Acceptable page count for a spec script

[Plot Device]

What is the absolute highest page-count acceptable for a spec before they laugh and toss it in the trash?

I have a script with a first draft that ended at 270 pages. Second draft was 250. I am now down to 220. It's getting leaner and leaner all the time. I can't get rid of too much more.

I have a general target of 150 pages, but I don't know if I can accomplish that at this point. If I can at least get it UNDER the 3-hour mark (less than 180 pages) would THAT make it acceptable??? I think I can hit 170, but 150 is really pushing it.

[Bravo]

What is the absolute highest page-count acceptable for a spec before they laugh and toss it in the trash?



less than 120.

should be closer to 110 at most.

i'm not kidding.

what on earth are you doing w a 270 page script???

[Plot Device]

what on earth are you doing w a 270 page script???

Sarcastic reply: I enjoy killing trees.

Honest reply: That's how long the story played itself out when it was done coming out of my fingers. Don't yell at me, yell at the muse.

[Rainy Night]

Okay Quentin Tarantino, cut your scipt in half and make it two movies.

Roughly 90-120 pages is standard, and lately they like then closer to the 90 page than the 120.

[dpaterso]

If you're a spec writer with no connections, 120 ought to be your absolute ceiling. The pros suggest circa 110 pages, which is what I aim for.

Can you find two natural breaks in your script (@ around 90 pages and 180 pages) that would allow you to split the 270-page monster into three 90-minute episodes? Pitching it as a mini-series rather than as an overlong feature-length script might get you something.

Oh, and write the novel and make sure it's a best-seller.

-Derek

[Plot Device]

Can you find two natural breaks in your script (@ around 90 pages and 180 pages) that would allow you to split the 270-page monster into three 90-minute episodes? Pitching it as a mini-series rather than as an overlong feature-length script might get you something.

I'm kinda hazey as to where Act 1 ends and where Act 2 ends. I'm a very intuitive writer, not very methodical at all. So the story in my head played out in a certain fashion, I wrote it out like that, and then it was done. I never had a 3-act structure in mind. So I think there are 3 acts SOMEWHERE in there. But I am hard-pressed to say PRECISELY where all three acts fall.

There IS a good scene of suspense/cliff-hanger that MIGHT be the correct end of Act 1 around page 59, and another good one around page 85, and another around page 98. So one of those three MIGHT be correct ending of Act 1. But I'm still not certain here. And I have no clue what the correct ending of Act 2 is at all.

Oh, and write the novel and make sure it's a best-seller.

Ha! That might be my only option here!

[scripter1]

not to brag but to illustrate a point.

I recently took a 247 page script down to 112.
You would not believe what can be cut when you actually really start doing it.

There is a pretty darn good chance that you are NOT Tarentino and will NOT get a two picture deal.
What's his name....... Peter Jackson of Lord of the Rings fame had to fight and claw and threaten all kinds of things to get three films made.

SO, strip it down.
I mean really just yank it down to bare bones.
I'm with Bravo. How the he----- heck did you get a 270 page script?

And I don't mean to sound cold or cruel, but You aren't sure if your act one break comes until page 98? The approximate page count where most scripts either HAVE or ARE closing in on the CLIMAX?
This tells me you have quite a bit to learn about storytelling in general.

In all honesty Plot, set your script aside.
You have three drafts done, you're past the fresh idea stage, you've gotten alot of things out of your system, time to begin a really serious, hardcore study of the craft.

Shooting you over some articles.
Enjoy.

[NikeeGoddess]

there's a pretty good chance that you've got pages and pages of overwritten crap that doesn't need to be there. ditto what scripter said - put the script down and come back to it for a rewrite after you've read 20 and written 2 more. ;)

[scripter1]

I'm somewhat with D, a three part mini series isn't a bad idea.

But for a spec script, the answer is NO!
The chances are so astronomical ANYWAY you don't want to start off handicapped with a long, long script.

