I’ve covered this topic before, but I really wanted to give you the perspective of a professional screenwriter who has to deal with page counts every day.
Before we get into this part of the topic, let’s discuss a few things from your perspective as a budding screenwriter looking to break into Hollywood with a spec script.
Why page count matters in spec scripts
As you should already know, a spec script is a script you write in the hope of selling it to studios, networks, production companies, and streamers. You don’t get paid to write them. You might also be a screenwriter who has yet to break through the walls of Hollywood.
A spec script is your calling card—a writing sample that showcases your screenwriting talents and ideas.
The spec market is best defined as the number of scripts submitted at any given time—all submitted, considered, and purchased through studios, networks, streamers, agencies, and management systems.
Because there are so many spec scripts out there (and so many screenwriters trying to sell them, or more likely use them as business cards to get hired for writing assignments), there is a necessary set of filtering systems in place to weed out the unworthy or undeserving content .
script reader
Filtering systems usually start with a script reader. Now, a script reader can be a specific reader who is responsible for one job—reading and writing script coverage.
But they can also be interns, assistants, junior executives, senior executives, producers, agents, and managers. Basically, when you see me using the word script readerassuming I mean anyone in the industry who reads your script.
Read more: Screenwriter’s Guide to Script Coverage
Hollywood has legitimate reasons to worry about page counts
Hollywood knows the script. People in the industry (script readers of all kinds) read hundreds of scripts a month and have been doing so for years.
In short, script readers can tell fairly quickly when a script is lacking. It can be obvious signs like consistently poor grammar and formatting, poor structure, cringe-worthy dialogue, and sometimes it’s as simple as looking at the page count.
Before you roll your eyes and scoff (or pull out some Oscar-winning script you saw online that was 160 pages long), page counts matter for a reason:
- The more pages there are, the more production is required (i.e. the more money they have to spend)
- The more pages there are, the longer the final movie will run (i.e. the fewer theatrical screenings, the fewer tickets will be sold)
- “Wait, but a lot of movies go straight to streaming channels, so it doesn’t really matter…” Of course. Movies that streamers want people to click on and watch. Many people don’t want to see a 2.75-3+ movie…even at home (eye roll at the mass audience).
- More pages from newbies may mean that the author is unaware of general guidelines and expectations.
- More pages from a newbie means the story is likely to be overwritten and not worth the time (at least to Hollywood) compared to other writers who know beat counts are important
As you can hopefully see, there are good reasons why a script’s page count matters.
General Guidelines for Number of Pages in Screenplays
These are generalities, but they’re what Hollywood survives on, so if you want to work and play in the professional screenwriting sandbox, you need to do the same.
One page of script is equivalent to one minute of screen time
It’s an old Hollywood barometer, and it carries some weight.
Of course, things are different:
- Conversation density: Dialogue takes time to deliver, so pages with lots of dialogue may actually run more than a minute per page.
- Action sequence: Sometimes a scene description takes up a lot of space in an action sequence, and sometimes a one-line description of an action sequence can take up several minutes.
- Post-production editing: Editors can lengthen or shorten pages.
- Film technology: Slow motion, montage, and other filming techniques can alter the actual running time of a single page.
Believe it or not, one page is usually equivalent to one minute. A 90-page script is perfect for a half-hour movie—although for the reasons above, you usually want to add another 10 pages, since screen time is longer than pages.
I write lifelong thrillers for a living (ten produced so far in the past few years). My contract required me to deliver no less than 100 pages of content. That’s the guideline. Why? Because an actual TV movie needs to be about 90 minutes long to fit into a 2 hour TV show, with room for advertising.
So, for the web, the number of pages does Do matter.
This is also important for studios and publishers. Don’t listen to those who say no (even famous and highly successful screenwriters don’t necessarily need to worry about the rules…I’m talking about top-ranked writers like Quentin Tarantino, Aaron Sorkin, etc. 1% of people).
Number of pages is also important to production supervisors, production managers and accountants
Production has its own language, and everyone from the production assistant to the star cast to the director and everyone in between speaks it.
“How many pages are we shooting today?”
This is a phrase you often hear on set. Sometimes it’s a quarter page, sometimes it’s ten pages. But if this question (especially involving script page count) is a common topic, then you have to realize that, yes, page count matters.
Why? As we discussed above, one page equals money spent. In fact, a line of scene description or dialogue costs money.
Here’s what industry insiders have to say. When I submitted the “final” draft and the film was approved, I knew a production rewrite was coming. Why? Because they will find ways to save money. Most of the time, this means combining scenes or cut pages (usually a mix of the two).
The countless times——Number of pages matters.
Script page count from a professional script reader’s perspective
Before I became a professional screenwriter, I worked in development on the other side of Sony Pictures. I am a professional script reader who is paid by studios to read scripts and write newspapers.
Let me tell you: if you ignore page count guidelines and expectations, your script won’t be read thoroughly. If it were, it would be scanned rather than actually experienced. In coverage, it will get a pass because you didn’t follow general guidelines and expectations.
Again, there is a filtration system. Why would you do anything to cause your script to trigger a red flag?
Script page count from a professional screenwriter’s perspective
So let’s back it up a little bit, because I know some of you are thinking, “Well, I’m not even going to let anyone worry about how much my script is going to cost, so I’m just going to follow my gut, and a Advice from Popular Screenwriters at Writing Conference Q&A, Don’t Worry About Page Count I’ll spit out my story and worry about it later.
After 20 years in the screenwriting industry, my biggest, best piece of advice in hindsight is this: With 10 professional production contracts signed (coming soon) between 2021 and 2024 (with more coming soon): You need training to write like a professional screenwriter.
Putting off training by writing overly long scripts and spitting out poor drafts will accomplish nothing.
Get started now. I beg you. Believe me. Learn to train yourself to write quickly and well. (Check out my e-book on how to write fast. If you want to learn how to write under strict deadlines, let this book be the guide you need. Learn from it, take what you like, throw away the rest, and use Share Guides and ideas for creating your own process.
How long should a script be?
I think we should discuss the specifics.
It’s pretty simple – for functionality, 90 to 115 pages is the sweet spot.
- Anything less is too little.
- A few more would be too many.
- Less means you have room to add more character development or more movie magic.
- More means you can cut a little excess out of the script, making it a streamlined cinematic meal.
Don’t fall into the trap of trying to reason about too long (or too short) page length while comparing it to scripts that have been very successful in the past.
- Older scripts were written at a different time and format.
- Oscar-winning screenplays are usually written by established screenwriters who have some wiggle room or directors who have a final cut written into their contract.
- Published or leaked scripts are not always the final shooting script (which is usually shorter).
Most story structures in feature-length screenplays are obvious because Time and page limits.
If you’re writing a novel, it’s a different platform. As an author, you can write as many pages as you want (although there are many publishing industry page count guidelines to follow).
But when it comes to writing for movies (or even TV series), you can’t deny that there are some limitations. These constraints create general structural guidelines and formulas. Page count is one of them.
Do yourself a favor and don’t fight back—at least until you succeed and have the ability to bend or break these “rules” a little.
Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison and then as a script reader and story analyst for Sony Pictures.
As a production writer, he participated in numerous studio meetings with companies such as Sony, DreamWorks, Universal Pictures, Disney, Warner Bros., and numerous production and management companies. He previously signed a development deal with Lionsgate and has taken on various writing assignments, including producing the miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Hayley Duff, Brian Bloom, Eric Larsa and Bruce Bucklina star in the thriller Hunter’s Creed, as well as many Lifetime thrillers. Follow Ken on Twitter @ken电影 and Instagram @KenMovies76
