Film or series: the question behind every adaptation pitch
Before anyone writes a script, someone has to decide what shape the screen version will take. A two-hour film, a single season that finishes the story, a show that runs for years, or a vertical phone series of very short episodes. Each of those is a different product with a different budget, a different kind of buyer and a different set of cuts to your book.
Authors often skip this step and pitch "the movie" by default. That can be a mistake. A 140,000-word novel with five narrators will lose most of what readers love if it is squeezed into 110 minutes. A tight 70,000-word thriller with one narrator and a single night of action will feel padded if it is stretched across eight hours of television. The format should follow the shape of the story, not the other way round.
This tool scores your book against four formats using seven facts you already know about it. It does not judge whether the book is good. It measures fit: how well the length, cast, subplots, time span, series size, genre and ending match what each format can hold.
The four formats, defined plainly
Feature film
A single film, usually 90 to 130 minutes when released in cinemas or on a streaming service. The Academy of Motion Picture Arts and Sciences counts anything over 40 minutes as a feature for its awards, but most adaptations of full-length novels land well above that. A feature has room for one lead, one main plot and one or two subplots. Everything else is cut or merged.
Limited series
One season, often four to ten episodes, that tells a complete story and then stops. For the Emmys, the Television Academy defines a limited series as two or more episodes with a total running time of at least 150 program minutes, telling a complete story that does not continue with the same storyline or main characters in later seasons. Six to eight hour-long episodes give a novel three to four times the running time of a two-hour film, which is why many literary novels, multi-narrator mysteries and family dramas go this way.
Ongoing series
A show designed to run for several seasons. It needs a situation, a world or a central question that can keep producing story year after year. Long book series are the natural source, because each book can become one season. A single standalone novel with a closed ending rarely suits this format unless the writers plan to invent new story beyond the book.
Micro-drama
A scripted series filmed vertically for phones, with episodes of roughly one to three minutes. A single title often runs to 60 or 100 episodes or more. On most apps, viewers watch the first several episodes free and unlock the rest with coins, a subscription or by watching ads. The format rewards fast romance, revenge, hidden-identity and family-secret stories with a twist at the end of almost every episode, and it punishes slow openings and inner monologue.
How the score works
Every format starts at 50. Each of your seven answers adds or subtracts a fixed number of points for each format. The points for all seven answers are added up, halved, and added to 50. The result is capped between 0 and 100. That is the whole formula, and the table in the tool output shows every number so you can check it.
Halving the total keeps scores readable. Without it, a book that fits a format on every count would score far above 100, and a book that fits on none would fall far below zero. Halving keeps most results between about 10 and 95, which makes the gap between formats easy to read.
Word count
Word count is the single largest driver because it sets how much story there is to fit.
| Word count | Feature | Limited | Ongoing | Micro |
|---|---|---|---|---|
| Under 60,000 | +10 | -10 | -10 | +15 |
| 60,000 to 100,000 | +20 | +10 | 0 | +10 |
| 100,001 to 130,000 | +5 | +20 | +5 | 0 |
| Over 130,000 | -15 | +20 | +10 | -5 |
The feature film peaks in the 60,000 to 100,000 range because that is roughly how much story a two-hour film can carry after normal cuts. Above 130,000 words, a film has to drop so much that the score falls below the starting point. A limited series rises with length because it has the hours to use the material.
Point-of-view characters
A point-of-view character is anyone whose eyes the reader sees through for whole chapters. One narrator gives the audience a single person to follow, which suits a film and a micro-drama. Four or more narrators each need screen time to earn the audience's attention.
| Viewpoints | Feature | Limited | Ongoing | Micro |
|---|---|---|---|---|
| 1 | +10 | 0 | -5 | +15 |
| 2 to 3 | +5 | +10 | +5 | +5 |
| 4 or more | -15 | +15 | +15 | -15 |
Subplots
Count only storylines with their own beginning, middle and end, separate from the main plot. A romance that runs beside a murder investigation is a subplot. A single scene with a neighbour is not.