SO, cut cut cut cut cut cut cut.

http://www.scriptsecrets.net/articles/cuttingc.htm

http://www.scriptsecrets.net/tips/tips325.htm

http://www.scriptsecrets.net/tips/tips281.htm

http://www.scriptsecrets.net/tips/tips340.htm

http://www.scriptsecrets.net/tips/tips136.htm

http://www.scriptsecrets.net/tips/tips238.htm

http://www.scriptsecrets.net/tips/tips216.htm

All right, you've probably hit info overload.

[Bravo]

PD:

you need to read more scripts.

you need to learn that there is a structure for spec scripts, and a 90 pg act I doesnt fit the bill.

this was a newbie mistake, that's fine. if you are absolutely enamored by your story, i suggest you redo it from scratch and see what sticks and what doesnt.

but before you even do that, you need to read more scripts and you need to read a basic intro to the way a screenplay is structured.

it's a very specific formula and if you want to get anywhere with this, you have to write what people will read.

i can guarantee that your mother wont even read you 270 pg behemoth.

thank you

[Ragnarok]

I have a script with a first draft that ended at 270 pages. Second draft was 250. I am now down to 220. It's getting leaner and leaner all the time. I can't get rid of too much more.


You can post one page (or more) of your script on the critique board to get feedback on the way it looks (one with not too much dialog). Like NG, I have a feeling there's quite a bit of overwritten stuff.

You can also check out your margins and font. If you use Final draft, do choose their native courier font over courier new. It will save you quite a few pages. Their templates (esp Warner bros) can have their margins tweaked a bit. For instance, the left margin for Sluglines and action is 1.75" while 1.5" won't offend any reader. You can make their dialog block a tiny bit wider too. This all will save you another batch of pages... after you've worked on the structure of your script and trimmed out the extraneous parts.

[dpaterso]

PD can speak for him/herself, but some of the later comments in this thread might interest y'all:

http://absolutewrite.com/forums/showthread.php?t=61650

-Derek

[xhouseboy]

PD can speak for him/herself, but some of the later comments in this thread might interest y'all:

http://absolutewrite.com/forums/showthread.php?t=61650

-Derek

Looks like Plot's question has already been answered in her own blog.

[Bravo]

Looks like Plot's question has already been answered in her own blog.

weird!

but it's awesome people read it, and seemed to love it.

no exec will, but at least her writing seems to be good.

[Rainy Night]

Can you post the first 10 pages in the SYW forum. I'm curious.

[Plot Device]

Well, this is quite the mixed bag of responses. Some nice, some not so nice. And I wanna thank Derek for directing people's attentions to that other thread and diffusing the abuse I was getting.


The word "crap" is something I found particularly hurtful and unnecessary, especially since that poster doesn't even know the story I'm writing. (And my mother DID read my script and she liked it a lot, thank you.)

Not all stories are two hours in the telling.

I wanna TRY to make this one fit the two-hour mold, but it's getting difficult. I'm now down to 215 pages and I'm cutting so deeply I'm afraid I'm gonna hit a major artery soon. So either I sell it as a mini-series, or I amputate one of my subplots.

I can't imagine I'm the only one who thinks up elabortae story arcs. Surely others here have lengthy stories kicking around in their heads. Am I the only one who actually wrote one out?

[Plot Device]

Can you post the first 10 pages in the SYW forum. I'm curious.

Yes I can. But I'm stumped on how to maintain the formatting. I have dual-dialog happening in that first ten pages and if I don't post it correctly, all that dual dialog will get mushed around and distorted. I need some time to try and get it right. Can you guys wauit until maybe later this afternoon for me to post it?

[jonpiper]

Can you guys wauit until maybe later this afternoon for me to post it?

Sorry, Plot Device. Can't wait. Gotta do lunch with an agent at noon. Rest of the day is booked with pitches at Disney and Paramount.

Only kidding. Post it and I'll read it on my cell phone between pitches. Seriously, I think we'd all like to see what you've got and help if we can.

