Is there any rule of thumb concerning consistency of approach with phonecalls in screenplays? The phonecalls in one of my scripts are always seen from one character's point of view, with the other character's voice being heard as V.O. But, there is one scene where I don't want the other side of the conversation to be heard. And now I'm thinking this is breaking some kind of unwritten rule of consistency - like a screenplay grammatical error.
What do you think?
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Hi, Steve Mallinson. It's fine to do that. You could write it like this:
KELLY
Dialogue... Dialogue... Dialogue.
The "..." is when Kelly listens to what the person on the phone is saying.
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Thanks Maurice!
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You're welcome, Steve Mallinson. You could also write it like this:
KELLY
Dialogue.
(listens)
Dialogue.
(listens)
Dialogue.
That'll take up more space in the script though.
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Hey Steve Mallinson
Great question about phone call consistency in screenplays! This is actually something that comes up frequently in professional script coverage and feedback sessions.
While there's no absolute "grammatical rule" that requires you to handle all phone conversations the same way throughout a script, consistency does help readers maintain their orientation within your storytelling approach. That said, there are legitimate creative reasons to vary your approach for specific dramatic effect.
If you've established a pattern of hearing both sides of phone conversations (one on screen, one in V.O.), then suddenly withholding the other side creates a specific effect - it draws attention to what's being withheld. This can be an excellent technique when used intentionally to:
1. Create mystery about the caller's identity
2. Emphasize your POV character's isolation or confusion
3. Build tension by forcing the audience to interpret the conversation through only one character's reactions
The key is making this change feel deliberate rather than accidental. You might consider:
- Having your character repeat a key phrase from the unheard side to provide context
- Using your character's facial reactions to convey the emotional impact of what they're hearing
- Creating a visual that reinforces why this particular call is different
Many successful screenplays use variations in telephone technique to highlight important story moments. For example, in "Michael Clayton," the pattern of showing both sides of conversations is broken at a crucial moment to emphasize the protagonist's shock and isolation.
Would you mind sharing a bit more about the specific dramatic purpose of withholding the other side of this particular conversation? That context would help provide more tailored advice on how to make the shift feel intentional rather than inconsistent.
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I presume the change is because you want to withhold some bit of information from the audience. So in that moment, we change from knowing everything the character knows to a state where the character knows more than we do.
I would reserve this for a special reason, like a break into act three, where the character gains power over his situation and is now ready to act.
You could also use it as a moment when the POV changes to another character in the scene. They can’t hear what is said, so we are with that new person.