| Subplots | Feature | Limited | Ongoing | Micro |
|---|---|---|---|---|
| 0 to 1 | +15 | -5 | -10 | +10 |
| 2 to 3 | +5 | +5 | 0 | +5 |
| 4 to 5 | -5 | +15 | +10 | -5 |
| 6 or more | -15 | +10 | +15 | -10 |
Time span, series size, genre and ending
A story that covers a few days compresses well into one film. A story that follows a family across decades needs either many episodes or heavy use of time jumps, which films handle less gracefully.
| Time covered | Feature | Limited | Ongoing | Micro |
|---|---|---|---|---|
| Days or weeks | +15 | 0 | -5 | +5 |
| Under a year | +10 | +10 | 0 | +5 |
| One to ten years | -5 | +10 | +10 | 0 |
| Decades or more | -15 | +10 | +15 | -10 |
Series size works the other way. A standalone gets +10 for film and limited series and -15 for an ongoing show. Two or three books shift the balance toward ongoing (+10). Four or more books give the ongoing series +20 and pull the film down to -10.
Genre adds a smaller nudge. Romance gets +20 for micro-drama because the format is built around romantic and revenge stories. Thriller and horror get +10 for film because tension over a short, continuous running time is what those genres do best. Fantasy gets +10 for an ongoing series because invented worlds usually need more screen time to build. Literary fiction, mystery and historical sagas lean toward the limited series.
The ending is the last input. A closed ending, where the main question is answered on the last page, adds +10 to film and limited series and takes 10 from ongoing. An open ending does the reverse, adding +15 to the ongoing series.
A worked example: a 90,000-word standalone thriller
Take an illustrative thriller: 90,000 words, one narrator, two subplots, a story that covers a few months, a standalone, and a closed ending. These are the tool's default answers, so you can run it and follow along.
Here is how each answer scores for the feature film:
- Word count of 90,000 falls in the 60,000 to 100,000 band: +20.
- One viewpoint: +10.
- Two subplots: +5.
- Under a year of story time: +10.
- A standalone: +10.
- Thriller: +10.
- Closed ending: +10.
The total is 75 points. Half of 75 is 37.5. Fifty plus 37.5 is 87.5, which rounds to 88.
Now the limited series: +10 for word count, 0 for one viewpoint, +5 for two subplots, +10 for time span, +10 for a standalone, +5 for thriller and +10 for the closed ending. That totals 50, half is 25, so the score is 75.
The ongoing series collects 0, -5, 0, 0, -15, 0 and -10, a total of -30. Half is -15, so the score is 35. The micro-drama collects +10, +15, +5, +5, +5, +5 and +5, a total of 50, which also gives 75.
So the result reads: feature film 88, limited series 75, micro-drama 75, ongoing series 35. The feature film leads by 13 points. The tool calls a lead of 10 or more a clear fit and shows a pass. Under 10 points, it shows a close call and asks you to treat both leaders as real options.
The three biggest reasons listed for the film are the word count (+20), the single viewpoint (+10) and the time span (+10). When points tie, the tool lists the answer that appears first on the form.
Two more examples, and what they show
An epic fantasy that is clearly a series
Picture the first book of an illustrative four-book fantasy saga: 160,000 words, five narrators, seven subplots, a story spread across generations, an open ending. The feature film collects -15 for length, -15 for five narrators, -15 for seven subplots, -15 for decades, -10 for four books, -5 for fantasy and -10 for the open ending. That totals -85. Half is -42.5, and 50 minus 42.5 gives 7.5, which rounds to 8.
The ongoing series collects +10, +15, +15, +15, +20, +10 and +15, a total of 100. Half is 50, so the score is 100, the cap. The limited series scores 75 and the micro-drama 30.
The result tells you something useful beyond the winner. A score of 8 for the film means a single movie would have to throw away almost everything readers come for: six of the seven subplots and three of the five narrators. If someone offers to option the book as a film, that score is a reason to ask how they plan to handle the rest of the series.