[Plot Device]

Sorry, Plot Device. Can't wait. Gotta do lunch with an agent at noon. Rest of the day is booked with pitches at Disney and Paramount.


Show off! :tongue

[jonpiper]

I dream a lot.http://www.absolutewrite.com/forums/images/icons/icon12.gif

[Rainy Night]

Sorry, Plot Device. Can't wait. Gotta do lunch with an agent at noon. Rest of the day is booked with pitches at Disney and Paramount.

Hey, me too. I got a pitch at Universal, then it's over to CBS, lunch at DuPar's - then Disney and Paramount... sheesh what a day...

Next week'll be more relaxing... I'll be on the set of my new big budget thriller that's currently shooting in Venice, some two bit actor's really messing up my dialogue and I have to straighten him out... you know Tom, he just can't leave anything alone... oh wait... who threw water in my face? Was I posting in my sleep again... I can only dream.

[ALLWritety]

HI PD,
If you think it is tough here just wait till you get in SYW. In this forum you have to pretty thick skinned or well intenioned bods will just tear you apart. People here really want to help but some don't have the tack. Take what is needed and remember it is not a personal attack on you.

Kev

[Rainy Night]

HI PD,
If you think it is tough here just wait till you get in SYW. In this forum you have to pretty thick skinned or well intenioned bods will just tear you apart. People here really want to help but some don't have the tack. Take what is needed and remember it is not a personal attack on you.

Kev
Actually I think this forum is fairly mild compared to others where they just rip your heart out and show it to you as you fall dead.

Although... there was this "crap ending" comment I got a while back... :poke:

Only kidding

[RainbowDragon]

Hey, me too. I got a pitch at Universal, then it's over to CBS, lunch at DuPar's - then Disney and Paramount... sheesh what a day...

You guys still have to pitch to get a movie made?!

(kidding!! but it's a nice thought, anyway)

[Rainy Night]

You guys still have to pitch to get a movie made?!

(kidding!! but it's a nice thought, anyway)

Yeah I know... I need a new agent.

[Plot Device]

Okay. I posted it over in SYW.

http://www.absolutewrite.com/forums/showthread.php?p=1296645#post1296645

I had to hand-format everything and it took me almost 4 hours to do that.

[clockwork]

Bit late to the party here as usual but for your next writing project, outline the script with the major story beats in place. Setup/Hook by page ten, End of Act 1, Midpoint, Climax, Resolution, etc. There are tonnes of different models which are roughly the same - I tend to favour Save The Cat's model.

It took me a long time to take the plunge and limit my creativity to a very rigid structural process with my last script but the endorsement I would give it - that I would never write a script any differently from now on - speaks for itself.

Good luck with yours.

[Kosh]

I'm following the Save The Cat model now. At first I was like "formula? Ha! I have no need for hackneyed shenanigans!" But now, I find it more freeing than anything else.

[bison]

...have a general target of 150 pages, but I don't know if I can accomplish that at this point. If I can at least get it UNDER the 3-hour mark (less than 180 pages) would THAT make it acceptable??? I think I can hit 170, but 150 is really pushing it.

That's an epic (Ten Commandments, Gone With the Wind). They are too expensive to make in today's market. You're dead before you start at that size.

[Plot Device]

Bit late to the party here as usual but for your next writing project, outline the script with the major story beats in place. Setup/Hook by page ten, End of Act 1, Midpoint, Climax, Resolution, etc. There are tonnes of different models which are roughly the same - I tend to favour Save The Cat's model.

It took me a long time to take the plunge and limit my creativity to a very rigid structural process with my last script but the endorsement I would give it - that I would never write a script any differently from now on - speaks for itself.

Good luck with yours.

I did outline it. Then I wrote a synopsis. And then a treatment. And then I started writing the script.

I don't know what the "Save the Cat" means. Anyone got a link?

[clockwork]

I did outline it. Then I wrote a synopsis. And then a treatment. And then I started writing the script.

I don't know what the "Save the Cat" means. Anyone got a link?

