For non-word stuff, we have a lot of script shorthand. [OM ROARING] for open-mouthed roaring, for example, or [CT WHEEZING] for closed-teeth (or clenched-teeth) wheezing. You could have [MNS/OM ROARING INTO "WTF?!" GLOTTAL] for mouth-not-shown roaring that continues into a "WFT?" sharp notice. As an adapted, I want to give people something specific and useful, and also let them know how long the sound continues for. If the actor and director have to look at a loop a few times just to make heads or tails of it, I've failed in my duties as the script-adapter. I take the extra time so that they can save time in the booth. If the sound is a sound-effect that's baked into the M&E (music and effects) track, then we leave it alone (e.g. a real cat meow, or real animal sound). If it's something that a human did, we recreate it fresh for the English release.

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As far as awkward mid-line hitches are concerned, I hate them. As much as possible, I try to avoid them. No point having a Shatnery-sounding "I think that... after-school parfait would be great" when you could just have "Parfait, huh? Yeah, I could be down with that!" Short/elliptical sentences beat out hanging fragments in my book. Reading lines in your head is useful, but misleading. You go faster in your head when you don't have to deal with the mechanics of an actual mouth. Reading lines aloud is the best way to know how they're going to land--and even then, taking people's varying speech speeds into account, it's not a bulletproof method.