Read a script three times: once for the story, once for your character, and once to break down each scene you are in. Learn the format first (scene headings, action lines, character cues, parentheticals) so the page tells you where you are and what is happening. Then respect the words: we asked 25 casting directors whether you can change the dialogue, and most said stick to what is written unless you are invited to play.
On this page
Every screenplay uses the same building blocks. According to Final Draft, they are:
A rough rule: one page is about one minute of screen time.
These are extensions written after a character's name. V.O. (voice over) means the voice is heard but the character is not speaking in the scene, such as narration or a phone line. O.S. (off screen) means the character is in the scene's space but out of shot, like a voice from the next room.
CONT'D (continued) is added when the same character keeps talking after an action line interrupts them, or when their speech runs onto the next page, as Final Draft's help pages explain. It is a formatting device, not a note to pause or change your read.
The page format is largely the same. The structure is not. Final Draft's guide to TV scripts says an hour-long episode usually has a teaser and then four or five acts, each starting on a new page and lining up with commercial breaks. Sitcoms often open with a cold open, run in two acts, and may finish with a short tag. Films usually follow three acts and resolve by the end, while a TV story carries on across episodes.
The practical difference for actors: Kym Jackson notes that for a guest or co-star audition you will rarely see the full episode script. In her experience, a full TV script usually only comes with a pilot. For films, it is often worth asking.
Yes, whenever you can get it. Actor and teacher Anthony Brandon Wong told us that reading the whole thing tells you your character's super objective, the tone, the backstory and every reference in your scenes to other people, places and events.
Ask your agent or manager for it every time. On big studio films you may hit a non-disclosure agreement and only get sides, so make the most of what you have. See what sides are for the audition version.
First read: just the story, like an audience member. Second read: your character. Kym's shortcut when time is tight is to search the script for your character's name, so you see every scene you are in and every time someone talks about you.
Look for clues in the action lines, in how others describe you, and in how you react under pressure. Then ask why. Read everything casting sent too: Kym's first audition rule is not to miss a detail that was right there in the email.
A script breakdown turns reading into a plan. For each scene you are in, write down:
Once you book, Kym asks for the latest draft straight away, because scripts are revised in the weeks before a shoot. For the character side of the work, see character analysis.
Not always. Anthony Brandon Wong said it depends on the material. Some writers place every action deliberately as part of the character's journey. Others are looser, and an action like "she cries" may not be essential.
His test: is it a turning point? If a character points a gun and the other says "don't shoot me", you have to fulfil it. For grey-area beats, copying the direction exactly can limit what you bring to the moment.
We asked 25 casting directors whether actors can improvise or paraphrase in an audition. Only Victoria Burrows and Rachel Sutton were relaxed about it, and even Victoria likes one take exactly as written. Almost everyone else said stick to the page, or ask first.
The reasons were consistent. Josh Einsohn said all a writer hears is that you think the writing isn't good enough. Meg Morman said an added line changes the rhythm and emotional effect of the scene. Deborah Barylski warned that in comedy one extra syllable can kill a joke. Ask first, and save your ideas until you have booked the job.
The exceptions: Lisa Zambetti said a small button before or after the scene is the safest place to play. Kahleen Crawford said it is fine to ask whether you can adjust a phrase that wasn't written for your accent.
As soon as you have the pages. Kym's view is that your preparation only works once the words are muscle memory, so you can listen instead of reaching for the next line. She learns them neutrally first, without locking in a delivery. More in how to memorise lines.
A slugline, or scene heading, is the line in capitals that starts each scene. It says interior or exterior, the location and the time of day, such as INT. KITCHEN - NIGHT.
CONT'D means continued. It appears after a character's name when they keep speaking after an action line interrupts them, or when their dialogue runs onto the next page.
V.O. (voice over) is a voice heard from outside the scene, such as narration. O.S. (off screen) is a character who is in the scene's location but out of shot.
The usual rule of thumb is that one screenplay page is about one minute of screen time.
Usually not. Most of the 25 casting directors we asked said to stick to the words as written unless you are invited to improvise, and to ask first if you want to play.
Yes, if you can get it. It tells you the tone, your character's overall objective, the relationships and the backstory. For TV guest roles you often only get sides.
Once you have read and broken down the script, the next job is getting the words in. Our free line learning guide is the companion to this page.
Kym's free class: the ten steps, in order, from first class to first booking. Free, just pop in your email.
Get the free classKym's free class for actors who've been at it a while and want things moving again. Free, just pop in your email.
Get the free classWant the whole library? Start your 7-day free trial and watch every answer on this page.