SCRIPT NOTES, EXPLAINED!: DIALOGUE CUES

Using dialogue cues like (V.O.), (O.S.), and (O.C.) effectively can be a tricky skill to master, but it's essential for crafting a script that fully immerses the audience. Nailing these cues ensures your viewer stays grounded in the scene, enhancing the way they experience your character’s journey and the world around them. ​

With Script Notes, EXPLAINED!, The Professional Pen is here to help you get through common script notes and show you how to  incorporate them into your work. From building authentic conflict and refining pacing to knowing compelling character arcs, we're here to simplify the process. We’ll draw inspiration from iconic movies and shows, demonstrating how these techniques executed.

THE NOTE

​Have you ever received feedback like this?
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🟢 Where is your character? I can’t tell if they’re speaking on screen or off.
🟢 Is this line (V.O.), (O.S.), or (O.C.)? It’s unclear.
🟢 Are we supposed to see the character talking, or just hear their voice?

What is V.O.? (Voice Over)

V.O. (Voiceover) in film refers to an off-screen voice that provides narration, commentary, or inner thoughts, typically not part of the on-screen dialogue or environment. Think of the unnamed narrator in the introduction to “The Big Lebowski” or the older Ted Mosby in “How I Met Your Mother.” 

Let’s look at one of the most iconic voice overs in film history, THE SHAWSHANK REDEMPTION. This is a film about a man named Andy who is implied to be wrongfully convicted and is thrown in a brutal, maximum security prison for life. The character Red is in jail for life for a crime he is guilty of. He narrates the story of Andy and himself in a calm reflective manner. 
In the scene below, Red's (V.O.) introduces Andy to the audience, providing crucial background information about his conviction and former life as a bank vice-president. ​

Now let's see how that script was interpreted in filming.

This narration adds emotional weight, allowing viewers to understand Andy's complex situation, moving from a successful career to a life behind bars. Through Red’s tone, the (V.O.) deepens the gravity of Andy’s arrival at Shawshank, showing the difference between his former self and his current reality. The voice-over acts as a bridge to what we see on screen with a perspective that Andy can’t directly express himself.
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What is O.S.? (Off Screen)

O.S. (Off Screen) is used in screenwriting to indicate dialogue from a character whose voice is present in the scene but not visible on camera because they are in a different physical space. This tool helps establish that the character is nearby, maintaining their presence in the scene without needing a separate shot. Using (O.S.) adds depth to the setting and can build suspense or curiosity by leaving the speaker unseen. Let's take a look at this technique used in Chris Columbus's HOME ALONE.
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HOME ALONE is about a kid named Kevin who is accidentally left home by his family during Christmas vacation. Kevin soon realizes burglars are planning to rob his parents' house, so he creates booby traps and prepares for their arrival. This scene is the first interaction our main character has with the robbers as they try to break into the house. In scenes like this from HOME ALONE, off-screen (O.S.) dialogue helps build suspense and humor, as the viewer hears, but doesn't see, the characters right away.  (O.S.) is used in particular because the character is not in the same physical location. Marv and Harry (The burglars) are outside the building.

Some lines marked as (O.S.) in the script might be shown on camera to capture the actors’ expressions, adding comedic value or shifting the scene's focus as needed. This flexibility allows the director to adjust in editing based on the pacing or the actors' performances. Let's watch below to see how the scene was interpreted. 

What is O.C.? (Off Camera)

O.C. (Off-Camera) is a less common cue than (O.S.) and typically signals that a character is physically present in the scene, close to the action but just out of frame. The cue itself is actually more common than (O.S.), however, over time many screenwriters began to use the terms (O.S.) and (O.C.) interchangeably.

Though some modern screenwriters see writing (O.C.) instead of (O.S.) as archaic, others see it as useful clarification. A great example appears in the 2019 biopic ROCKETMAN, a film that follows the rockstar Elton John’s life. In a pivotal group therapy scene, Elton speaks about his struggles, bringing us into a flashback of his childhood. During the flashback, (O.C). is used to indicate his mother’s presence just off-camera, as she inhabits the physical space of Elton’s memory. This choice adds depth, keeping the voice grounded in the scene rather than fully detached, enhancing the audience’s connection to Elton’s story and increasing the readability of the script. 

Simply put, (O.C.) is used whenever we see one character on screen but hear another speaking off-camera. With ROCKETMAN'S dreamlike style, using a specific term like (O.C.) can help ground the reader, clarifying where characters are in physical relation to each other. For instance, during a therapy session, the camera may stay on the protagonist as they react while the therapist’s voice is heard but not seen. In this case, the therapist’s dialogue is marked as (O.C.), indicating their presence in the scene without cutting away from the protagonist. By using (O.C.) in ROCKETMAN, the filmmakers keep the memory sequence tethered to Elton's perspective.

More Examples:

​Now, let's go over some scenarios to see which dialogue cue we should use.

🟢 ​Phone calls

For phone calls, use (V.O.) to indicate the voice of the character on the other end of the line, as they are typically in a different location and not visible in the scene. This clarifies that the voice is coming through the phone rather than being in the same physical space. This is also true in TV, video chat, and radio where it can be used to indicate the sound should be recorded at a separate time or within a studio.

🟢 ​Character is Behind The Camera 

Use (O.C.) to indicate the character speaking off-screen, implying they are present but not visible within the frame. This technique is often used for reveals when we hear a character's voice first then their physical presence is revealed. 

🟢 ​Someone is asking a question through a door

​Use (O.S.) to indicate the character is speaking off-screen, as their voice is coming from the other side of the door, maintaining a sense of physical presence in the scene though they are not physically in the same space.

🟢 We hear a character's inner thoughts

​Use (V.O.) for inner thoughts, indicating the character’s voice is heard as a narration rather than spoken aloud, giving the audience insight into the character’s mind. Using (V.O) helps the audience understand that the character is thinking.

It is important to understand these techniques, not only to write in the industry standard format, but to give the director a sense of the characters' physical location in the scene. Remember, not everyone can imagine exactly what you are thinking when they read your script!  Understanding (V.O.), (O.S.) and (O.C.) is absolutely crucial. Keep this in mind, and watch for future blogs that will help you turn your script into a polished, industry-ready piece that truly brings your vision to life. 
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​YOUR TURN:

Now, show us that you're up on game! Did our tips help? What examples come to mind when you think of (V.O.) and (O.S.)? What are some unique scenarios you want to know more about?

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AUTHOR
​Matthew Jensen, originally from Massachusetts, is an undergraduate student at the University of Southern California. After transferring from Santa Monica College, where he studied film and music, he shifted to communications to align with his passion for storytelling and media strategy. Following his internship at Eastlake Studios, Matthew expanded his skills as a freelance composer and now works as a Sync musician independently in addition to working as a Marketing Intern for The Professional Pen, combining his creative and strategic talents.