Script coverage and report awareness week SCRAW 2026: BLOGPOST FOUR – SCRIPT FORMATTING AND SCRIPT WRITING STYLE – why sparse scripts and blank space are you friend.

26th February 2026 @matcoop matthew cooper script writer, matthew cooper writer, script agents uk, script consultancy, script consultant, script reports, script submissions UK, scriptwriting feedback, sitcom script coverage, uk script consultant, UK Script Writer for hire, UK scriptwriting agents 0

When reading new writers scripts – I can often just glance through the first few pages – and with a sense check of how the script looks ON THE PAGE – yes, without reading anything – I can tell, pretty accurately – if the script will work or not, and if the writer has any idea of what they’re actually doing.

AND I’M NOT TALKING ABOUT FORMATTING HERE – BUT quickly here’s a side note on FORMATTING: Script and screenplay formatting – is best done via some piece of software these days – FINAL DRAFT is industry standard – very expensive, and is only used because it plugs straight into other very expensive budgeting and scheduling software – for example – any soap like EastEnders or Emmerdale or Hollyoaks will take the writers FINAL DRAFT file of their script and plug it into some software that will work out what actors need to be where and what sets need to be scheduled out or built and it does all the donkey work of organising much of the shoot – that is why FINAL DRAFT is industry standard (and why the cost is SKY HIGH).

There is a free scriptwriting programme called TRELBY – which is free to use, with no limits and does everything FINAL DRAFT does (you can even save the document as an FDX file – and it can be opened in FINAL DRAFT – so value for money wise – TRELBY for new starters cannot be beaten – but whatever software you use – the software (and most of them do it as standard) should format your script to about (approx.) one minute per page – and timing scripts is part of the job of producers and script editors – again – on shows like EastEnders and Emmerdale – every single episode is the exact same length – and that’s achieved partly by the formatting of the script correctly – SO THE SIMPLE ANSWER to formatting is – USE TRELBY – or some other software – and DON’T OVER WRITE.

What do I mean by overwrite?  Sometimes the formatting is fine – but I see scripts written by new writers that seem hugely overly detailed and overwritten.

So, here’s a quick list of dead-giveaways that the script is in trouble.

  • Camera mentions
  • Description of shots
  • Over description of sets / scenery or costumes
  • Lighting clues
  • Over describing the characters – bald, tall, fat fin, ginger haired – does any of this matter?

All of these mistakes are really one big single mistake – or misconception – because some scripts that are overdetailed work very well – but they’re working against themselves often.

Can I tell you what a good script looks like?  It looks like all blank space. The descriptions are cut down to the bone.  All the script contains is brief scene directions, brief character descriptions – cut down action description and dialogue.  We as scriptwriters don’t have any control of locations / sets / costumes and we only ever mention them if they’re vital to understand the story.

We have zero say in shots, or framing or camera moves – because they have nothing at all to do with the scriptwriter and should NEVER be in a script by the scriptwriter.

So, in other words – scripts (as written by the scriptwriter) are sparse cut down documents – the less words on the page – the better the script is usually…

But some new writers are confused by the document they’re writing – they may have read or seen a shooting script – instead of a script written by a script writer. WHAT IS A SHOOTING SCRIPT?

A SHOOTING SCRIPT IS A TECH DOCUMENT WRITTEN BY THE DIRECTOR AND THE HOD’s (heads of department) the camera crew have input on a shooting script – as does lighting and sound and wardrobe and sets – THAT DOCUMENT is very detailed and contains all the INFO EVERY DEPARTMENT NEEDS TO KNOW WHEN SHOOTING. THAT isn’t a document written by a scriptwriter.

WHAT IS THE DIFFERENCE BETWEEN A SHOOTING SCRIPT AND A REGULAR SCRIPT?

******A shooting script is a tech doc, which is written by the production team – NOT THE SCREENWRITER. 

See below:

A SHOOTING SCRIPT IS NOT WRITTEN BY THE SCRIPTWRITER – It’s a common misconception with NEW WRITERS.

A SHOOTING SCRIPT IS A PRODUCTION DOCUMENT – NOT WRITTEN BY THE SCRIPWRITER – BUT WRITTEN INSTEAD BY THE PRODUCTION CREW AND THE DIRECTOR (AND DOP).

A normal spec script (written by a scriptwriter) is:

         SPARSE – the more blank space the better

         It doesn’t contain unnecessary info

         its main job is to succinctly tell the story and the reveal the characters

A spec script doesn’t included unnecessary tech detail – like lighting / sound cues / transitions / camera directions / titles – unless vital to the plot – it doesn’t describe a shot of the night sky or anything in detail.

A Shooting script is:

A script that is SIGNED OFF FOR PRODUCTION – and ready to shoot

It needs to include – the scenes from the spec script – and technical details and cues – like lighting / sound cues / transitions and sometimes actual shots needed for certain sequences.

