# How to format foreign-language dialogue and subtitles > Tell the reader what language is spoken and whether the audience understands it, then write the readable translation without repeating the instruction on every line. Sources reviewed: 2026-08-10 Article updated: 2026-09-23 ## Direct answer When the audience understands the dialogue through subtitles, establish the spoken language in action or with a parenthetical, then write the translated dialogue in the script's reading language. State that it is subtitled when that viewing experience matters. When the audience is not meant to understand, describe the language and the listener's reaction instead of supplying a translation the viewer will never receive. ## On the page Establish the language once, then let the scene read ``` INT. NIGHT MARKET - NIGHT Mara answers the vendor in Mandarin. Their exchange is SUBTITLED. MARA Who sold you this watch? VENDOR Someone who knew you'd come. ``` ## Current practice ### Write for what the audience can understand _Context dependent_ The screenplay normally stays readable for its intended reader while a concise instruction defines the language heard on screen. The scene should also make clear whether viewers receive subtitles, partial comprehension, or no translation. ## Accepted variations ### One setup for a whole exchange _Common choice_ An action line that establishes the language and subtitles can govern the following dialogue until the language or audience relationship changes. ### A cue-level reminder _Context dependent_ Use a brief parenthetical such as “in Spanish” when a character switches languages mid-scene or the change could otherwise be missed. Repeating it under every cue adds noise. ### Intentionally untranslated speech _Context dependent_ If the point is that a viewpoint character cannot understand, describe the speech and any recognizable words or reactions rather than giving the reader a false full translation. ## Where reasonable writers disagree Some drafts use a character extension, some use the first parenthetical, and others establish the language in action. All can read cleanly. The important distinction is between the language being spoken and the information the audience receives; typography alone should not be asked to explain both. ## Mistakes to avoid - Writing every translated line in a language the intended script reader cannot evaluate. - Adding “in Spanish” beneath every character cue after the language is already established. - Using V.O. to mean foreign language; V.O. describes the voice's relationship to the pictured scene, not its language. - Supplying translated dialogue when the story depends on the audience not understanding it. ## Submission versus production ### Submission or reading draft Write the draft in the language required by the recipient and make any other spoken language legible through a consistent translation convention. Check the current submission rules before sending a multilingual script. ### Production draft A production draft may add translation, dialect, subtitle, and localization notes outside the reading flow. Confirm final wording with the appropriate language experts rather than treating the submission translation as locked dialogue. ## Working in Plot In Plot, establish the spoken language once — in Action, or in a short Parenthetical on the first line — and write the translated speech as ordinary Dialogue. The exchange reads as one conversation in the editor, the PDF, and the FDX, with V.O. and O.S. still free to say where each voice comes from. ## Questions writers ask ### Should foreign-language dialogue be written in that language? Usually not. Write the dialogue in the script's reading language and establish which language is actually spoken. The exception is speech the audience is not meant to understand: describe it and the listener's reaction rather than translating it. ### How do I show that dialogue is subtitled? Say it once — in action, such as “Their exchange is SUBTITLED,” or in a parenthetical on the first line — then let the translated dialogue run. Repeat the note only when the language or the audience's understanding changes. ### Do I need (in Spanish) under every character cue? No. Establish the language once for the exchange and add a cue-level parenthetical only when a character switches languages mid-scene or the change could otherwise be missed. ## Sources and context - [Final Draft — Big Break language guidance](https://kb.finaldraft.com/hc/en-us/articles/35356044625300-Can-I-submit-a-script-to-the-Big-Break-competition-written-in-a-language-other-than-English) - [Final Draft — Parentheticals for languages and subtitles](https://www.finaldraft.com/blog/lets-talk-about-parentheticals) - [Final Draft's current parenthetical example for another spoken language](https://www.finaldraft.com/blog/lets-talk-about-parentheticals) These sources document current screenplay practice, software guidance, or production workflow. Screenplay style remains flexible, and any delivery brief or submission rule supplied by the recipient takes precedence. --- Canonical page: