Screenwriting : Script Length by Claude Gagne

Claude - the real key is 'run time'. Modern day cineplexs basically allot two hours per showing with a little time in between for theater clean up (there are a few exceptions). A ninety minute run time allows the theater to bombard the audience with screaming loud advertising and trailers. So based on the page per minute approximation (yeah, it rough), a FL length script ought to be about 90 pages. Drama & mysteries generally run a bit longer, kid flicks a little shorter. Everything else hovers somewhere around that range. The days of the 120 page spec script are pretty much over. Nowadays, I recommend newer writers try to wrap their story up at 100 pages (there is a little wiggle room). As usual, there are exceptions but we're talking generalizations here.

AT the moment, I'm a big fan of Blake Snyder's method (Save The Cat) and his beats fall on very specific pages within a 110 page spec. It's working for me really well so far!

Sarah (and the rest of you in the Save The Cat corner); I was acquainted with Blake about 20 years ago - he was a very knowledgeable friendly and helpful to new screenwriters. He penned Save The Cat during 2005/06 and it was published in 2007. But it's now eleven years later and the Hollywood film making industry has undergone cosmic changes since then. As writers, we must evolve with the changes to survive. If you're a write-by-the-numbers sort, then Blake's beat sheet is for you. Today's truly creative, artistic screenwriters have moved beyond that.

Comedy and one heavy with a lot of action are typically shorter.

My comedy is 105 pages so far. If I bring it down to 95 pages, I think that number would be ideal leaving room for cutting from the director and the likes. Dan, I do have action, so I imagine it would take more time to shoot and also my scenes are shorter acquiring more set ups. The problem with cutting out sections to fit a shorter length script is the work that you've work so hard in creating falling on the wayside. Doug, I never read Save the Cat. Syd Field started me off, but today I rely on Trottier's 'The Screenwriter's Bible.' What screenwriting book do you think newbies should be reading today?

According to the rules of most screen-writing contests. A feature length screenplay, regardless of genre, is between 90 and 120 pages. Less than 90, its considered a short. More than 120 most contests wont even accept it, and those that do make you pay extra for the entry. Plus there are many articles that state that if your script is more than 120 pages it probably needs to be rewritten because you've most likely lost focus on the real story or trimmed because your scenes need to be tightened up.

Mostly the reason I ask about the length is because I haven't gone to the cinema in ages. If a movie is two hours and more on some action thrillers, do they still have an intermission? Most of the movies will make it to Netflix where a person can pause for a toilet break and even a snack.

Just like others said, a feature script should be 90 to 120. You can try 120, and decide to cut scenes that doesn't forward the story. The one minute per page is not really accurate. Keep dialogue lines to 3 lines or less. Action should only be two to three lines or less. Use short sentences with terse description. After 3 dialogues, write an action for a character. Use terse descriptions and evocative words. Rules depends on the script that you're making. Hope that's helpful. :)

Thanks Dianne and Laura. I read recently, somewhere, that usually a minute page runs round $50, 000 per minute extra, and that could be low on some action/thriller movies. So, if a screenwriter hands in a 90/95 page wouldn't that be a bit attractive for the ones deciding on purchasing the script. Or, is it the quality of the script that's number one in their choice? What if they read a screenplay with 120 minutes long, love it all, but they can't find anything to cut out? Will they search for more funding and do it? I wonder what they'll do? Any thoughts on this?

Remember - the biggest job of writers is to cut the cord on rewrites - keep what’s necessary to tell story only. That’s your final number - not a preset. Given that if you’re over 120 that’s a problem with your narrative.

Claude, everything will depend on the view of the director, the actors, and you or even the producer. They will always consider the quality and the ability of the concept to sell to the audience which will depend on the trends now and your target audience. It's impossible for them not to cut anything in 120 minutes long script. One of the things you have to consider when writing the script is the production you want to offer it and the budget, but since this is a spec script, maybe it's too early to think of that.

It's just before writing a script, I'm also studying script coverages and they mentioned considering the production, the budget, and write as if you're a video editor to make sure you'll be able to tell the story and the video or movie editor won't cut much because you know how they think and what they need. This is just me. I'm not sure about the others.

