How To Write A Telephone Call In A Screenplay: The Definitive Guide

In a screenplay, a telephone call is indicated by the words “phone rings” or “phone rings, then cut to.”

When writing a telephone call in a screenplay, the phone ring can be thought of as a sound effect.

The sound of the ring passes over the reader and creates anticipation for who or what will answer the call.

The purpose of the telephone call in a screenplay is to move the story forward through information revealed by dialogue.

How To Write A Telephone Call In A Screenplay

A screenplay writer can reveal important backstory using dialogue during a telephone conversation, but when this occurs it should be brief.

To write a good telephone conversation in a screenplay, consider how to enhance tension and/or drama with each exchange.

One way to do this is with unanswered questions (for example: What happened? Where are you? Are you okay?).

Unanswered questions create tension and give the characters something to talk about.

Another strategy is to use dialogue that anticipates an event taking place (for example: “I’ll be right there!”). This creates anticipation in the reader that something is about to happen.

A screenplay writer should avoid writing long conversations between characters on the phone.

Instead, use short phrases and sentences that move the story forward with each exchange between characters.

How To Write A Phone Call In A Script Method 1: One Character Only

If you’re writing a script that includes phone calls, you’ll need to convey what the characters are saying while they’re on the phone.

Telling Your Audience What’s Going On

The easiest way to do this is to have each character use “play-by-play” commentary to describe the action as it happens.

This means writing your script so that each character speaks his or her part aloud. For example: CHARACTER ONE: Good morning, John.

It’s (Character One here). I just wanted (to let) you know that I’m going to be at the meeting today with Mr.

Jones from Marketing. CHARACTER TWO (Yes, I see).

CHARACTER ONE:Good. Because if we get this contract signed, it’ll be because of me, and I want him to know how important my role was in making it happen.

When you write your script this way, you can be sure that every line of dialogue will include information about who is saying something and why they are saying it. When a character speaks this way on stage, it makes sense for him or her to talk out loud.

How To Write A Phone Conversation In A Screenplay Method 2: Voiceover (V.O.)

If you want to write a screenplay with a phone conversation in it, the easiest way to do it is by telling the story as if you’re writing a movie script. The only difference between this and how you’d normally write your screenplay is that you will replace the character’s dialogue with voiceover.

Telling the story this way is simple and effective. It keeps the reader engaged and tells them what they need to know in an efficient manner.

The first step to doing this is by creating your character’s voice. Some writers like to create a voice for each character, but it isn’t always necessary.

If the character is an established one in the minds of your readers, you can use their voice from a previous work or from a different part of the story. Alternatively, simply describe their voice in a few words or sentences.

For example:”She spoke in a clear and direct tone.””He mumbled his words.”

“His words were quick, like bullets out of a gun.”Once you’ve done that, there are three main ways that most authors choose to handle their phone conversations.

The first one is by using quotation marks around any dialogue:

“I just wanted to say thanks for having me over last week,” he said .

How To Write A Phone Conversation In A Screenplay Method 3: Intercut

While getting a writing job can seem like an insurmountable task, it helps to realize that there are a lot of people in Hollywood who are looking for new writers, and some of them have jobs that they need filled right now. One of those jobs is writing phone conversations.

The best way to get a writing job is by networking. There are many ways to do this: going to meet-ups, joining screenwriter groups on Facebook, meeting people at film festivals, and making friends with other writers in your area.

You don’t want to be pushy or disrespectful when you meet these people, but you should definitely ask for their contact info if you want to stay in touch and send them scripts or your work.Once you’ve got a couple of contacts in Hollywood, the next step is getting their attention so that they will read your work.

This is the hard part. You want them to read your stuff, but you don’t want to annoy them with constant emails or calls asking them if they received it yet.

The best way to get their attention while still respecting their time is by sending them a script with a letter and a SASE (self-addressed stamped envelope). 

Should You Even Use Phone Calls In Your Screenplay At All?