You should outline with the industry standard page count in mind. That way the major beats will fall on the correct pages and help you keep a more reasonable and expected count.

Roughly, you should hook the audience by page 10, wrap up act 1 by page 25, reach your midpoint by page 55, end act 2 by page 75 and end the script by page 110-120. There are several targets in between, all very well explained in Blake Snyder's book, Save The Cat.

http://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009/ref=pd_bbs_sr_1/002-1710760-1595240?ie=UTF8&s=books&qid=1177802193&sr=8-1

[Plot Device]

You should outline with the industry standard page count in mind. That way the major beats will fall on the correct pages and help you keep a more reasonable and expected count.

Roughly, you should hook the audience by page 10, wrap up act 1 by page 25, reach your midpoint by page 55, end act 2 by page 75 and end the script by page 110-120. There are several targets in between, all very well explained in Blake Snyder's book, Save The Cat.

http://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009/ref=pd_bbs_sr_1/002-1710760-1595240?ie=UTF8&s=books&qid=1177802193&sr=8-1


Wow. And I thought I was doing good when I got Act 1 to end on Page 54 this morning!

Thanks for the info and the link.

[clockwork]

They're certainly not concrete targets that you must hit and understandably it appears to defy the purpose of writing - the idea of being free and creative - but surprisingly, I found it to be a very fun challenege and it remdinded me (after an extended period of particularly lazy writing) that scriptwriting is a craft requiring a respect for what is actually a pretty perfect formula and that by resisting that discipline I was really only hurting my writing and wasting a lot of time. :rolleyes:

[Plot Device]

They're certainly not concrete targets that you must hit and understandably it appears to defy the purpose of writing - the idea of being free and creative - but surprisingly, I found it to be a very fun challenege and it remdinded me (after an extended period of particularly lazy writing) that scriptwriting is a craft requiring a respect for what is actually a pretty perfect formula and that by resisting that discipline I was really only hurting my writing and wasting a lot of time. :rolleyes:

I recall Perter Jackson exlaining that the delimma of cutting down the LotR script was solved when he made the decision to make the story "Frodo-centric" and eliminate everyone else's side-stories. Perhaps I should make my script "Galvin-centric" and slowly bring pieces of David's story in only as needed.

[Bravo]

...have a general target of 150 pages, but I don't know if I can accomplish that at this point. If I can at least get it UNDER the 3-hour mark (less than 180 pages) would THAT make it acceptable??? I think I can hit 170, but 150 is really pushing it.

That's an epic (Ten Commandments, Gone With the Wind). They are too expensive to make in today's market. You're dead before you start at that size.


no one will read 180 pp in hollywood.

in all honesty, the current standard is b/n 90-110 pp.

anything over, youre shooting yourself in the temple.

a nice clean death.

[MegaData]

The character in my story does not have a clean death... and there's so much to tell after the "Hero's" death that I am not sure how to end it.

[scripter1]

Jackson had it right. He focused in on ONE character.
Galvin-centric is a great idea.

[nmstevens]

[quote=Plot Device;1295711]Well, this is quite the mixed bag of responses. Some nice, some not so nice. And I wanna thank Derek for directing people's attentions to that other thread and diffusing the abuse I was getting.


The word "crap" is something I found particularly hurtful and unnecessary, especially since that poster doesn't even know the story I'm writing. (And my mother DID read my script and she liked it a lot, thank you.)


The word "crap" I'm afraid, is one that is so commonly used in the business -- especially when talking about scripts (guy walks into room, sees you reading a script, says -- so, what's that piece of crap you're reading?) that you shouldn't necessarily take it personally.

Not all stories are two hours in the telling.


That is certainly true -- but what people are telling you is that there are realities in this business, and these are two of them:

1) The chances of a spec script from an unsold writer selling that strays significantly outside of the generally accepted parameters for spec scripts generally (of which a length of around 110 pages is one) has even less than the already minimal chance of selling.

