If you want to write for movies or television, you’ll need to know the difference between a screenplay and a teleplay. Though they share similarities in format, structure, and storytelling, these scripts have distinct variations that cater to their specific mediums.
In this comprehensive guide, we’ll compare screenplays vs teleplays, so you can master both formats in your writing career.
Let’s start with quick definitions before diving into the key differences:
What is a Screenplay?
A screenplay is a script written for feature films or movies. The standard length is 90-120 pages to fit a 90-120 minute movie. Screenplays tell a story through actions, dialogue, and details that immerse the reader in the world of the movie before it’s shot.
Screenplays have a specific structure and formatting that writers must follow for the scripts to be viable in the Hollywood studio system.
What is a Teleplay?
A teleplay is a script written for television productions, including sitcoms, dramas, soap operas, made-for-TV movies, mini-series, and other shows. Teleplays run shorter than screenplays at around 60 pages to fit a 60-minute time slot when produced.
Like screenplays, teleplays follow industry formatting and structural conventions. But the writing style varies to suit ongoing TV series, versus a self-contained movie.
Now that we’ve defined each type of script, let’s analyze the key differences between writing an effective screenplay vs teleplay.
Length – Screenplays Are Longer Than Teleplays
The most basic difference between screenplays and teleplays is the length and duration of the finished productions:
- Feature Film Screenplays – 90-120 script pages = 90-120 minute movie
- 1-Hour TV Teleplays – Around 60 script pages = 60-minute episode
Why the length variance? It comes down to the mediums.
Movies tell a complete story arc from beginning to end in 90-120 minutes. Thus, the screenplay needs adequate length to tell that full story. Screenwriters aim for 1 script page equalling 1 minute of screen time.
TV episodes have limited runtimes fitting 30 or 60-minute time slots (when ads are removed). So teleplays must cram plot, dialogue, and action into far fewer pages. Writing is tight and economical.
This length difference impacts scene descriptions, pacing, plotting, and more when writing scripts. Shorter teleplays require greater precision.
Format and Structure – 3 Act vs. 4-5 Act Breaks
While screenplays and teleplays both use standard industry formatting, teleplays diverge in structure to suit ongoing TV series.
Screenplays follow a 3-act Structure:
- Act 1 – Set up, introductions, inciting incident
- Act 2 – Confrontation, character development, rising action
- Act 3 – Climax, resolution, denouement
The protagonist’s journey unfolds slowly but surely within this format.
Teleplays use a 4 or 5-act structure, dictated by commercial breaks:
- Act 1 – First commercial break
- Act 2 – Second commercial break
- Act 3 – Third commercial break
- Act 4 – Fourth commercial break
- Act 5 – Climax and resolution
The 4-5 act divisions allow logical points to insert commercials every 10-15 minutes in hour-long shows. Writing must build story beats and hooks into each act to retain viewer attention through ad breaks.
Scene Descriptions – More Cinematic vs Functional
Screenplays use scene descriptions to immerse readers in locations and envision camera shots and actions:
EXT. STAR DESTROYER – SPACE
A massive Imperial Star Destroyer glides across a sea of stars. An Imperial shuttle exits from the main bay and heads toward a nearby planet.
Teleplays offer tighter, bare-bones scene descriptions:
INT. CAFE – DAY
Joey and Phoebe sit at a table. Food in front of them.
Since camera directions and production design aren’t yet established for TV episodes, verbose scene descriptions aren’t needed in teleplays. Showrunners will later define the visuals.
But in spec screenplays aiming to sell, writers need to vividly showcase their vision. Hence, cinematic scene descriptions are vital in attracting directors, actors and studios.
Dialogue – Driving Narrative vs Character
Dialogue serves slightly different purposes in screenplays versus teleplays:
In screenplays, dialogue moves the story forward and reveals details about the world and characters. Too much dialogue, especially exposition, can make scripts feel static.
For example:
JOHN
Where were you last night? We agreed to meet at the bar at 8pm.
MARIA
I’m sorry, I got held up finishing my research project at the university lab.
This dialogue efficiently establishes these characters and their relationship while driving the plot.
Teleplays use dialogue primarily for humor, character development, and defining relationships. Since audiences know the characters already, dialogue can ramble more for comedy and filler.
For instance:
CHANDLER
Could that woman on the couch be any farther away from me?
MONICA I know, it’s like “Hey, we’re married!” scootch closer!
LAUGH TRACK
This exchange reveals character personalities and relationships for laughs based on established familiarity, which longer movies lack.
Pacing – Slow Build vs Quick Punch
Screenplays slowly unravel stories, allowing time for character development and audience immersion. The pacing builds tension leading to climactic resolutions.
Teleplays deliver information and story beats rapidly with shorter scenes and snappier dialogue. Less time requires quicker narrative pacing and more dynamic characters that grab attention.
