When screenwriters worry about page count, it's usually because their feature film script is running a bit too long. But there's another issue that doesn't get nearly as much attention - a screenplay that is too short.
A short screenplay can raise just as many concerns as an overly long one. Scripts that come in too short often reveal deeper story issues. It isn't necessarily the page count that is the problem - page count is a symptom, not the direct issue - it's what is missing from your script that should be the main concern when your script may be too short.
With that in mind, let's discuss what entails a script having a low page count, why Hollywood cares, and how you can go about fixing this issue.
One Script Page Equals One Minute of Screen Time
There's an old Hollywood adage that serves as a surprisingly accurate estimation tool for the film industry - one page equals one minute of screen time. It's not an exact science, but it remains the industry's standard barometer. That means a 100-page screenplay will usually translate to a running time of 100 minutes.
So, if you're wondering whether your script is too short, too long, or just right, utilize this barometer to gauge where you are.
What Page Count Is Considered Too Short?
While there are exceptions depending on genre or subject matter, the sweet spot screenwriters should shoot for when it comes to page count is between 90 and 110 pages.
A script that is too long at 130, 140, to 150 pages and beyond will have a running time that limits the number of potential theatrical showings per day. On the flip side, a script that is 70 to 80 pages is too short for most television blocks when movies make it to network showings.
There isn't a definitive magic number when it comes to a script being too short. An 88-page thriller may be a perfect cinematic read. Comedies and horror scripts often land on the shorter end because of their brisk pacing, while action, science fiction, fantasy, and even some dramas may require additional pages for world-building, character development, and more elaborate scene description and dialogue.
90 pages is usually the least you'd want for a feature. That's an hour and a half running time for a movie. For network showings, that fits in perfectly with the shortest movie blocks once you add commercials. Anything shorter offsets that.
But remember, the page count is not the issue - it's a symptom of a much bigger concern for script readers, executives, and producers. It forces them to wonder, "Is the script underwritten? What is it missing?"
Why Hollywood Cares if Your Script Is Too Short
Hollywood will generally care more if your script is too long. Why? The longer the script, the more it may cost to produce, and the less they'll be able to make because they won't be able to screen a longer movie as many times as a shorter one.
But when a screenplay is too short, they're not worried about the page number - they're worried about whether or not the short page count is a symptom of the story being underwritten and underdeveloped.
When a short script under 90 pages comes across their desk, script readers will be wondering:
- Has the concept been fully explored?
- Is there enough character development?
- Is there enough story to keep people interested?
- Is it formatted correctly?
- Is there enough scene description?
- Is it all plot and no character?
- Is it all character and no plot?
These are questions screenwriters should always be asking themselves.
Sometimes shorter screenplays can end too fast, leaving script readers wondering why there wasn't more. That's usually a sign that additional development is needed.
Why Is My Script So Short?
1. Something Is Missing
When a screenplay feels unusually short, it's rarely because the screenwriter has mastered the art of economy in their writing. It usually means that the screenwriter hasn't fully explored the potential of the concept, story, or characters.
Most scripts don't hit that sweet spot of 90-110 pages because the writers are trying to hit a target page count. They naturally arrive there because they've allowed their story to breathe, explored all of the emotional and/or physical consequences of the conflict, challenged their characters, and fully developed the premise while bringing it to a cinematic and satisfying conclusion.
When a script is in the 70s or 80s for page count, they are usually missing something.
2. The Script Peaks Too Early
One of the most common reasons a screenplay comes in short is that the story climaxes too early. The protagonist is introduced, they face the conflict, they overcome the conflict with relative ease, and the next thing you know, the finale has happened before the script reader or audience have fully invested in the story.
The best scripts and movies continuously build. The conflict evolves. The characters fail. They then have to recover and learn from their failures. By the time the script ends, the script reader should feel like the protagonist has survived an uphill battle rather than a series of isolated problems. If your third act arrives before your story has really had a chance to escalate, your script likely needs more.
3. Lack of Character Development
Despite what some may think, the best character development doesn't happen in the first act - it happens throughout the rest of the script as the character goes through their arc by dealing with the conflict thrown at them, making mistakes, learning from their mistakes, and clawing their way back. This is true for all genres.
It doesn't matter if there are laughs to be laughed (comedy), screams to be screamed (horror), cheers to be cheered (action, adventure), fantasies to be imagined (fantasy), or tears to be cried (drama). Character development still has to happen throughout the whole script. It can happen outside of the laughs, screams, cheers, fantasies, or tears. It can happen amidst them. But it has to happen.
- At the end of the second act in Die Hard, John McClane poured his heart out to Al and sent a heartfelt and teary-eyed message for his wife.
- At the end of the second act of The Terminator, Kyle Reese shared his vulnerability as he remembered his struggles during the Future War, and professed his love to Sarah.
- At the end of the second act of Jerry Maguire, Jerry Maguire cried as he said goodbye to Ray. In the third act, he professed his love to Dorothy in tears.
Character development continues throughout the entire screenplay.
- Relationships should evolve
- Friendships should be tested
- Family conflicts should deepen
- Romantic interests should either strengthen the protagonist or complicate the story
Any protagonist in any story genre should have multiple layers that are revealed throughout the script. We need to see them grow, change, rise up, fall, break, put the pieces back together, live, or die. If your script is too short, check your character development in the second and third acts.
4. The Script Needs More Conflict
Conflict is what forces the protagonist to continue on their arc. It can never be easy for your characters. If your script is too short, throw more conflict at your characters. It's not enough for them to take on the main conflict of the premise. There needs to be multiple varieties of conflict in their way, and the main conflict needs to evolve as the story goes on and the characters adapt to what they are fighting against.
If the script is over by page 80, be excited because you have at least 10 more pages of conflict to conjure. Have fun with it. Embrace it. Create one more action sequence, one more scare, one more character breakdown, one more big laugh, or one more mystery to solve.
5. Your Concept Needs to Be Explored More
Think about high concept movies like Back to the Future, Jurassic Park, or The Matrix. Those movies didn't simply introduce extraordinary scenarios or situations and race to the climax. The scripts explored everything the premise had to offer.
- Back to the Future's Marty didn't just get stuck in the past. He was in danger of being erased from existence because he prevented his parents from falling in love. He had to correct that mistake, all while dealing with the bully Biff and the fact that his mother had a crush on him.
- The ensemble cast of Jurassic Park didn't just run from the T-Rex. They learned about the dangers of playing God, gazed in wonder at creatures they never thought they would see in real life, and slowly opened up their hearts to new relationships.
- Neo in The Matrix didn't just learn that the whole world was a simulation. He woke up in a future world like a baby being born. He had to learn about the real world, learn how to fight with superpowers in the Matrix, and deal with the notion that he may or may not be a prophecy fulfilled.
Make sure you explore every aspect of your concept. If your script is too short, you may be falling short on giving everything your concept has to offer.
Substance Over Page Count
How do you add more to your underwritten screenplay? It's not about adding pages. It's about digging deeper into the story you've already created.
- Raise the stakes
- Conjure more conflict to throw at your characters
- Challenge your protagonist even more
- Complicate relationships
- Explore more elements of your concept
These improvements won't just increase your page counts - they'll make your script even better.