Screenwriting : Spec Script Length Targets for Features by Mike Childress

HI Mike Childress - I'm on the side of < 120 pages as a target, but that comes with my rewrites later on. One of my first drafts was >140 pages but through rewrites removing the expository and unnecessary it came down to 117. In the end, IMO, it comes down to telling your story in a compelling, page-turner way that sweeps the reader off their feet instead of counting pages. Cheers.

Howdy, Mike Childress. I try to keep my spec scripts around 90 pages, but it depends on the project. I've heard over and over that a 120-page script can read as fast as a 90-page script if the 120-page script is entertaining/gripping.

dont matter, man. Ppl make up their minds by page 1.

Trust your guts, everyone develops their a shit detector at their own pace; listen to ppl with skin in the game (either they wanna help, make $ off your talent). GL

I've gotten a groan at 112, Mike Childress. But I do agree with Dan MaxXx that people make up their minds on the first page. I place a TON of focus on page one.

Mike, I'm happy with a script of mine as long as I can keep it from reaching 120 pages (from title page to "FADE OUT")...and as long as the script gets off to a decent start, I'm even happier.

Thanks all! I THINK I am going to set targets of less than 100 pgs, for now at least. Maybe 100 as a max if the story demands it. Thus far my only experience attempting to get someone to read my stuff is through competitions, so I SUPPOSE I might consider submitting something over 100 if I was guaranteed the scripts would be read in their entirety, e.g, as Nicholl, Austin FF, (maybe) BlueCat do... I feel like a lot of movies bore me for the first thirty plus mins, but in the same vein I am expected to razzle dazzle within (maybe) the first thirty (likely ten or less) pages or potentially be eliminated in the first round of a contest... Assuming, from what I have read on here and elsewhere, the reading "rules" (assuming there are any) are similar in production company environments.

Also I feel with the one-page judgment thing I am kind of SOL because I tend to write, so far, more descriptive scene/action text than dialogue for that intro page. for the fourth feature I think I JUST figured out how to work some dialogue in before the deep-space descriptive stuff, i.e. a flashback scene as the first one...

You're welcome, Mike Childress.

It's a topic that's been done to death. I'd run away as fast as you can from anyone who claims there's some sort of current standard.

Personally I aim for around 90pp as 90 mins is the length most independents have to run to.

With smaller budget projects around 90 pages is about average. Bigger budget projects go higher between 100 and 120 at the most. It isn't a rule but it seems to be sort of what is happening nowadays.

CJ Walley I mean I get that, topically, my query is akin to waiting for the answer to "The Ultimate Question of Life, the Universe, and Everything" for 7.5 million years and then hearing "42" as the response. What I got out of the responses to this post was kind of a confirmation (bias) of <100 pages being a good thing for spec work; that from individuals I have interacted with on this site for almost two months. People who have industry bonafides, even if not all from script reading professionally, specifically. Combine that with what I have read, and been told elsewhere, and I am cool adding "Keep it under 100" to my "[Newcomer's] Guide to [Writing for The Film Industry]". That list also includes 1) Ensnare the reader early, and frequently. 2) Try to have some sort of original-ish idea as the foundation of your works. 3) Craft some decent dialogue. Witty banter, evocative exchanges, etc. 4) Structure the story well. 5) Do not write mini-novels within a screenplay. 6) Create some intriguing characters and have them show some interesting development within your story. 7) Proofread your texts (or have someone else do it for you). 8) Enjoy yourself. Don't myopically focus on what may or may not be marketable. 9) Be REALISTIC and have an endgame. 10) WORK ON YOUR CRAFT. When you take up a new instrument you get better through PRACTICE. 11) ENJOY YOURSELF.

Dan Guardino I get the the goalpost is constantly moving as you are attempting to sink one in the back of the net, which is why I plan on launching as many balls (errr...scripts) at the goalkeeper (whomever the frak is the gatekeeper) as possible at one time.

Mike Childress Wannabe screenwriters who flopped and then decided to write "how-to" books are always coming up with the next batch of so-called "rules" for writing spec screenplays. I bet if another failed screenwriter wrote a bestseller on "How to Become a Successful Screenwriter" and said, “Just draw pictures and stop using all those pesky words,” that would instantly become the new gospel for every hopeful screenwriter in town. As they say, "There’s no business like show business… and no advice like bad advice!"

The groan mostly appears with films that overstay their welcome in overlength. Lengthy films might spring from either the script or the production.

Today, the average film is 112 minutes long. Films in 2024 are 1.2 times longer than those released in 1994. Exhibitors liked 105 minute long films that allowed a 15 minute break between showings to fit in a 120 minute slot. That went the way of T-Rex with the rise of streaming.

Run away from anyone who believes there's no current standard just to make a point. In general, the range is 85 and 120 pages - genre dependent as OP states.

