how dual-dialogue looks. CHARACTER #1 CHARACTER #2 Dialogue here. More dialogue here. CHARACTER #2 And even more dialogue here. EXT. LOCATION #2 - NIGHT Heres how the Beeb does foreign languages. CHARACTER #1 (in French) Indicate the language in parens and write the dialogue in English. CHARACTER #2 (in Spanish; English subtitles) If your character is speaking in a foreign language with subtitles, its written like this. If the whole scene is being spoken in a foreign language, make a note of this in the scene action, like this. NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN WELSH AND SUBTITLED IN ENGLISH. CHARACTER #1 Then just write the dialogue in English. CHARACTER #2 Let the reader know with a note that the subtitles have ended. END OF SUBTITLES. INT. LOCATION #2 - DAY Action here. DISSOLVE TO: SERIES OF SHOTS:
3. A) SERIES OF SHOTS: This is the first shot. B) This is the second shot. C) MONTAGE: another series of shots. EXT. LOCATION #1 - NIGHT Action here. FADE OUT. END OF ACT ONE
4. ACT TWO FADE IN: EXT. LOCATION #2 - NIGHT Heres where the second act begins. CHARACTER #1 (O.S.) Dialogue here. CHARACTER #2 (V.O.) Dialogue here. CHARACTER #2 Dialogue here. INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY Heres how intercut scenes are handled. CHARACTER #1 (into phone) Dialogue here. CHARACTER #2 (into phone) Dialogue here. CHARACTER #1 (into phone) Dialogue here. (hangs up) Dialogue here. INT. LOCATION #1 - DAY You can also establish both locations separately. CHARACTER #1 (into phone) Dialogue here. INT. LOCATION #2 - DAY Then establish your next location. CHARACTER #2 (into phone) Dialogue here. INTERCUT:
5. CHARACTER #1 (into phone) Dialogue here. CHARACTER #2 (hangs up) Dialogue here. END OF ACT TWO
6. ACT THREE FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." END OF ACT THREE
7. ACT FOUR FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." END OF ACT FOUR
8. TAG FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." END OF SHOW.

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Formato Serie TV

  • 1. SCREENPLAY FORMAT FOR TV SHOWS "Episode Title" Written by Name of Writer Name (of company, if applicable) Name of agent Email Address number of agent Phone Number draft # if for spec.
  • 2. SERIES TITLE "Episode Title" TEASER FADE IN: EXT. LOCATION #1 - DAY Action goes here. INT. LOCATION #2 - NIGHT More action goes here. CHARACTER #1 Hi, Im Character #1. CHARACTER #2 And Im Character #2. CHARACTER #2 (CONT'D) (pause) I just paused. CHARACTER #1 (beat) I just took a beat. If scene action interrupts a character's speech on the same page... CHARACTER #1 (CONT'D) Now Im talking again. End the Teaser and each Act like this. FADE OUT. END OF TEASER
  • 3. 2. ACT ONE FADE IN: EXT. LOCATION #1 - NIGHT Heres how dual-dialogue looks. CHARACTER #1 CHARACTER #2 Dialogue here. More dialogue here. CHARACTER #2 And even more dialogue here. EXT. LOCATION #2 - NIGHT Heres how the Beeb does foreign languages. CHARACTER #1 (in French) Indicate the language in parens and write the dialogue in English. CHARACTER #2 (in Spanish; English subtitles) If your character is speaking in a foreign language with subtitles, its written like this. If the whole scene is being spoken in a foreign language, make a note of this in the scene action, like this. NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN WELSH AND SUBTITLED IN ENGLISH. CHARACTER #1 Then just write the dialogue in English. CHARACTER #2 Let the reader know with a note that the subtitles have ended. END OF SUBTITLES. INT. LOCATION #2 - DAY Action here. DISSOLVE TO: SERIES OF SHOTS:
  • 4. 3. A) SERIES OF SHOTS: This is the first shot. B) This is the second shot. C) MONTAGE: another series of shots. EXT. LOCATION #1 - NIGHT Action here. FADE OUT. END OF ACT ONE
  • 5. 4. ACT TWO FADE IN: EXT. LOCATION #2 - NIGHT Heres where the second act begins. CHARACTER #1 (O.S.) Dialogue here. CHARACTER #2 (V.O.) Dialogue here. CHARACTER #2 Dialogue here. INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY Heres how intercut scenes are handled. CHARACTER #1 (into phone) Dialogue here. CHARACTER #2 (into phone) Dialogue here. CHARACTER #1 (into phone) Dialogue here. (hangs up) Dialogue here. INT. LOCATION #1 - DAY You can also establish both locations separately. CHARACTER #1 (into phone) Dialogue here. INT. LOCATION #2 - DAY Then establish your next location. CHARACTER #2 (into phone) Dialogue here. INTERCUT:
  • 6. 5. CHARACTER #1 (into phone) Dialogue here. CHARACTER #2 (hangs up) Dialogue here. END OF ACT TWO
  • 7. 6. ACT THREE FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." END OF ACT THREE
  • 8. 7. ACT FOUR FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." END OF ACT FOUR
  • 9. 8. TAG FADE IN: EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted in a couple of ways. Brief text, such as a sign, can go in the body of the scene action: "THIS IS A SIGN" "Something longer, like a letter, is formatted like dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." END OF SHOW.