I always write my screenplays with what the buyer will acknowledge to be a great story, within a reasonable budget, no matter who the buyer is. I write a bare bones story and hopefully no cutting is necessary. They may even want to add more to the screenplay and not to remove anything.

Well, generally speaking, the Scott Myers post seems just like every other post—yes, of course, "tell your story the way your story needs to be told; don't worry about page count, etc." Yes, if you are writing dramas they tend to be longer, comedy tends to be shorter, etc, etc, etc. Yup, I've seen that posted here for years by lots of well-informed posters. Personally, I struggle with all this "rule" talk and the weird perpetuated fear and myth of imaginary draconian rule slappers in the industry, which are not universally true... But here's the thing, a specific context may certainly affect page count. What is your goal for a script? Are you writing it for hire, what are their requirements, concerns? Are you producing it yourself on a tight budget? If, say, you are entering a contest it may have specific entry parameters, including page count. Some do not take anything over 120, some you have to pay more to do so. TV pilots have considerations. Many (if not most) of our members here at S32 are entering into screenwriting contests as their most accessible means to feedback and how to gauge their writing—they are not repped writers, they are working alone. They get judges feedback, which may say something about overwriting, a common issue for a new writer, and/or get a note from a reviewer that their page count is too long, which may be a direct result due to their overwriting. To me, this has created some misplaced logic and fear within amateur circles. Your page count may end up being "too long" and be "bad" because of overwriting and not because of story. So you focus on page count, superficially, and not on craft. Plus the much-talked-about readers of contests and those rumored "gatekeepers" who do not want to read overly-long scripts—hell no!—so they supposedly just check page count and automatically toss it in the garbage if it's 120 pages or over. Therefore it is much easier to tell new writers to just keep their page count down. The general acceptable "sweet spot" for features within this real and rumored context seems to be around 100-110 pages, plus or minus a few, either way, depending. But again, whatever works best for the story is certainly best. Absolutely! ;)

Oh, and those rules of thumbs measuring screen time and/or budget per page... it really depends on whose thumb is doing the measuring. ;)

This issue conflicts me all the time with every draft my pilot grew in page count then it became too long and I had to cut some out , even with that my pilot still is at 39 pages but a few are transition pages like ending acts etc ...

Laura ... you misunderstood. Here's an explanation to what I said in other words. If the buyer pays me for the story. I'll take the money. If he wants to add or do anything he wants, it's his to do what he wishes. The screenplays isn't bare bones; it's as tight as I can write MY story.

PS ... I may need to cut it down some more! A story needs to flow. Rapids are good; waterfalls are bad.

Personally, I ruminate from my solar plexus chakra...

To me it's bare bones, but to others they can add to it if they want. Isn't all the screenwriters here say that when a screenplay is received by producers, they'll always change something in it or add something to the screenplay. Laura a screenplay is never the version the writer wrote. It always needs tweaking. If they use exactly what I wrote, then I must be a great writer don't you think?

I'm a story builder. I build 90 minute stories because I don't need one minute more to be successful in the world market. America is the only market that requires 90 minutes. Any more story is like building house higher than it needs to be built.... Why? While you're working on page 91, 92, or page 100, I'm on page 1, 2, or page 10 of my next story. If I were a studio head, movies over ninety minutes would no longer exist.

All I can say is that producers I've spoken to admit they are much more likely to read a script under 100 pages than one that pushes the 120 mark. Scripts that are a quick read are appealing, as execs often have neither the time nor the attention span to read lengthy tomes.

The sweet spot for dramas seems to be around 110 pages, and 90ish for horror, thriller and comedy.

I just finished a horror script that was 86 pages. It's getting read. Which doesn't mean it's getting made, lol, but at least execs are reading it.

Just to add... I too struggle with long screenplays. I just read Molly's Game, which is 199 pages, and it took all my strength to power through it — Sorkin or not, ugh, man, that was a chore! Lol! ;) Anyway, that script wasn't for me, but I try to read a wide variety. Certainly nominated scripts.

Scripts are less wordy today and people quit using camera directions when scripts were typically 120 pages plus. Write lean and keep your page count down if you want to break in today. If your script is too wordy and your page count is high you're going to make the reader work harder and the wastepaper basket will look awfully appealing if they have a lot of script to read that day.

