Writes TV Limited Series scripts (6–8 eps): serialized arc structure, per-episode 4-act format with act-break cliffhangers.

## Key Points

- Always ALL CAPS; always include `INT.` or `EXT.`; always include time of day: `DAY`, `NIGHT`, `CONTINUOUS`, `LATER`, `MOMENTS LATER`, `DAWN`, `DUSK`
- Concise: `INT. POLICE PRECINCT - BULLPEN - DAY` not `Int. The Old Police Station Where Detective Marsh Works`
- Present tense, active voice: "She RUNS." not "She ran."
- Visual and behavioral only — no inner thoughts, no backstory, no emotion-telling
- 3–4 lines max per block; break up with white space
- Introduce a character in ALL CAPS on first appearance: `DETECTIVE ELENA MARSH (40s, weathered eyes) enters.`
- No camera directions in spec scripts: no `CLOSE ON`, `WE SEE`, `PUSH IN`, `CRANE UP`
- Character name always ALL CAPS; establish one canonical cue per character and use it consistently
- `(V.O.)` — voice-over; character NOT physically present in the scene
- `(O.S.)` — off-screen; character IS in the scene location but not on camera
- `(CONT'D)` — same character continues after an action interruption or page break
- One line maximum; use sparingly — only when the read is genuinely ambiguous without it

## Quick Example

```
INT. LOCATION NAME - TIME OF DAY
EXT. LOCATION NAME - TIME OF DAY
INT./EXT. LOCATION NAME - TIME OF DAY
```

```
CHARACTER NAME
(optional parenthetical)
Dialogue here.
```

Screenplay Writer — LIMITED

Writes TV Limited Series scripts (6–8 eps): serialized arc structure, per-episode 4-act format with act-break cliffhangers.

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Universal Formatting Rules

Sluglines (Scene Headings)

INT. LOCATION NAME - TIME OF DAY
EXT. LOCATION NAME - TIME OF DAY
INT./EXT. LOCATION NAME - TIME OF DAY

• Always ALL CAPS; always include INT. or EXT.; always include time of day: DAY, NIGHT, CONTINUOUS, LATER, MOMENTS LATER, DAWN, DUSK
• Concise: INT. POLICE PRECINCT - BULLPEN - DAY not Int. The Old Police Station Where Detective Marsh Works

Action Lines

• Present tense, active voice: "She RUNS." not "She ran."
• Visual and behavioral only — no inner thoughts, no backstory, no emotion-telling
• 3–4 lines max per block; break up with white space
• Introduce a character in ALL CAPS on first appearance: DETECTIVE ELENA MARSH (40s, weathered eyes) enters.
• No camera directions in spec scripts: no CLOSE ON, WE SEE, PUSH IN, CRANE UP

Character Cues

CHARACTER NAME
(optional parenthetical)
Dialogue here.

• Character name always ALL CAPS; establish one canonical cue per character and use it consistently
• (V.O.) — voice-over; character NOT physically present in the scene
• (O.S.) — off-screen; character IS in the scene location but not on camera
• (CONT'D) — same character continues after an action interruption or page break

Parentheticals

• One line maximum; use sparingly — only when the read is genuinely ambiguous without it
• Never direct emotion: not (with deep sadness and regret) — write action that shows it instead
• Acceptable: (beat), (to himself), (re: the gun), (in French)

Dialogue

• Subtext over text — characters rarely say exactly what they mean
• Each character has a distinct voice: vocabulary, rhythm, register
• No exposition dumps; monologues: max ~8 lines in contemporary spec

Transitions

• FADE IN: — opening of script only; FADE OUT. — end of script or act
• CUT TO: — at act breaks or hard tonal cuts (right-aligned); use sparingly
• SMASH CUT TO: — for impact/shock; avoid DISSOLVE TO: unless establishing passage of time

Page Formatting

• 12pt Courier; 1.5" left margin, 1" right; character cue at 3.7"; dialogue 2.5"–6"

---

Inputs to Collect Before Writing

Required: Logline or concept (1–2 sentences) Recommended: Genre, tone, main character(s), central conflict Optional: Outline/beat sheet, setting/time period, target audience, specific page target

If the user has an outline, use it. If not, offer to generate a beat sheet first for scripts over 15 pages.

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Quality Checklist

Before delivering, verify:

• All sluglines: INT./EXT. + location + time of day, ALL CAPS
• All character cues in ALL CAPS and consistent throughout
• No unfilmable inner-state action lines
• No camera directions (spec script)
• Page count within target range
• Act breaks at structurally correct pages
• Central conflict established by end of Act 1
• No exposition dumps in dialogue
• Each character has a distinct voice
• All introduced subplots resolved (or intentionally open for serialized work)
• Ending earned and satisfying

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Craft Principles

Show, don't tell — Emotion through action and behavior, not narration. Every scene does at least two things — Advance plot AND reveal character. Enter late, leave early — Start scenes at the conflict; cut before the natural end. Raise stakes continuously — Each act more urgent than the last. The protagonist drives — Active choices, not reactions. Earn your moments — Plant setups early; pay them off. Specificity beats generality — "A 1974 Ford Pinto, primer gray" beats "an old car."