The bottom line is tell a streamlined, effective story without fat. It that's 80 pages or 145, so be it. Note that readers do also groan when a 145 page script lands on them. The immediate reaction is 'this is too long'. And they're frequently right.

This is interesting because I will be starting my first draft of my first feature this weekend. I am aiming for 100-105 pages which gives enough time to develop the characters and give a compelling story, but not flooding it with too much of either as I want to stay focused as my audience will be doing the same.

Great approach.

Hi Alex Winstanley - best advice I've ever received, especially when it's your first spec - write as if no one else is ever gonna read it. If you're writing your first and keeping an eye on the page count, that'll only tighten the screws. Just write. Let the creativity flow without rules, guardrails, or expectations. And only when you reach the end, only then, get out your carving knife and whack away. It's actually quite liberating (so to speak).

Matthew Kelcourse Thank you, that’s certainly something I’ll take on board. I was just thinking that I wanted to write a professionally as I could for the first draft but I suppose putting all my ideas down would be a good move then I can play around with it.

Mike Childress I don’ t know what contest readers do or think. Since they aren’t paying to produce them I seriously doubt they would groan because a screenplay had 120 – 125 pages. If the script is bigger budget one I doubt a producer would worry about that. If it were a lower budget one they probably would base on the one page equals one minute of screentime theory. I just finished a low budget one that came out to 92 pages which caught the interest of an agent.

Serious doubt is far from direct knowledge.

Ace screenwriters should give back to the industry and read for competitions. Then they can reliably report their feelings when faced with a 125 page script.

Perhaps these Aces, too, should share the crystal balls that delve into the thoughts of others.

Dan Guardino Re: the "draw pictures" bit haha I recently mentioned on here, and to friends, that some people seem to want to return to the silent film era (only with sound effects), i.e. visuals > dialogue. Re: budgets I think that's one thing I have to force myself to think about at this juncture. The first time I did was when writing loglines and all of a sudden there are budget dropdown menus...um I am NOT the finance guy! I get it now of course, but guessing a lot of other rookies, just looking to purge their minds of their ideas, were also not laser-focused on how much their scripts would cost to produce when they first sat down at the keyboard and 'bled'.

E Langley To use your previous steak analogy I think the problem is most writers (me included) think their stuff is filet mignon, or Kobe/Wagyu so trimming the "fat" is unspeakable because that's akin to limiting the "genius"! That stated I do think I can whittle down the fluff on feature #4, and subsequently avoid a 120-page sci-fi nerdgasm...

Matthew Kelcourse I legitimately wrote my first three scripts without a flying F as to what anyone would care. Zero Fs given! I mean I like them, but they are obviously Mike writing for Mike the way Mike wanted to write. Zero regrets. Now, I am a bit more business-minded. Not trying to just create fodder for Mike. I think that advice you got was excellent. Just write that first script the way YOU want it. No one paying you to write it so be the master of your own destiny (well until script #2 that is...)!

Alex Winstanley Excellent! My (soft) target for the first feature was 100 pgs. I wrote it (very) quickly and, unfortunately, I handcuffed it by trying to keep it under a certain length. Also agree with Matthew (again), i.e. don't get bogged down focusing on the page count. Write four hundred pages (maybe a tad excessive...) if you want!

I think there's someone in love with me.

E Langley Haaaaaaaa

Mike Childress Here are some tips that may help you trim some of the fat that you might find helpfull or just label me an asshole.

These aren’t rules, but they can help you trim some of the fat. Overwriting can make reading your screenplay a challenge, especially when industry readers have a stack of scripts to get through. You want to make sure yours stands out for all the right reasons, not because it’s difficult to get through. While it's easy to fall into the trap of overwriting, especially when you're just starting out, remember that professionals in the industry appreciate a screenplay that’s clean, focused, and visually engaging.

Keep it Concise: Aim to keep your action lines brief—three lines, four at most. Longer blocks of text can lose a reader’s attention. Focus only on what will be visible on the screen. Instead of writing character thoughts, express emotions through their actions and dialogue.

One Event per Line: Each description should focus on a single event, shot, or sequence. When the action shifts, start a new paragraph, just like a "cut to" in film. Avoid getting bogged down in details. Use broad strokes and let the reader’s imagination do the rest.

Immediate Action: Everything on screen is immediate, so make your action immediate too. Avoid words like “suddenly,” “then,” “begins to,” “starts to,” and “as.” For example, change “Suddenly, he runs off” to “He runs off.” Simplify “She starts to climb” to “She climbs.”

Active Verbs: Replace “to be” verbs with active verbs or eliminate them altogether. For instance, “She is in uniform” becomes “In uniform.” “It is dark outside” becomes “Dark.”

Eliminate Unnecessary Words: Words like “are,” “and,” “there,” “it is,” “it’s,” “to go,” “to say,” “I am” to “I’m” and “to be” can often be cut. Use adverbs (words ending in “-ly”) sparingly and prefer active voice over “-ing” words. However, don’t eliminate every single one if they serve a purpose.

