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How to Write a Great Script Without Slaving Over Page Requirements

12/4/2012

8 Comments

 
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It’s easy to get bogged down in the rules and requirements in most screenwriting books.

“Catalyst on ten.”

“Something big on twenty five.”

“Coy peanut butter reference on fifty four.”

But all of these page counts ignore what should be your biggest concern as a writer.


This article will focus on how to avoid the pitfalls of writing by the book: Obsessing over page counts.

KEEP READING

Why All the Fuss Over Page Numbers?

It’s easy to write an article eschewing the idea of working by page count, but that’s not the point of this piece.

Keeping track of where you are in your story can be helpful. And it’s smart to have a general idea of where your script is headed.

We often reference page counts in the notes we provide to our clients.

But that’s with the understanding that nothing is set in stone. We reference page numbers because they’re literally the only way to differentiate one page from the next, but we don’t expect clients to take these suggestions literally.

Always remember: Page counts are general guidelines, and your story does not have to adhere to them. 

I’ll say that again…    

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It sounds really simple, but I know for a fact that writers slave over hitting the prescribed beats at exactly the right moments.

When Chelsea and I started out, we did exactly that. No joke. We would rewrite entire sequences just to land a plot point like Blake Snyder said we should.

It was totally insane. 

What Really Matters

Chelsea and I committed an entire library of screenwriting books to memory. Then we got pissed off when our scripts didn’t work, even when they followed every rule exactly.

Some of you may have had a similar experience. Or maybe you’re still learning. Still reading those books, and studying their lessons like Gospel.

But you don’t need to.

Instead, take a look at the problem that every single one of these books is addressing with their page requirements…

Most amateur screenplays are boring. They lack momentum. And nothing happens.

That’s it. They’re telling you when and where and how something should happen, but all you need to know is something has to happen.

In screenplays, something always has to be happening.

It’s that old ‘every element has to move the story forward’ idea, boiled down to basics.

It sounds dumb when you put it so simply. It’s almost painful to read.

Something has to happen. That’s it.

Stay in the Moment!

As you write your next script, instead of worrying about when things are happening, or what’s going to happen next, ask yourself, “What’s happening right now?”

If the answer isn’t immediately clear to you, you’ve got some big problems with your screenplay, and you need to give your concept a tune up.

Focus on surprising yourself and grabbing your own attention. Think about your audience. What do they expect and how can you subvert that?



While it's of course important to know where you're going structurally, none of that matters if you don't know where you are.

Make it happen. Not on page two, or three or four. Right now.

On that note, here's what I'd like you to do next...

1. Leave a comment. How are you going to apply this insight into your writing? Or if you're still feeling a little lost, describe your problem in the comment section.

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8 Comments
Derek Rushlow link
12/5/2012 03:09:14 am

When I write a script I don't take "this has to happen by page 25" because all stories are different. Sometimes the first plot point happens on page 25, others later. I was told that if you make certain aspects of your story hit the "necessary" page numbers, then it'll look that way on the screen. Must be natural. Great article, by the way!

Reply
Script Quack link
12/5/2012 07:54:47 am

I think you're right, Derek. Scripts that stick to page requirements too closely might work structurally, but they can lack the flow and momentum good screenplays seem to always have.

Reply
Paul Zeidman link
12/5/2012 03:25:31 am

I'm finishing up a rewrite of my spec, currently clocking in at 124 pages. Problem is, there's one scene that needs to be fixed, which could mean a few extra pages. I still plan on editing this down, but I'm concerned someone will see the page count, which could still be just slightly over 120, and think "too long!" without even reading it. Your thoughts?

Reply
Script Quack link
12/5/2012 07:57:08 am

Sadly there are some readers that will seriously discount your work if it's too long. So try to bring it down if at all possible. That said, your story needs to be as long as it needs to be. Be judicious with your cutting, if you think the material absolutely needs to be there, then leave it there!

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David John Hall
12/5/2012 08:43:34 am

Hey Paul, as an ex-reader I can say that page count definitely comes into play.

When you have 10 screenplays sitting on your desk you tend to gravitate to the easy reads. Sure, I had to read everything -- but if you clocked over 120 I was going to start off a little sour. Poor me, I know. But it's just the nature of the beast. If I were you I'd look at your second act. Thats where I'd usually find the most obvious cuts. Have someone else read it and ask them what doesn't need to be there. Look at each scene -- are you getting in as late as possible. Are you getting out as early as possible? Good luck to you!

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Sharkeatingman link
12/5/2012 05:01:18 am

I write somewhat free-flow, cognizant of the Blake Snyder STC beats, until my first draft is finished. During my rewrite, I make sure every page has "something" happening, and make sure there is some conflict — at ANY level — as well. To me, this is the key to a successful screenplay.

Reply
Script Quack link
12/5/2012 07:58:25 am

Sounds like you've got a good system in place! Thanks for stopping by our site.

Reply
Cheryl D.Ford link
12/11/2012 05:03:05 am

I like your idea, some of the structure definitely gets in the way of creativity.

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