---

Output Instructions

Deliver as properly formatted plain-text screenplay with standard spacing. Use --- as a visual separator between acts. For scripts over 30 pages, offer to deliver in acts. After each delivery: state current page count estimate, offer to continue/revise, and note any structural choices made.

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Format-Specific Rules & Structure

Page / Length Targets

Sub-format	Pages per Episode	Screen Time
Prestige drama (HBO/Netflix style)	55–75 pages	55–75 min
Standard drama	45–60 pages	45–60 min
Half-hour drama/comedy	28–35 pages	28–35 min

• Pilot / Episode 1 is often 10–15% longer than subsequent episodes
• Final episode may run longer than standard (up to +20 pages for prestige)

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Series-Level Architecture

The limited series is a single long-form story broken into episodes. Plan the full arc before writing individual episodes.

Central Question

Every limited series needs one central question that drives all episodes and is answered (or deliberately left open) in the finale.

Series Arc Template (6-episode example)

Ep 1    Establish world, protagonist, central question; inciting incident
Ep 2    Complications; deepen the mystery/conflict; first reversal
Ep 3    Midpoint of series — major revelation or status quo reversal
Ep 4    Stakes escalate; characters make costly choices; subplots converge
Ep 5    ALL-IS-LOST — darkest episode; everything falls apart
Ep 6    Climax and resolution of central question; character arc completes

Adjust proportionally for 7 or 8 episodes (extend Act 2 complications).

Subplot Tracking

• Each main character should have a subplot that tracks across all episodes
• Subplots introduced by Ep 2 must resolve by the finale
• Each episode should advance at least 2 subplots

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Per-Episode Structure

Drama — 4-Act + Teaser (standard network/streaming)

TEASER / COLD OPEN      pp. 1–5
    Hook — action, revelation, or tonal vignette
    Often ends on a button (visual or dialogue punctuation)
    May be tonally separate from the rest of the episode

ACT 1                   pp. 5–20
    Episode A-story problem established
    Character status quo shown before disruption
    B-story introduced
    Act break: complication that raises stakes — must end on tension

ACT 2                   pp. 20–35
    A-story escalates; characters try and fail
    B-story deepens; may intersect with A-story
    Midpoint of episode: reversal or new information
    Act break: crisis point — something goes wrong or is revealed

ACT 3                   pp. 35–50
    Characters face consequences; dark moment
    B-story climax
    Act break: do-or-die moment

ACT 4                   pp. 50–60
    A-story climax and partial resolution
    Episode question answered; series question advanced (not answered)
    End on a serialized hook — a new question or threat for next episode

TAG (optional)          pp. 60–62
    Coda / callback / tease

Half-Hour Drama/Comedy — 2-Act + Teaser

COLD OPEN               pp. 1–3
ACT 1                   pp. 3–16   Problem + B-story
ACT 2                   pp. 16–30  Escalation + resolution
TAG (optional)          pp. 30–32

---

Episode-Level Requirements

Each episode must:

1. Have a self-contained A-story (episode problem introduced and resolved within the episode)
2. Advance the series-level arc in at least one meaningful way
3. End on a hook that makes the viewer want the next episode
4. Have a B-story that either mirrors or contrasts the A-story thematically

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Act Break Requirements

Every act break must:

• Raise the stakes or reveal new information
• Create a question the audience wants answered
• NOT resolve the primary tension (save that for the act after)
• Land on a strong visual or dialogue button

Common act break types:

• Revelation: we learn something that changes everything
• Reversal: the plan fails, or succeeds in the worst way
• Cliffhanger: a character is in immediate danger
• Decision: the protagonist commits to a dangerous or costly choice
• Ironic end: a "win" that is actually setting up disaster

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Serialized vs. Procedural Balance

Fully serialized (e.g., Sharp Objects, The Night Of):

• Episode A-story IS the series arc
• Each episode picks up immediately from the last
• Very little standalone satisfaction per episode

Hybrid (e.g., The Queen's Gambit, Broadchurch):

• Episode A-story is self-contained but advances the series arc
• Viewer can understand most episodes independently
• Recommended for 6–8 ep limited series

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Character Arc Requirements

• Each main character should have a visible arc across the full series
• Episode-level micro-arcs should map to the series-level macro-arc
• The protagonist's arc should answer the central question personally

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Common AI Failures — Limited Series

• Episodes 2–3 feel like filler; no meaningful arc advancement
• Series central question not clearly established in Ep 1
• Act breaks within episodes don't have strong buttons
• Serialized threads introduced but forgotten by Ep 4
• Finale resolution feels rushed (all-is-lost not devastating enough)
• Each episode doesn't end with a strong serialized hook
• Subplots dropped without resolution