Three Ways to Format Telephone Calls
How to Write Phone Conversations Between Two Characters
Dec 14, 2008
Sometimes it can be difficult to know how best to present dialogue to the reader when one of the characters is not in the same place as the other. If the dialogue isn't presented clearly, it can confuse the reader and complicate the story.
Here are three techniques for writing film dialogue between two characters who are on the telephone. Each style has a suggested use.
OS (Off Screen)
Suggested Use: Off screen is a good technique to use for short, straight-forward telephone conversations where the subject being discussed is not a surprise to either character and where there is little hidden meaning.
The scene stays with one character: either the person making the call or receiving it. The second character involved in the conversation is never seen, but their voice is heard over the phone.
Correct Format: On the same line as the character name, add (OS) after any character who is not visible to the audience.
Example:
HARRY
Hey Jenny, are you ready for the meeting tomorrow?
JENNY (OS)
Yeah, it'll be fine, don't worry about it.
HARRY
You're sure you've got everything we need?
JENNY (OS)
Yes. Stop going on about it. I have to go now, dinner's ready.
Switching Shots
Suggested Use: Switching shots is a good idea for longer conversation, to stop the audience from getting bored, and also when conversations contain subtle information. For instance, in the following conversation:
MAN
Hey, I have to work late, I'm sorry - are you okay with that?
WOMAN
...Yeah, sure, it's no problem.
What the woman is not saying is that it is a problem; by switching shots to focus on her, the film can show this through her disappointed expression. At the same time, by switching shots back to the man, the audience can see him flirting with his secretary.
Switching shots lets the audience observe the impact of the conversation on each character, as well as picking up what is left unsaid.
Correct Format: There are two acceptable ways to do this. The short version is to explain in the action that the conversation switches between Character One <location> and Character Two <location>, then go ahead and write the conversation between the two characters as though they were in the same room.
The longer version adds a scene header (EXT./INT. <location> - <time>) for each switch. This takes longer to write but is clearer for the reader and also helps if a reader needs to count how many scenes there are in the script. It also allows action to be changed between turns, for instance:
A dog runs past Mary.
EXT. STREET - DAY
MARY
Quick, after that dog!
INT. HOUSE - DAY
JOHN
(angry)
How dare you call my wife a dog!
EXT. STREET - DAY
A group of school children go running after the dog.
MARY
I didn't mean her!
- This method keeps the action clear and is recommended.
Example:
Example of first method:
JIM is in the coffee shop on the phone to ALICE, who is painting her nails in her bedroom at home.
JIM
How have you been?
ALICE
Okay. I miss you.
JIM
I'll be home soon.
*
Second method:
INT. COFFEE SHOP - EVENING
JIM
How have you been?
INT. BEDROOM - EVENING
ALICE
Okay. I miss you.
INT. COFFEE SHOP - EVENING
JIM
I'll be home soon.
One-Sided Dialogue
Suggested Use: One-sided dialogue is good for very short conversations in two styles:
- Crime/Thriller: If the audience isn't supposed to know who the person on the other end of the phone is.
- Re-affirmative dialogue: if it has already been established in a previous scene that one character is going to call another character to pass on some information - the audience will already know what's being said.
This method should not be used for long conversations because, to an audience, it is least attention-keeping method.
Correct Format: This method only presents conversations from one character's point of view, without any OS or scene switching. Remember to add an indication of turn taking, such as '...'
Example:
OLIVER
Hi, yes it's me...Thursday, are you sure?....Right, I'll be there.
Any phone conversation can be shown in these three formats but remember that the longer the dialogue, the more likely the scene is to lose the audience's attention. In terms of keeping attention, styles rank like this, with 1) being the most interesting:
- Scene Switching
- OS
- One-Sided
Weigh it up against how long the scene needs to be. If it's only a short call, use two or three.
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