2) Beginning writers frequently overwrite and imagine that a script that absolutely positively has to be X pages long, in fact, can be substantially shorter without losing that which is *essential* to the emotional and thematic heart of the story.

I wanna TRY to make this one fit the two-hour mold, but it's getting difficult. I'm now down to 215 pages and I'm cutting so deeply I'm afraid I'm gonna hit a major artery soon. So either I sell it as a mini-series, or I amputate one of my subplots.

Okay -- here's another reality:

3) unsold writers cannot sell mini-series. They are always assignments -- that is, they are developed internally and then they hire an established writer to write it "assign" the writing of it to somebody.

So it won't be a mini-series.


I can't imagine I'm the only one who thinks up elabortae story arcs. Surely others here have lengthy stories kicking around in their heads. Am I the only one who actually wrote one out?

That's what novels are for. That's what potential sequels are for.

But if you are writing a spec and you are doing that with a serious intention of trying to sell it, then you must accept that you are profoundly reducing already very steep odds of selling it by sending it out at anything much beyond 110 pages.

I'm a professional writer, and the contracts that I sign explicitly state that I can't submit a draft that is longer than 120 pages, and even with that written into my contract -- I'd never submit a draft that is 120 pages.

I do whatever it takes to get it under 115 pages. Between 100 and 110 is always what I aim for.

NMS

[Kosh]

I think a great way to think of it is the way you think of poetry. A Hiku has a certain form; if you have an idea for a hiku, but it doesn't quite fit, then you have to use your writing muscle to find the right words. From what I've heard from other writers, having constraints can actually help you develop you talents.

[NikeeGoddess]

tangent alert!
i love the word crap! i use it to counter any unnecessary sweetness. if one writes their script on toilet paper it makes for good reading in the john and has another use for the reader as well. and 215 page script is quite useful if you have diarhea. ;)

back on topic:
what everyone else said about deep cutting and focus. and read those script secret tips -- links posted by scripter earlier in the thread.

the good thing about writing on a computer. you can cut entire sections, scenes, and characters and save them. you can always put them back. but with the exhaustive rewriting that is usually necessary you'll probably soon realize that you're better off without them and forget they even existed. massive overwriting can be quite useful because then you have so much to choose from for the finished product.

i suggest you read some scripts from movies that are similar to what you want to accomplish. you can't see what they've cut but you can see how the style is not overwritten with full pages of talking heads and stuff like that.

[Plot Device]

Well, this is quite the mixed bag of responses. Some nice, some not so nice. And I wanna thank Derek for directing people's attentions to that other thread and diffusing the abuse I was getting.


The word "crap" is something I found particularly hurtful and unnecessary, especially since that poster doesn't even know the story I'm writing. (And my mother DID read my script and she liked it a lot, thank you.)


The word "crap" I'm afraid, is one that is so commonly used in the business -- especially when talking about scripts (guy walks into room, sees you reading a script, says -- so, what's that piece of crap you're reading?) that you shouldn't necessarily take it personally.

Not all stories are two hours in the telling.


That is certainly true -- but what people are telling you is that there are realities in this business, and these are two of them:

1) The chances of a spec script from an unsold writer selling that strays significantly outside of the generally accepted parameters for spec scripts generally (of which a length of around 110 pages is one) has even less than the already minimal chance of selling.

2) Beginning writers frequently overwrite and imagine that a script that absolutely positively has to be X pages long, in fact, can be substantially shorter without losing that which is *essential* to the emotional and thematic heart of the story.

I wanna TRY to make this one fit the two-hour mold, but it's getting difficult. I'm now down to 215 pages and I'm cutting so deeply I'm afraid I'm gonna hit a major artery soon. So either I sell it as a mini-series, or I amputate one of my subplots.

Okay -- here's another reality:

3) unsold writers cannot sell mini-series. They are always assignments -- that is, they are developed internally and then they hire an established writer to write it "assign" the writing of it to somebody.

So it won't be a mini-series.


