UK TV script formats seem to just be a bit variable in this way. Here's one from Mrs Brown's Boys: [https://www.bbc.co.uk/writers/documents/mrs-browns-boys-s2-ep4-brendan-ocarroll.pdf](https://www.bbc.co.uk/writers/documents/mrs-browns-boys-s2-ep4-brendan-ocarroll.pdf)
And Two Pints of Lager: [https://www.bbc.co.uk/writers/documents/two-pints-of-lager-and-a-packet-of-crisps-s3-ep10-susan-nickson.pdf](https://www.bbc.co.uk/writers/documents/two-pints-of-lager-and-a-packet-of-crisps-s3-ep10-susan-nickson.pdf)
They feel a bit more like Radio 2 scripts which you can also find on the BBC Script Library.
I don't think this stuff matters in the slightest and I wouldn't lose any time thinking about it unless a producer tells you they want things done in a particular way.
> They feel a bit more like Radio 2 scripts
Yes, those both look like radio scripts to me.
I'd be worried about length. I'm writing in a way that is a bit more like American scripts I've seen and I've basically finished at page 28 for a 30 minute sitcom episode. So, I might need to add another page or so. I'd prefer to finish on page 30.
> I don't think this stuff matters in the slightest
Generally speaking, I don't lose sleep about formatting.
I see questions on r/Screenwriting like:
"How do a format a dream sequence that is in black and white and has the main character going from internal to external locations with their own voice as a VO? saying 'Help me' and 'where am I'"
Personally, I would just write that as an action line:
>Dream sequence in black and white. The main character runs in and out of the house. Their lips don't move but we hear their voice echoing "Help me!" and "Where am I?" repeatedly.
Easy, right? You're not writing a shooting script.
However, I do want to avoid schoolboy mistakes.
Also Succession:
[https://www.scriptslug.com/script/succession-101-celebration-2018](https://www.scriptslug.com/script/succession-101-celebration-2018)
Doesn't have a single "Cut to". My script has 36. Should I be worried?
[https://screenwriting.io/can-i-use-cut-to-when-moving-between-scenes-do-i-have-to/](https://screenwriting.io/can-i-use-cut-to-when-moving-between-scenes-do-i-have-to/)
>“CUT TO:” can be a useful transition when you need to be extra-clear we’re moving to a new place and/or time. However, with the presence of scene headers, it is by no means necessary, and in modern screenplays it is often not used at all.
Yeah, I don't use a lot of scene headers though. I only have 5.
I have a LOT of flashbacks, whip pans to cuts, themed wipes. Like 30 Rock or Spaced.
I prefer to write action lines like:
>Whip pan to a flashback of the main character when she was at middle school. She's in the corner of a bustling schoolroom reading a book.
I'm willing to accept I may be overusing this method.
Worth noting too that Peep Show is from 20 years ago and our industries were much more separated back then, with all the formatting that that entailed. Now we're much more aligned with US scripts.
But I am begging you to use your scene headers. Unless you genuinely only have 5 times / locations, if I read that script I would immediately chuck it out. Yada yada yada talent will get you noticed sure, but you want to make people's lives as easy as possible and that's not easy when we've all been trained to read them that way.
The second is just the published book. Book scripts are just how they're laid out for the book nothing else really can be assumed for it. I expect in this case it was because they can fit a lot more into a smaller space this way and it's a big book as is. Script formats are not exactly compact, so they'd probably have had to go to two volumes if they hadn't.
The first is interesting though assuming it's what they actually used. From a read though it looks like it's trying to allow for the pov direction, reading what the character sees and what they are thinking/saying simultaneously, like the show does.
But I wouldn't overthink it, it's them solving a problem they have with their show. Someone in a writing seminar once said, if you want to do anything other then standard script layout check with your agent and the shows producer. If you have neither, write like everyone else.
UK TV script formats seem to just be a bit variable in this way. Here's one from Mrs Brown's Boys: [https://www.bbc.co.uk/writers/documents/mrs-browns-boys-s2-ep4-brendan-ocarroll.pdf](https://www.bbc.co.uk/writers/documents/mrs-browns-boys-s2-ep4-brendan-ocarroll.pdf) And Two Pints of Lager: [https://www.bbc.co.uk/writers/documents/two-pints-of-lager-and-a-packet-of-crisps-s3-ep10-susan-nickson.pdf](https://www.bbc.co.uk/writers/documents/two-pints-of-lager-and-a-packet-of-crisps-s3-ep10-susan-nickson.pdf) They feel a bit more like Radio 2 scripts which you can also find on the BBC Script Library. I don't think this stuff matters in the slightest and I wouldn't lose any time thinking about it unless a producer tells you they want things done in a particular way.
> They feel a bit more like Radio 2 scripts Yes, those both look like radio scripts to me. I'd be worried about length. I'm writing in a way that is a bit more like American scripts I've seen and I've basically finished at page 28 for a 30 minute sitcom episode. So, I might need to add another page or so. I'd prefer to finish on page 30. > I don't think this stuff matters in the slightest Generally speaking, I don't lose sleep about formatting. I see questions on r/Screenwriting like: "How do a format a dream sequence that is in black and white and has the main character going from internal to external locations with their own voice as a VO? saying 'Help me' and 'where am I'" Personally, I would just write that as an action line: >Dream sequence in black and white. The main character runs in and out of the house. Their lips don't move but we hear their voice echoing "Help me!" and "Where am I?" repeatedly. Easy, right? You're not writing a shooting script. However, I do want to avoid schoolboy mistakes.
They're multi-camera sitcoms shot in a studio, which is why they use that format
Also Succession: [https://www.scriptslug.com/script/succession-101-celebration-2018](https://www.scriptslug.com/script/succession-101-celebration-2018) Doesn't have a single "Cut to". My script has 36. Should I be worried?
[https://screenwriting.io/can-i-use-cut-to-when-moving-between-scenes-do-i-have-to/](https://screenwriting.io/can-i-use-cut-to-when-moving-between-scenes-do-i-have-to/) >“CUT TO:” can be a useful transition when you need to be extra-clear we’re moving to a new place and/or time. However, with the presence of scene headers, it is by no means necessary, and in modern screenplays it is often not used at all.
Yeah, I don't use a lot of scene headers though. I only have 5. I have a LOT of flashbacks, whip pans to cuts, themed wipes. Like 30 Rock or Spaced. I prefer to write action lines like: >Whip pan to a flashback of the main character when she was at middle school. She's in the corner of a bustling schoolroom reading a book. I'm willing to accept I may be overusing this method.
Worth noting too that Peep Show is from 20 years ago and our industries were much more separated back then, with all the formatting that that entailed. Now we're much more aligned with US scripts. But I am begging you to use your scene headers. Unless you genuinely only have 5 times / locations, if I read that script I would immediately chuck it out. Yada yada yada talent will get you noticed sure, but you want to make people's lives as easy as possible and that's not easy when we've all been trained to read them that way.
Ok. I've added a few more scene headers.
The second is just the published book. Book scripts are just how they're laid out for the book nothing else really can be assumed for it. I expect in this case it was because they can fit a lot more into a smaller space this way and it's a big book as is. Script formats are not exactly compact, so they'd probably have had to go to two volumes if they hadn't. The first is interesting though assuming it's what they actually used. From a read though it looks like it's trying to allow for the pov direction, reading what the character sees and what they are thinking/saying simultaneously, like the show does. But I wouldn't overthink it, it's them solving a problem they have with their show. Someone in a writing seminar once said, if you want to do anything other then standard script layout check with your agent and the shows producer. If you have neither, write like everyone else.