CUT TO: Screenplay Transitions: What, When, and How to Use Them (Full Guide + Examples)

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Published: October 21, 2025 | Last Updated: November 3, 2025

Screenplay transitions mirror what a film editor does in post-production. Each one represents an editing move that controls how scenes flow together.

If you want to use transitions well in your script, it helps to study how editors and directors use scene transitions. Watch how scenes change in movies, and think like an editor when deciding which transition fits the moment.

Where Transitions Go

Most transitions are aligned to the right side of the page (be aware of FADE IN further down in the article). They come after the final line of action or dialogue in a scene. Write them in ALL CAPS with a colon at the end (e.g., CUT TO:).

Screenwriting software like Final Draft formats this automatically. If you’re typing manually, place the transition about 2.5 inches from the right edge of the page.

When to Use Transitions

You don’t need a transition between every scene. Use them only when they help the flow of your script. Transitions can:

• Signal a shift in time (e.g., “LATER”, “DISSOLVE TO:”)
• Mark a change in location or tone
• Emphasize a dramatic or emotional moment
• Close out a sequence or the entire film (“FADE OUT:”)

Transitions should add clarity or control how fast scenes move. If the next scene clearly shows a time or location change, you might not need a transition at all. Overusing them can clutter your script and distract from the story.

Common Types of Transitions (with Examples)

Each transition has a specific use. Below are the most common ones, explained with concrete examples to show when they work best.

CUT TO:

Use this when you want a clean, direct jump to the next scene. Most modern screenplays leave it out unless used for pacing or impact.

FADE IN:

Used at the very start of your screenplay, left‑aligned at the top of the first page. It marks the moment the film begins from black:

You can also use FADE IN: later in the script, usually after a FADE OUT: or FADE TO BLACK. In those cases, it signals a return to the story after a visual break or blackout, and it should be right‑aligned like other transitions:

FADE OUT:

Use this at the very end of your script, or to close a major story beat. It signals the story is closing or changing.

For the last FADE OUT, you may use either a colon, a period, or no punctuation.

DISSOLVE TO:

Use a dissolve to show time passing or to blend two connected moments. Often used for memory shifts or dreamlike sequences.

SMASH CUT TO:

Use a smash cut for sudden, jarring changes that create surprise or shock. It’s meant to hit hard and break the flow on purpose.

MATCH CUT TO:

Use a match cut when two shots visually or conceptually mirror each other. It creates a clever or meaningful link between scenes.

See also how to work with shot types in a script.

JUMP CUT TO:

Use a jump cut to skip time within the same location or sequence. It speeds things up by removing unnecessary beats.

WIPE TO:

Use this only if you’re going for an old-school or stylized tone. Common in sci-fi or action homage, like in Star Wars.

IRIS OUT:

Use this as a visual callback to classic film or cartoons. Often used to end a scene in a playful or stylized way.

FREEZE FRAME:

Use this to freeze time on a key moment. Works well for comedic or dramatic punch.

TIME CUT:

Use this to jump forward in time without changing the location. Useful for scenes that span hours or days.

How to Format Transitions

Transitions are written in ALL CAPS and placed on their own line, aligned to the right margin. Add a colon at the end. Screenwriting software formats this automatically.

If you’re typing manually in Word or Google Docs, align the text roughly 2.5 inches from the right edge of the page. See more on manually formatting screenplay margins.

Summing Up

Screenplay transitions help control how quickly scenes shift and how clearly one moment leads into the next. Use them when they help the reader follow changes in time, tone, or setting.

Always keep your formatting clean, and avoid using transitions just to fill space. Let the action, dialogue, and slug lines carry most of the work, and insert transitions only when they serve the scene.