A short romance where two formats tie closely
Now an illustrative 55,000-word romance with one narrator, one subplot, a few months of story, a standalone and a happy, closed ending. The feature film totals 70 points and scores 85. The micro-drama totals 75 points and scores 88. The limited series scores 58 and the ongoing series 25.
A three-point gap is a close call. Both formats fit. The film keeps the slower emotional scenes that romance readers value. The micro-drama keeps every reversal and turns the book into dozens of short, cliffhanger-driven episodes. Which one you pitch depends on which version you would rather see, and on whether the book has enough twists to end nearly every episode on one. If the twists are thin, the film is the safer choice even though it scored three points lower.
Reading the "keep" and "cut" rows
The comparison table shows what each format would keep and cut from your book. These rows use your own numbers.
For the feature film, the tool keeps the main plot, one subplot and up to two viewpoint characters, then tells you how many subplots and viewpoints are lost. With two subplots and one narrator, the film cuts one subplot and no viewpoint threads. With seven subplots and five narrators, it cuts six subplots and three viewpoints.
For the limited series, the tool estimates the number of episodes by dividing the word count by 15,000 and keeping the result between 4 and 10. A 90,000-word book gets about 6 episodes; a 115,000-word book about 8. That divisor is a planning shortcut, not an industry rule. It keeps the estimate in the range where most limited series sit. The limited series keeps up to four subplots and merges or drops any beyond that.
For the ongoing series, the tool suggests about one season per book. If you have a closed standalone, the cell warns that the book supplies no story for a second season.
For the micro-drama, the cuts are always the same kind: secondary narrators, slower subplots, most description and almost all inner thought. What survives is the central conflict and every twist.
What the scores do not measure
The score looks only at the shape of the story. Several things that decide real adaptation deals are outside it.
- Rights. If you sold film or television rights with your publishing contract, or a producer holds an option, the format decision may belong to someone else. Read your contract or ask your agent before you pitch.
- Budget. A fantasy with dragons and a contemporary drama in two houses can both score well as a limited series. They cost very different amounts to make.
- Audience proof. Sales, reviews and a reader following make any format easier to sell.
- Who is buying. A broadcaster, a streaming service, an independent producer and a vertical-series app each want different things. Know who you are pitching before you choose a format.
Treat the score as a way to choose which format to lead with, and to understand what that choice costs your book.
How to change the result honestly
Some authors run the tool, dislike the answer and adjust the inputs until the format they wanted wins. That defeats the point. A few changes, though, reflect real adaptation choices and are worth testing.
Merge viewpoint characters. If two narrators share most of their scenes, a screenwriter may merge their perspectives into one. Re-run the tool with the lower count to see what that unlocks.
Count subplots strictly. Many authors overcount. If a storyline has no real ending of its own and exists only to support the main plot, it is part of the main plot. Recount and run the tool again.
Define the screen story's span. If your book has a prologue set thirty years earlier and the rest happens in one summer, the screen story may cover one summer with a short flashback. Enter the span of the main action, not the longest jump.
Close the ending for the screen. If your book ends on an open question for a sequel, a film or limited series can still resolve the main plot on screen. Test the result with a closed ending to see how much it changes.
Each of these is a real creative decision that a screenwriter might make. If you would accept that decision, the new score is a fair reflection of the adaptation.
Signs the result is right
Run a quick reality check after you read the scores.
- For a feature film winner: can you describe the whole film in a logline (a one-sentence summary of the story)? If the sentence needs two narrators and three storylines, the film score is probably flattering you.
- For a limited series winner: can you name six to eight moments in the book strong enough to end an episode on? If not, the series will feel stretched.
- For an ongoing series winner: can you say what season two is about in one sentence, and is the answer in a book you have written or planned?
- For a micro-drama winner: can you list at least 40 surprises, reversals or reveals across the book? A 60-episode series needs a turn at the end of nearly every episode.