I can't imagine I'm the only one who thinks up elabortae story arcs. Surely others here have lengthy stories kicking around in their heads. Am I the only one who actually wrote one out?

That's what novels are for. That's what potential sequels are for.

But if you are writing a spec and you are doing that with a serious intention of trying to sell it, then you must accept that you are profoundly reducing already very steep odds of selling it by sending it out at anything much beyond 110 pages.

I'm a professional writer, and the contracts that I sign explicitly state that I can't submit a draft that is longer than 120 pages, and even with that written into my contract -- I'd never submit a draft that is 120 pages.

I do whatever it takes to get it under 115 pages. Between 100 and 110 is always what I aim for.

NMS

Thanks, NMS. :cool:

Rep point for you! :D

(PS--are you Moze?)

[Plot Device]

I think a great way to think of it is the way you think of poetry. A Hiku has a certain form; if you have an idea for a hiku, but it doesn't quite fit, then you have to use your writing muscle to find the right words. From what I've heard from other writers, having constraints can actually help you develop you talents.

This is good advice, Kosh. Thanks. :cool:

[Plot Device]

And in case anyone's interested, I'm now down to 178 pages. So I've already eliminated 90 pages from the original 270.



:snoopy: :snoopy: :snoopy: :snoopy: :snoopy:


I've also moved the close of Act 1 back from page 60 to page 48. My next goal is to slide it back even further to page 35.

[Plot Device]

Okay, for anyone who cares...........

I cut some more and I am down to 162 pages. Act 1 ends on page 38, and Act 2 ends on page 123. So technically, I have the correct structure, I just need to reduce all three acts by another 25% each.

Act 1 = 38 pages but needs to equal 30 (so I gotta kill 8)

Act 2 = 85 pages and needs to equal 60 (so I gotta kill 25)

Act 3 = 39 pages and needs to equal 30 (so I gotta kill 9)

Can I do it? I think I can ............. maybe. (Maybe.)




I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can.
I think I can...........

[scripter1]

strides and significant progress.
I would venture to say that you are at a point of a reasonable first draft.
It is better to cut and delete then to try to and fluff up.


As far as scripts making a replacment for TP, aren't we only supposed to use a single sheet? Granted, script paper is bigger and should go farther.


Paper cut anyone?







(sorry)

[Plot Device]

strides and significant progress.
I would venture to say that you are at a point of a reasonable first draft.
It is better to cut and delete then to try to and fluff up.



I confess, in addition to actual cutting, I did tweak a formatting element or two (not by much, mind you) to squeeze a few extra pages out. (I did that in Rich text, not Final Draft.) Last year on another script I tried the "tight" and "very tight" features in Final Draft, and that just resulted in ridiculously unacceptable changes in formatting that fell way outside of industry tolerances. I'm shocked Final Draft even bothered including them since they seem to be good for nothing other than saving paper when you print--not that you're going to submit such a copy to any producer. But the homegrown and manual changes I did yesterday are far more subtle and less noticeable.

Beyond merely trimming the fat, I've also amputated a few limbs. It hurt--it REALLY hurt. But I did it. Now I have just three more sacred cows fro my text that I can't bear to kill, but I suspect I will have to. And they represent an additional 20 pages in total. I need to do it slowly and delicately, otherwise, the patient could go into shock and die.


As far as scripts making a replacment for TP, aren't we only supposed to use a single sheet? Granted, script paper is bigger and should go farther.


Paper cut anyone?







(sorry)

Californians LOVE to recycle. :D

[NikeeGoddess]

now that's what i'm talkin' about!

roll with the punches! it makes you stronger... and forces you to excersize in being witty. ;)

go green! it's the new fad.

[zeprosnepsid]

I would say you should finish this script at whatever length is best for the script and then write something else for a spec script. If you can bang out 270 pages, then 90 will be nothing.

But I've looked at your posted pages and see that it's a dramedy. There's no such thing as a three hour dramedy. Three hours would be fine for a epic, historical piece, western, maybe even a biopic -- but dramedy, it's doubtful.