Phone calls are a staple of film and television. After all, who hasn’t seen characters on the big screen or small engaging in some form of telephone communication?

But do you really need to rely on phone calls for your screenplay?Treat phone calls like any other element in your screenplay.

If it moves the story forward, then fine. If it doesn’t, then don’t use it.

   

There are times where a phone call may be appropriate, but only if you approach it with a purpose in mind. Here are some examples:

One character is away from another character for most of the screenplay. A phone call can be used to build anticipation for their eventual meeting.

The characters are doing something different at this point than they were previously. In other words, the action has shifted to something else entirely (and you want to cut away from that action).

Use a phone call as a way of making this shift without confusing your reader by going into detail about what they’re actually doing during this time. There’s very little dialogue or description surrounding the phone call itself (which makes sense since the characters aren’t in the same room).

Phone Call Screenplay Format Matters

Screenwriting is a tough industry to break into, but it can be a great way to make money. Aspiring screenwriters often dream of getting a screenplay produced.

If you’ve ever considered writing a screenplay, consider this: You might want to try writing a phone call screenplay format first.

Tuning your ear to the way people talk on the telephone can help you write realistic dialogue for your characters.

This can help your dialogue read smoother and flow more easily from character to character. It can also help create more natural conversation for your characters.

Screenwriters are used to writing dialogue that is spoken aloud, but there’s no reason they should be limited in this area.With all the different types of screenplays out there, what exactly is a phone call screenplay format?

Well, it’s simply any kind of screenplay that contains a scene that occurs over the phone between two or more characters.

The scene is anything from one line of dialogue to several pages of conversation.It’s important for you as the writer to remember that you’re not just writing dialogue or action for your characters.

You’re also creating something that sounds realistic and natural when performed by an actor on set. You have the ability to make your actors’ lives easier because they’ll already know how their lines are.

How To Tackle A Phone Call Cinematically

So now here’s a list of some tips to tackle a phone call cinematically.Use the environment to your advantage, for instance a desk with paper work or a garden.

The most important thing is that you should have a prop that is going to help you create the right effect, which is usually a prop that will help you with the emotion you need to portray.For example, if you are portraying anger, then find something heavy or something hard like glass.*

If you are creating suspense and it is only one character on the screen, then try and block the other character from being seen or heard by the lead actor.For example, have the heavy object fall in front of him so he can’t see or hear what’s going on.

Theme music for suspense shows that something big is about to happen. Sometimes it is good not to add background music at all and just use sound effects such as footsteps echoing around a room.

A great way to make sure you don’t go over time on set is to use a countdown timer.A countdown timer will let you know how much time you have left for filming.

You can also use this for rehearsals so that everyone knows when they are taking their turn. This will help reduce confusion on set.

How To Write A Telephone Conversation In A Screenplay

The telephone is used very often in a screenplay. As the name implies, it is a device that allows a person to speak to another at a distance.

The biggest advantage of using the telephone instead of an in-person conversation is the fact that it never cuts off the way it would if two people were actually in the same room.What you need to know to write a telephone conversation effectively into your script is how to write one so that it does not seem awkward or unrealistic.

Here are some tips for doing just that.Be brief and concise with your dialogue.

You have no idea how many pages are on the other end of the line, or what they’re doing in between rings. Make every word count, because you don’t have time for small talk anyway.

Use action and camera angles to shorten words and sentences. If your character can’t see who’s calling them, then you do not need to write down each side of their conversation word for word.

Letting them speak for too long will make your script seem unnatural and stilted, which is something nobody wants to read over and over again!

Use “we hear” instead of writing out every single word they say, especially if they’re yelling or whispering something.The telephone is used very often in a screenplay.

As the name implies, it is a device that allows a person to speak to another at a distance. The biggest advantage of using the telephone instead of an in-person conversation is the fact that it never cuts off the way it would if two people were actually in the same room.