Basically what Dan says is true - in this forum, we're mostly talking with folks who are seeking entry into the profession. Recognize that today's film industry has changed dramatically over just a few years; and it's continuing to evolve. Our job as writers is to be aware of these changes. Bemoaning what it should /could be does you no good and using examples of writers in the past have 'violated' present day standards is pointless. I'm seeing more & more emphasis on shorts right now - whether it's an industry trend, I cannot say. So writers; stay alert, stay aware, go with the flow or go extinct. It's your choice.

“When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.”

—Stephen King, November 1973

The idiom "bare bones" means "the irreducible minimum; the most essential components." Within the context of screenwriting that translates to me to mean an outline or a story's structure or a beat sheet. Surely, a screenplay is more than "bare bones!" Lol! Oh, and Stephen King sure knows how to use metaphors and comparisons to drive home a point. Gotta love it!

I struggle with this aspect of the 90 - 100, Why 90? why100? does it have to do with money. I'm the process of re-writing a script that was turned away because of weak female dialogue, it is 120 pages long. I was also told most scripts are chopped up, so give them something to chop up. I liked that suggestion. I have to say it really bothers me to chop up my version. It's an ego thing. I feel like it is taking away my vision. I was also told it makes me a better writer, (sorry I don't by that at all), I was told that when your new to this and trying to make your name you have to trust directors and producers, and someday that day will hopefully come and I get to the last word. I still think it is 85% name recognition 15% nerve. I'm a nobody until I can say I'm not a nobody anymore. That day will come!!

Beth do you think 120 pages is to long? I don't.

Robert, I think you should focus on writing a great story, on writing effectively, and executing the best screenplay you can. ;) Now whether that affects page count or not, I dunno, it might. I would suggest being extremely watchful and thoughtful about redundancies and overwriting. The only time a spec feature screenplay seems way too long to me is if it is clearly overwritten or lacks focus -- when the long page count seems due to poor writing and not story. When I can read it and start editing it myself in my mind's eye, that's an issue. Plus most readers skim when reading—they just do. Me, personally, with my own writing... 120 is too long for me and my style. But that's because I'm a minimalist at heart. You may be different. I try very hard to write as succinctly as I can. When I start a script I think 100 pages, and I tend to land somewhere around that. My longest script is 115 pages and it's a drama. Factors to consider are your goals—Are you submitting to a contest that has page restrictions? Are you producing it yourself?—and just human nature; we have short attention spans! LOL! Anyway, I bet when you go through your rewrite you may end up cutting pages. It's often part of the rewrite process. ;)

Robert. Some people go by the old Hollywood theory that I page of screenplay equals 1 minute of screen time. If a screenplay is too short, it wouldn’t be long enough to use to make a feature film. If a script is too long, it could cost too much to film. A 120-page script was the average but now it would probably be on the high side. I doubt it would hurt you and most producers know it is easier to cut scenes than it is to add them.

Robert - yes, it's all about the money.

Beth, you definitely get a big MS. HEISINGER, Doug and Dan I thank both of you also. Great feed back. Always good to remember the basics, and to keep it simple.

For curiosity sake, I checked bare-bones in the dictionary. Here is what they say: The irreducible minimum; the most essential components. The key players should be content with my script. The story is another thing. I don't think I'm gonna bore anyone. Cheers my friends! Doug, you're absolutely right. How's the scotch or was it...?

Claude, did you see my comment above? I shared the definition as well. Sure, an idiom can be applied within different context. Of course! Here, I assume your use implies writing a screenplay as lean as possible. Or regarding it only as "the bones" of a film. However, generally, in screenwriting (the teaching of craft) the word or phrase "the bones" or the "skeleton of a story" often refers to the structure from which the meat of the story hangs upon -- its underlining workings, even theme. So "bare bones" in screenwriting for many people may be interpreted to mean story structure, or an outline, or a beat sheet, not the screenplay itself. Ugh, semantics, right? Personally, I would never consider a screenplay the "bones" of anything. Rather more as a launch pad, what could be. Lol! Sorry, but the writer is a key player. A visionary. ;) Best to you! And happy writing!

Not discussing rules is like a birthday present to me. Speaking of birthdays....HAPPY SIXTH BIRTHDAY, STAGE32!