1. Feature film script should be between 95 and 120 pages in length.
Never longer. A script over 120 pages needs editing.
Never shorter. A script shorter than 90 pages is too short.
The perfect length is 100 pages for comedies, 110 for dramas.
Cheat your margins if you have to, but better yet write and cut to the correct length.

2. Do NOT use camera directions. Ever.
(Note: Historically, writers used to employ camera directions, but the practice is no longer in vogue.)
Do not use words like CAMERA, CLOSE UP, LONG SHOT, DOLLY, PAN, or anything else that refers to the camera.
Do not use CUT TO or any references to editing.
At the beginning of the script, you may use FADE IN.
At the end of the script, you may use FADE OUT.
Please use a maximum of two dissolves in the entire script. If any.
Dissolves are not generally well-received, disdained by directors and studio readers.

3. Dialogue should generally be one to three lines long. Only occasionally should dialogue exceed four lines. Keep it short and simple.
A few monologues may be acceptable, but even they should be broken up with action (e.g. ‘he drags on a cigarette’), so they are under ten lines in length. Long stretches of one character talking are boring and hard to read.

4. Scene description should be kept to a minimum.
Many studio executives and readers may actually skip over scene description. If they can’t get the story from the dialogue, some may feel frustrated and stop reading.
Scene description should be one to three lines in length, and never more than five lines without a break.
When describing significant amounts of action, break the description into logical paragraphs, separated by double spacing.

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Yes this is spot on.

Though hopefully this doesn't discourage anybody.

I've been writing for a good while and there always exceptions to these rules, but this is a definitely sticking point, especially for spec scripts.

I first wrote my first feature about ten years ago... it was properly formatted to the dismay of the producer and he was delighted and smiled as he looked the script over - the first and VERY first thing he did after checking formatting was fan to the end of the script, and then his smile faded- my script was 75 pages. That's too short for a feature length film.

He closed it and handed it back to me and said when it's get to around 90 pages or more send me that draft.

ONe other thing I want to add is a little phrase to remember: Don't tell show.

By that I mean try not to use the words "We, are and is" find ways around them. Below are two examples:

EX 1:

EXT. OFFICE - DAY

We see a middle aged ma, JOHN (45). He is unshaven he has a handle bar mustache that covers over his upper lip. We see John standing outside smoking a cigarette.

John takes a final puff of his smoke. Next to John are two receptacles, one is a ashtray for cigarette's on the top and the other is for recycling. John throws his cigarette into the ashtray and opens the door, and walks inside.


EX 2:

EXT. OFFICE - DAY

JOHN, middle-aged, scruffy with his handle bar mustache drooping over his upper lip stands on the steps outside the office doors puffing on his cigarette.

John takes a final puff and flicks the cigarette into the ashtray, he turns to the door, grabs the handle and pulls the door open.

He walks in side.

So which one is written better? If you said number 2, then bravo. The reason for this is we are NOT there. There is no real need for "We see" as this is a medium that will be shown on the screen. Actors should have enough knowledge to transfer words to actions. Sure you can't just say John stands outside - be more specific than that and instead of using "beat" and "pause" regularly, try to find something else like give the actor something to do. The actor should know when to pause and when to fly through dialogue and if there's a question, that can come later during on set or in meetings.

Good stuff Gary!!

Rules here too, which you may or may not like: http://www.clickok.co.uk/index4.html