         It can also include other details like costumes etc.

         A SHOOTING SCRIPT IS A HIGHLY DETAILED DOC for PRODUCTION USE ONLY.

More info here:

Spec Script vs. Shooting Script: Every Single Difference (freshmenscreenplay.com)

What’s a Shooting Script and How Do You Create One? (nofilmschool.com)

5 Key Differences Between Spec and Shooting Scripts | Scriptwrecked

Here’s an easy way to describe the difference:  I’ll use an Emmerdale scene as an example.

Spec SCRIPT:   THIS IS WHAT THE WRITER WRITES:

INT. DINGLES: MORNING

Zak is eating breakfast at the table.  The front door opens and MANDY barges in.

                                                MANDY

Bloody hell, the Tate’s have burned the Woolpack down!

Shooting Script: This is the tech doc for the crew and director and HODs

INT. DINGLES: MORNING

Zak sits at the table. The table cloth is on and Zak has a large full English breakfast in front of him, with HP sauce close by.

Zak is dressed in his jeans and Leeds top.  The radio plays ‘Who let the dogs out’ in the background.

The sun shines across the table and as Zak eats, and we hear birds singing in a gentle wind outside.

ANGLE: on Zak as he hears the door suddenly open.   ZAK SPINS to face the door – he’s SHOCKED!

The camera dollies into: Mandy stands in the doorway, a gentle breeze and the morning sunlight behind her.   She’s wearing her black silk dress.

Angle on Mandy as she speaks (her make-up is done in a rush this morning).

                                                          MANDY

Bloody hell, the Tate’s have burned the Woolpack down!

The ABOVE IS THE SAME SCENE.

SHOOTING SCRIPT is for the CREW.  NOT WRITTEN BY THE WRITER…

The regular SCRIPT is by the SCRIPTWRITER and doesn’t contain INFO that only the crew needs to know.

Make sure you KNOW which type of script you are supposed to be writing.   SPEC/Sample SCRIPTS DON’T NEED TECH DETAIL – they only contain stuff relevant to the drama. No lighting /editing / blocking / mention of tech terms like ‘split screen’ – no mention of the camera.

You’re here to tell the story – not direct the script, or give costume or lighting detail.   You are NOT the DOP or the DIRECTOR.

You don’t describe sunsets or scenery.  You don’t describe shots.

Okay, hope you guys enjoyed the free lesson today and are enjoying Script Coverage and Report Awareness Week 2026: SCRAW 2026  – come back tomorrow for some more info on script formatting – and why getting the format right is so important.

My script coverage service  is one of the busiest script report and feedback services in the UK, and my script reports are the most comprehensive on the market – my average script report is over 30 pages long – and filled with specific notes, feedback, lessons and career advice (see my video below on the business aspects of scriptwriting for a real insight into how the business works for screenwriters).

It’s not expensive either

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  • YOU CAN CONTACT MAT ON – matcoop23@yahoo.co.uk

ABOUT MATTHEW COOPER – UK SCRIPT WRITER FOR HIRE

Hi – I’m Matthew Cooper and I’ve been a script writer for hire and UK script consultant for over 25 years.

I’ve written for most of the UK soaps, including writing award-winning episodes of Emmerdale, EastEnders, Hollyoaks and Family Affairs and I’ve been BAFTA shortlisted and Royal Television Society nominated as a script writer.

I’ve done high profile rewrites on released and studio backed feature films and TV (often uncredited) in my time, I’ve also sold original screenplays to Miramax and Universal Pictures.  Here’s a link to some of my credits on the IMdB 

I’ve worked on feature films, TV series, web series and as a director I’ve made six micro budget  features films, including ‘At The Mountains Of Madness’ which hit the screens in 2021 and  ‘H.P. Lovecraft’s The Shadow Over Innsmouth’ which was released in 2024 and is free to view on his YouTube here: https://youtu.be/AEfaYEsx7pM

And I also wrote and directed the hit comedy feature film SOBER, which was shot in nine days for a total budget of £7,000 and cleared 10,000 YouTube views in 2 days!  Sober  stars Dean Smith (Last Tango in Halifax / Still Open All Hours) and Tom Gibbons (Funny Cow / The Archers) which made a big splash when it released in 2025 – you can view the comedy film here for free – https://youtu.be/Dx3yq03z6Mc

Matthew is also a hugely busy early adopter of AI VIDEO and you can hire him as an AI VIDEO DIRECTOR FOR HIRE – and check out his AI VIDEO PRODUCTION COMPANY.

YOU CAN CONTACT MAT ON – matcoop23@yahoo.co.uk

Matthew Cooper Scriptwriter / Director – Showreel 2026