Also, you are trying to show us stuff in dialog you can show us in visuals. People don't have to tell us what they do, we can tell often by what they're wearing.

I tried to read the excerpt but couldn't get past Gavin telling us about different kinds of tourism or some such, then I found myself scanning and lost interest.

Just try to be more economical with your dialogue. Like a poet. What is the most succinct way to get this information out?

Good luck to you though. I'm sure you can tighten the script up to 120 if that's what you want to do.

[Plot Device]

I would say you should finish this script at whatever length is best for the script and then write something else for a spec script. If you can bang out 270 pages, then 90 will be nothing.

I'm enamored with this scipt though. So I'm going to try and get it down in length.


But I've looked at your posted pages and see that it's a dramedy. There's no such thing as a three hour dramedy. Three hours would be fine for a epic, historical piece, western, maybe even a biopic -- but dramedy, it's doubtful.

I know. :( I'm trying. :(

Also, you are trying to show us stuff in dialog you can show us in visuals. People don't have to tell us what they do, we can tell often by what they're wearing.

Can you be more specific?

I tried to read the excerpt but couldn't get past Gavin telling us about different kinds of tourism or some such, then I found myself scanning and lost interest.

Honesty is appreciated. :)


Just try to be more economical with your dialogue. Like a poet. What is the most succinct way to get this information out?

I have killed 120 pages (two whole hours) so far. So yes, I am on that road already. :)

Good luck to you though. I'm sure you can tighten the script up to 120 if that's what you want to do.

Yes I do! :cool:


I am now down to 144 pages.

Act 1 ends on page 32 (32 pages long, gotta kill 2 more).
Act 2 ends on page 107 (75 pages long, gotta kill 15 more).
Act 3 ends on page 144 (37 pages long, gotta kill 7 more).As for Act 1 ....

I have reduced the opening scene (that dreaded 17-page town meeting that everyone found to be such a snooze-fest) down to just 7 pages.
I kept the phone call between Donna and David relatively intact, but I eliminated Galvin's dual-dialogue that was competing with their phone call.
David's speech is less than half a page now.
I also changed Owen's name to Gary, and I had him leap up out of his seat and shout out "There are angels out on Highway 7!" right near the bottom of page 1 instead of having him hold off until page 5.
I also managed to have one of the more intriguing hooks slide itself in right under the wire at the very bottom of page 10.I originally thought that slicing all this stuff out would decimate my script and make it feel rushed. Instead the trimming imbued the script with energy. I can feel the briskness of the plot now.

I mistakenly thought I had to introduce EVERYONE in that opening scene. And I also mistakenly assumed it was critical to reveal ahead of time what everyone's day-job was. Instead, I have staggered some of my character introductions for later scenes. And in addiiton, I have opted now to merely imply their jobs/professions later on by having them show up in certain clothes/uniforms when their jobs are called for by the plot. And it all flows more organically now.



Did I kill anything and later slide it back in again? (Or ... did I go backward after making all that progress?)
Yes I did. I restored the equivalent of 3/4 of just one page after cutting out over 120.



Did I eliminate any subplots?
No. I've managed to hang onto BOTH of my protagonists and keep their two separate story arcs intact.


Are there any Sacred Cows I am staunchly refusing to cut?
Yes. I have been holding out on cutting ANY of the diaogue by Doctor Vincente. His dialogue is utterly precious to me. And it's also easily the most baroque dialogue in the whole script (I have a Shakespearean actor in mind for him as I write him). But tonight I actually took a blade to his dialogue for the very frist time, and I barely trimed his toenails. True amputations of his dialogue have not yet taken place, but I will work my way up to it soon.


What was the most helpful bit of advice that was given to me here?
-- I care too much about small characters.
-- I need to stop focusing on what is "important" and instead focus on what is "vital."
-- I should force the viewer to chase after the information via implication and deduction, instead of handing it to them so blatantly (or, I should assume they have half a brain).