Screenwriting : Split-Screen by Heidi Schussman

Hi. Format the text alignment to the left or right depending on the speaker in the dialogue. It visually helps to clearly distinguish who is speaking.

Ethan, side-by-side or left for Sue and below that put Joe to the right?

If you have Final Draft, in the formatting you can create "Dual Dialogue". 1. Write your dialogue (two lines). 2. Highlight that dialogue like you're going to copy it. 3. Format - Dual Dialogue . BOOM. It formats it for you . OR just could just INTERCUT.

Heidi, the main thing is that in one of the first lines, someone should greet the other by name — so it’s clear who’s who.

Or, if it’s a script, you can just indicate who is speaking at the top.

Depending on the app you’re using, there’s usually a keyboard shortcut for aligning text — handy when someone has long lines.

If you split the dialogue to different sides right away, it draws you directly into your own story.

And leave a blank line between each speaker’s lines — it’ll make reading much easier visually

Hi, Ethan Kane. I’m a Stage 32 Lounge Moderator. Stage 32 is an English platform. Do you mind translating your comment to English?

My bad))

Hey Heidi,

The way I try to do it is very similar to how I'd do an intercut scene/sequence:

Intro'ing the characters in their respective locations by Slug with dialogue so we can associate what we're "seeing" with what we're "hearing." Then capped in its own line, something like:

"SPLIT SCREEN"

So we know how you want the reader to picture the conversation.

Ethan also had a good idea for a more stylistic approach.

But like anything, take and use what you like, and leave the rest!

Hope this helps!

I'm not sure you necessarily need to do anything differently, especially if both sides of the screen are interacting with each other. You can use INTERCUT and note the two backgrounds the characters appear in but I don't think you'd really have to do it much differently than regular dialogue.

William and Zackary, thanks for the advice. I can now visualize a clear way to create what I'm after.

Great question! Split-screen formatting for phone conversations is actually pretty straightforward once you know the standard approach.

Here's a widely accepted format:

SPLIT SCREEN

SARAH

(into phone)

Did you hear what happened at work today?

MIKE

(into phone)

No, what's going on?

SARAH

You're not going to believe this...

END SPLIT SCREEN

Key formatting points:

-- "SPLIT SCREEN" in all caps to establish the technique

-- No location headers needed once you're in split screen mode

-- Character names work normally for dialogue

-- "(into phone)" parentheticals** for the first line or two, then drop them since it's understood

-- "END SPLIT SCREEN" when you return to single location

Alternative approach some writers use:

SPLIT SCREEN - SARAH'S APARTMENT / MIKE'S CAR

Pro tips:

Keep split-screen sequences concise - given two locations, they're fundamentally more expensive to shoot

Make sure the visual contrast between locations serves the story

Some writers note specific screen positioning (LEFT/RIGHT) but it's usually unnecessary

Directors and editors will ultimately determine the exact visual execution, so focus on clear, readable formatting that serves your story.

Wow Pat! Good advice and it fulfilled my need to see an example. Thanks.

Heidi Schussman the only thing I'd add to Pat Alexander awesome 'formatting masterclass' :) is to also think about how much action your characters engage in while on the phone. If it's important to show specific emotional/physical beats, you may opt for the inline version (Pat's Alternative approach). Like:

INT. MIKE'S OFFICE / EXT. SARAH'S BALCONY – SPLIT SCREEN

Mac paces. Sonja smokes. They talk.

MIKE

You got the file?

SARAH

Still warm from the copier.

If it's mostly about the words, then the SPLIT SCREEN setup may work better.

Happy writing!

Okay, how about this scenario: Think back on YOU'VE GOT MAIL and how they would write to each other. My script has this across alternate realities. The spine of the story is these two emailing each other. When it's in her setting his email is read in V.O. as she reads. Her writing back to him is V.O. as she writes. Vice a versa when it's his setting. The decision I'm wrestling with is; Do I keep it the way I currently have it, or should I try to split the screen?

Sebastian, this is mostly about the words as they write or read.

Daniel, I have Fade In. It gives instructions for how to achieve this, but I can't find the command they tell me to use.

Once you've established the two locations you can make a clear note that the conversation will be in split screen. As long as your intention is clear you won't confusethe reader. Just be sure to make a note of when the split screen ends.

I like the V.O. while reading emails idea, Heidi Schussman. I think that and split screen would both work though.

Heidi Schussman - I've never specified a split screen in a script, but I have had phone conversations taking place onscreen. I describe each location in the slug lines and say, INTERCUT (or SPLIT SCREEN). The only time I would have the dialog side-by-side on the page is if the characters are both talking at the same time - if there's overlap.

For phone conversations, I establish the scene for each character then insert an INTERCUT and continue with the dialogue. This would give the director the freedom to film and splice the conversation in whatever way is best, and it's not nearly as time-consuming as jumping back and forth between scenes and using the V.O. notation.

Thank you everyone! Based on all your input, I've decided to do both. When there's a lag in responses I will stick with V.O.. When they're firing emails back and forth, I'll do split-screen.

You're welcome, Heidi Schussman.