My opinion on GPT's advice
So, I asked GPT for advice on screenplay formatting. Some of it I agree with, and some of it depends on the situation. A lot of screenplay “rules” have reasonable workarounds.
One page usually equals one minute of screen time, which is why scripts are formatted so strictly. Still, there are areas where I disagree with the rigid approach.
I agree that scene headings are extremely important. They clearly establish where a scene takes place and help organize the story. Action lines are also necessary because they tell us what is happening visually.
The main thing I question is the idea that scripts should avoid thoughts or backstory entirely. Thoughts can work if they are handled carefully. They should be short, purposeful, and not overloaded with narration. The audience should still figure out most emotions through dialogue, body language, and actions. However, brief internal context can help communicate tone, especially in comedy or emotionally heavy scenes.
Backstory is also extremely important. The audience needs context, but the creative team does too. In a series, for example, you may already know a character’s hidden backstory long before it is revealed onscreen. If a character’s actions in episode one are directly tied to information revealed in episode five, the team still needs access to that information so performances, animation, editing, and emotional delivery all make sense.
Personally, I use linked Google Docs and reference material to organize this kind of information. I also use animation references to communicate tone, movement, or visual intent. Sometimes it is easier to show an example than to explain it in plain text.
Backstory matters because actors, animators, and editors need emotional context. For example, imagine a character crying while giving someone a necklace. Without context, the scene may seem confusing or overly dramatic. But if the team knows the necklace belonged to his late grandmother, and he has never trusted anyone else with it before, the emotion suddenly makes sense.
I also agree that dialogue should usually stay concise. Long dialogue can become exhausting unless there is a strong narrative reason for it. If a character is educating someone, venting emotionally, confessing something personal, or desperately trying to connect with another person, longer dialogue may feel natural. Otherwise, conversations should usually flow back and forth in shorter exchanges.
Breaking long paragraphs into smaller conversational beats also improves pacing and realism.
At the same time, one-sided conversations can be useful when done intentionally. If one character is emotionally invested while the other is disengaged, the imbalance itself tells a story. For example, if Samantha keeps trying to connect while Max ignores her and scrolls through his phone, the scene immediately communicates emotional distance.
I also think keeping dialogue short and emotionally focused is usually better than adding unnecessary filler. If a story is naturally compact, forcing it into a two-hour runtime can weaken it. Worldbuilding should feel connected to the plot instead of existing just to pad runtime.
For example, instead of explaining that something is illegal through exposition, you can immediately show the protagonist doing that illegal thing. The conflict itself becomes worldbuilding.
Another thing I partially disagree with is the idea that scripts should only include what the audience can literally see or hear. Technically, that is true, but emotional guidance still matters. A carefully written action line can communicate emotional intent to actors and animators without becoming overwritten.
There is also a difference between a technical production script and a pitch script.
A production script should be clean, readable, and efficient. A pitch script, however, benefits from more engaging prose. You are trying to sell emotion, atmosphere, and imagination. The goal is to make producers, actors, editors, and executives excited about the project.
That does not mean writing purple prose or making things difficult to read. It means writing clearly, vividly, and emotionally.
The screenplay for Whiplash is a good example of this balance. It still follows screenplay structure, but it reads with energy and intensity.
Parentheticals are another area where moderation matters. They should stay short, but sometimes emotional clarification is necessary. If a character is simultaneously angry and depressed, that distinction may matter for the performance. Especially in animation, emotional specificity can significantly affect the final result.
I also think writers working alone can take more liberties in early drafts. If you are the only person reading the script, it is okay to include extra notes, emotional reminders, references, or prose if it helps you stay connected to the project. The important thing is making the workflow manageable.
A screenplay can take years to complete. Organization matters. Use tools that genuinely help you instead of forcing yourself into systems that slow you down.
References are important too. Going into animation software with no plan often results in creative paralysis. If nothing is put into the process, very little comes out of it. References, outlines, visual planning, and emotional direction all help transform vague ideas into something concrete.
I also learned a lot from creating projects in Episode Interactive. That platform mixed screenplay structure with coding and interactive storytelling. Tight dialogue mattered there because text boxes had limited space, and pacing depended heavily on readability and visual flow.
As for fonts, readability should always come first. Standard screenplay fonts exist for practical reasons. However, for pitch documents or presentation versions, a slightly more visually appealing style can help make the script feel more engaging as long as it remains clear and professional.
Ultimately, I think the biggest mistake people make is treating screenwriting like it is only technical formatting. You are not writing for a machine. You are writing for human beings.
Actors need to feel emotion.
Animators need to understand tone.
Editors need to understand pacing.
Producers need to visualize the final product.
A good screenplay communicates more than plot. It communicates feeling.
That is why some of the best scripts read almost like novels while still following screenplay structure. Many great films began as books because prose naturally conveys emotion, atmosphere, and internal weight.
The ideal screenplay, in my opinion, balances both approaches:
technically clear enough for production,
emotionally vivid enough to inspire people,
concise enough to stay readable,
and engaging enough to make others genuinely care about the story.
