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The application of the character extension for voice-over is often confused with the extension for off-screen (?O.S?). The difference between the two lies in the location of the unseen character. You will almost always use ?voice-over? for this type of phone conversation.

The easiest way to format a two-sided conversation like this is to simply establish one character in one location. Then establish the other character in the other location. Then add an INTERCUT ? PHONE CONVERSATION and continue the conversation as if they're in the same location.

The key to writing great dialogue for a script is to refine it by cutting out unnecessary lines rather than trying to force in clever one-liners or speeches. The goal is to find a simple, powerful phrase that perfectly captures the scene's essence. Here's where our pro screenwriting tactic comes into play.

The easiest way to format a two-sided conversation like this is to simply establish one character in one location. Then establish the other character in the other location. Then add an INTERCUT ? PHONE CONVERSATION and continue the conversation as if they're in the same location.

What is the best way to write a telephone conversation when only one side is heard? One approach is to lay out the dialogue that can be heard and use narrative to help create the pauses that occur when that character is listening: ?I'm not sure.? My mother sat at the kitchen table.

The dialogue is written like any other dialogue with (V.O.) next to the character name of the person on the other end of the call that we hear, but do not see. Some screenwriters choose to opt for (O.S.) or ?Off Screen? rather than (V.O).

For conversations where only one of the characters is seen and heard (a one-sided conversation), format the scene the same as you would normal dialogue. Include beats, pauses, or specific character actions within the dialogue to signal the times when the off-screen character on the other end of the phone talking.