Is you use the word “he” or “him” or “she” or “her” in the same sentence you can usually eliminate one of them. If it is obvious who they are you could eliminate both.

Dialogue

Eliminate the first words of dialogue like “Well,” “No,” “Yes,” “Of course,” “I mean,” etc. Avoid using “hello,” “goodbye,” “please,” “thank you,” and “you’re welcome” unless for irony or emphasis.

Fewer Questions: Avoid having your character ask too many questions that must be answered. The other character doesn’t always have to answer if the audience already knows the answer. This cuts down on unnecessary dialogue.

Show, Don’t Tell: Avoid large chunks of dialogue. It makes the screenplay harder to read and can seem like you’re telling the story instead of showing it. Keep it concise and ensure the audience understands what the character is saying.

Make Your Screenplay Flow: Show what the character is doing before their dialogue to help the screenplay flow better, as the reader can subconsciously anticipate who will be talking next.

Again these are just some tips. Only use them when you think they will help.

Happy writing!

Dan Guardino HUZZAH! This is GREAT. Main thing for me is the "Active verbs" bit, which I recently realized is a thing when I looked at the scripts for "Event Horizon" and "Aliens" to see how deep-space time of day was denoted in a script (as suspected just eliminated entirely), and saw the one-word descriptors for scene descriptions absent verbiage. I realized then I had not just been way overwriting, but like nuclear option overwriting... I have written things, in multiple realms, but screenwriting is a different beast.

As many as it takes for the story to be told. Just don't confuse bloated with expansive.

Stefano Pavone Imagine a world where every screenwriter could write like the big writer/directors can, and someone would actually entertain a 200-page heart-bleed from an unknown! Maybe break the lengthy story up into multiple scripts in order to keep it at a reasonable spec length? Perhaps I should have purchased Scrivener vice Final Draft and kept to the book game? As much as I love film, to me, screenwriting is akin to forcing a triangle-shaped object into a circular hole, and then, potentially, no one is paying attention to you or the triangle... My nature is to be EXPANSIVE. What I'm being told is "expansive" = "bloated".

Mike Childress Screenwriting is a different beast but since I couldn’t write a novel to save my life I decided to write screenplays instead.

You can see getting the page count down as a challenge to test your writing ability. Writers like Neil Gaiman use a structure that ensures that every scene delivers on at least three pieces of information: delivers information about a character(s), progresses some form of inter-character relationship development and does something to move the plot. Often scripts that feel like they over stay their welcome contain endless scenes that only serve one of these purposes at a time, rather than multiple purposes. Ask yourself, what purpose does this scene serve and can it be combined with another (or two) so that it is more rounded out on plot, character and inter-character development.

Dan Guardino I think that decision worked out for you, but it's never too late!

Ewan Dunbar I thought writing my first Short would be way more of challenge for me than keeping a feature under 100 pgs. That...was incorrect. Funny you should mention Gaiman as I have seen adaptations of his, and recently bought "American Gods" and "Smoke & Mirrors", but haven't had the chance to read them yet! One thing I don't mind is reading my scripts one hundred times if need be. As I am working on them I will stop writing, open them in PDF format, and read them and visualize them on screen as I read. I am also not rushing the current stuff, which is great, so paying way more attention to character build-out and story structure/flow in general. So in a way screenplay #4 is more like #1...

My guess is also that above 100 pages readers start to check out. My bet is that it makes readers much happier (and feel wiser) to suggest to add a scene than to have to cut one.

Thomas Yazar I love film, but I DO NOT want to read scripts...

I recently pitched my horror feature to a producer. He was interested and asked how many pages it was? I answered, "100." He replied, "That's perfect. Send me the script."

Gerry Barrett NICE. Kind of reworking my current feature so I can keep it under 100 pgs. Also starting my first novel so maybe that side project will help me be less verbose in my screenplays!

It depends on the genre and director. Comedy and horror should be on the lower range, with comedy under 100 pages, horror under 110. Other genres can bear weight of up to 120 pages if engaging enough. Keep it short is best. Anything over 120 seems long winded. imho.

Jack Binder Thanks! Exactly what I have seen elsewhere, basically. A lot of the Spec Script Gurus on S32 and elsewhere kind of warn against early culling in readings (competitions or otherwise) based on a few pages (maybe) of the scripts so right now my operational plan, as a Spec Writing FNG, is 1) Entice the reader Early and Often, and 2) KEEP IT UNDER 100 PAGES (for now...MWAHAHAHA). One thing I am supremely cognizant of now is my first scripts were actually longer than they appeared because I was writing like a novelist in the Action Lines. My screenwriting tradecraft is exponentially better now than when I first opened Final Draft, and it's improving by the day. I have seen competition feature minimums as low as 65 pgs (which seems really low), but my personal target for now is 90-95 for features.