Act breaks are pivotal pacing tools for teleplays. Writers end each act on cliffhangers, revelations, and high stakes to pull viewers through commercials to the next act.
For example:
ACT 3 – Commercial Break
INT BAR – NIGHT
Jax holds a gun on Tony.
JAX
I’ve had enough of your lies. Now you’re gonna pay!
BANG! Shots fired. Tony falls. Blood pools.
END OF ACT 3
This shocking end hook ensures audiences return after the commercial. The screenplay writer has more leeway in controlling the pace suitable for the big screen.
Characters – Cinematic Leads vs Ensembles
Screenplays generally focus on 1-3 protagonists that carry the full arc of the film. Supporting characters complement the leads.
For example, in Titanic, the core characters are Jack and Rose, with others playing smaller roles.
Teleplays develop a broader ensemble of characters. While there may be 1-2 “leads,” each episode needs subplots and screen time for 6+ core characters to flesh out ongoing stories.
On Friends, episodes balance plotlines for Rachel, Monica, Phoebe, Joey, Chandler, and Ross rather than zeroing in on just one or two every time.
This allows sitcoms and dramas to create richer character universes that evolve over seasons. Big casts keep viewers engaged.
Writing Process – Spec First vs Production Rewrites
Screenplays are generally written start-to-finish on spec by screenwriters before being sold and produced. The script is completed before filming.
But teleplays evolve through the production process, with writers adjusting dialogue or scenes to suit actors’ voices, chemistry, and creative input.
TV writers’ rooms collaborate on episode outlines and scripts. Teleplays get revised through table reads, rehearsals, and shooting based on what’s working. Some jokes and scenes get rewritten on the spot.
It’s a more fluid writing process than spec screenplay writing done in isolation. Both have their challenges and rewards.
Key Takeaways – Screenplay vs Teleplay
Whether you’re writing for film or television, here are some best practices:
- Know your medium – Understand the standard length, structure, and writing style suited for screenplays vs teleplays.
- Learn industry formats – Master spec script formatting and conventions specific to each form.
- Play to your strengths – Lean into dialogue-heavy scenes for teleplays or impactful visuals for screenplays.
- Adjust your process – Be prepared for private spec screenplay writing versus collaborative TV writing.
- Remember pacing – Build slow-burn suspense for movies versus quick act breaks for commercial timing.
- Build rich characters – Flesh out intricate protagonists for film versus engaging ensembles for TV.
- Immerse the reader – Help them envision the big screen for spec scripts or laugh along for sitcoms.
With this overview of the key differences, you can better craft scripts tailored for film versus television. Just remember that strong storytelling, vivid scenes, and memorable characters transcend any medium when executed skillfully.
Now get writing! Whether you love the big-budget thrills of movies or the addictive arcs of TV, applying your unique voice to the right script format can lead to successful screenwriting in any genre.
Just be sure to keep these fundamental differences in mind as you develop your next great idea. Analyze whether your concept would work best as a tightly structured screenplay or a conversation-driven teleplay. Then commence writing for your chosen medium.
And if you ever want to branch out into writing both movies and television over your career, even better. Understanding both formats will make you a well-rounded, adaptable screenwriter.
So grab your laptop, envision that perfect story built for the big or small screen, and start bringing your creative vision to life on the page. The blank script awaits. Time to make screenwriting magic.
Frequently Asked Questions
What is the difference between a play and a screenplay?
A play is written for live performance on the stage, while a screenplay is written for filmed media like TV and movies. Screenplays contain scene descriptions and technical directions suited for filming that aren’t in stage plays.
What is the difference between written by and teleplay by?
“Written by” credits are for the writers who created the original pilot/show concept and bible. “Teleplay by” credits go to the writers of a specific episode’s script.
What is an example of a teleplay?
Examples of famous teleplays include episodes of shows like MAS*H, Cheers, Seinfeld, Breaking Bad, and The Office.
What is the difference between story and teleplay?
The “story” creates the narrative, characters, and plot points. The “teleplay” is the script that adds scene description, dialogue, and technical formatting.
Is a TV show script a screenplay?
A TV show script is referred to as a “teleplay”, while a “screenplay” refers to a feature film script. The formats have some differences.
Is a TV show a screenplay?
No, a TV show uses teleplays, not screenplays. Teleplays are formatted for commercial breaks and serialized storytelling.
How many pages should a teleplay be?
A typical teleplay is around 60 pages for a one-hour show, and 30 pages for a half hour. Dramas may run slightly longer.
Who writes a teleplay?
Teleplays are written by TV writers working solo or in a writers’ room. Established TV writers get hired by showrunners to write episodes.
How many acts in a teleplay?
Most hour-long teleplays have 4-5 acts formatted around commercial breaks. Half-hour sitcoms often have 3-4 acts.