If you cannot pass the check for the winner, look at the runner-up and run the same check.
After you have a format
Once you know the format, the next tool depends on which one won.
- For a feature film, estimate the running time with the book to film runtime estimator, and use the adaptation scope planner to decide which subplot survives.
- For a limited or ongoing series, use the book to episodes planner to map chapters to episodes and find where each episode should end, then the pilot episode planner to lay out the first episode minute by minute.
- For a micro-drama, use the micro-drama episode planner to set the number of episodes, the hook timing and where the free episodes should stop.
Doing these in order means the numbers you quote in a pitch match each other. A pitch that calls the book a limited series and then describes a 100-minute story will confuse the reader of your pitch.
Common mistakes when choosing a format
Defaulting to film because it sounds bigger. A film is not a promotion from a series. Many readers and buyers prefer a story told fully over eight hours to one cut down to two.
Choosing a series to avoid cutting. Every format cuts something. A series cuts less plot but still drops description, inner thought and minor characters. Do not choose a series only to keep every scene.
Counting scenes as subplots. A subplot has its own arc. A recurring side character who appears in five scenes is not a subplot unless their story changes from beginning to end.
Ignoring the ending. An open ending is a strength for an ongoing series and a weakness for a standalone film. Decide which you have before you pitch.
Forgetting the reader. The format that keeps what readers loved about the book is usually the format that will satisfy them on screen. If readers talk most about the relationship between two characters, pick the format that gives that relationship the most time.
How the format changes your pitch documents
The format you choose decides which documents a producer or development executive will expect to see. Preparing the wrong ones is a quick way to look unready.
For a feature film, expect to be asked for a logline, a one-page synopsis of the film (not the book) and a short list of comparable films released in the last several years. The synopsis should already reflect the cuts: if the tool says one of your two subplots goes, leave it out of the film synopsis.
For a limited series, the usual set is a logline, a one- or two-page series overview, and a short paragraph for each episode describing what happens and how it ends. Use the episode count from the comparison table as your starting point, then adjust it once you have mapped the chapters.
For an ongoing series, buyers look for a show bible or series pitch: the world, the main characters and their long arcs, what a typical episode looks like, and a sketch of where seasons two and three go. If you have written later books, say which book each season covers.
For a micro-drama, the request is usually much shorter: a logline, a short synopsis, the first several episodes outlined beat by beat, and a clear statement of where the first big twist lands. Apps that commission these series often move fast, so a tight outline of the opening matters more than a long document.
In every case, describe the screen version, not the novel. A buyer reading a limited-series overview wants to see episode endings, not chapter summaries.
When two formats score the same
Exact ties are rare but possible. When two formats finish level, the tool names the one that appears first in this order: feature film, limited series, ongoing series, micro-drama. That order is only a tie-breaker, not a preference. Read both "what it cuts" cells and choose the format that removes less of what readers loved.
Sources and rules this page relies on
- Academy of Motion Picture Arts and Sciences, Rules for the Academy Awards. Defines a feature film as a film with a running time of more than 40 minutes. Check the current year's rules before you rely on it.
- Television Academy, Primetime Emmy Awards Rules and Procedures. Defines a limited series as a program of two or more episodes with a total running time of at least 150 program minutes that tells a complete, non-recurring story, with no ongoing storyline or main characters in later seasons (2026 rules). Confirm the current thresholds in the latest rules book.
- Writers Guild of America West, Schedule of Minimums. Shows how television programs are grouped by length for writer pay, which reflects the standard half-hour and one-hour program slots.
- U.S. Copyright Office, Circular 14: Copyright in Derivative Works and Compilations. Explains that a film or series based on a book is a derivative work, and that the right to make one belongs to the copyright owner unless it has been licensed. This page is not legal advice; have an entertainment lawyer review any option or rights contract.
The point values in the scoring tables are this tool's own planning rules, built from the format definitions above and common adaptation practice. They are not published by any of these bodies.