What Do Writers Mean When They Say "Economy in Storytelling"?

I was giving advice to some younger writers this week, and I talked about "economy in storytelling," and they looked at me like I was crazy.

It dawned on me that the average writer may not have heard this before, so I wanted to enlighten them and talk about it today.

With page counts bloating and stories getting far too long, it seems like a good time to talk about why your spec script should be short and to the point, or at least, contain new and exciting information on every page.

Whether you’re a budding writer, an avid reader, or a film enthusiast, understanding this concept can transform your approach to storytelling.

Let's get started.

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"Economy in Storytelling" Definition and Meaning

"Economy in storytelling" is a phrase commonly used among writers, and it refers to the practice of telling a story as efficiently as possible.

This concept is key in all forms of writing, but it's especially crucial in screenwriting, where space or time is limited.

Why Do Writers Use Economy in Storytelling?

Look, economy in storytelling is defined by not wasting the audience's time. You have to hook them and keep the pages turning.

The moment they get bored...you may never get them back.

In a world where people are scrolling TikTok while watching Netflix, you have to make every single frame and every line of dialogue fight for its life.

People will use any excuse to ignore your work.

Here is why you need to tighten the screws on your next draft:

1. Stop Over-Explaining

We’ve all heard "Show, Don't Tell" until we’re blue in the face, but in screenwriting, it’s the law.

This is a blueprint for a movie or a TV show. Give them what they need to see it in their head, and then move on.

If a character is sad, don't have them say, "I am sad." Have them stare at a cold cup of coffee for three minutes.

Visuals are your best friend. They will get imagiantions working and allow the reader to see the movie.

2. Kill Your Darlings (and Your Subplots)

If you have a scene that you love but it doesn't actually drive the story toward the climax, cut it. Redundancy is a script-killer.

That's why I tell everyone to read their stuff out loud. Once you've heard the information, you don't need to go over it twice.

Each scene needs to be fresh.

If two scenes accomplish the same thing, pick the better one and delete the other. The same goes for those "extra" characters who are just taking up space in the credits.

3. Lean Into Subtext

One the nose stuff sucks. You want the audience to work for what you're bringing them.

You don't need to state the theme in a monologue. Let the subtext do the heavy lifting.

When characters say one thing but mean another, the audience engages more because they’re busy reading between the lines. It makes the world feel lived-in and real.

4. The "So What?" Test

Every scene needs to pass the "So What?" test. Does this scene change the direction of the movie? Does it force the protagonist to make a choice?

Why is this scene in the movie? Would the movie or show change without the scene in it?

If the answer is "no," or "it just looks cool," you’re bloating the page count.

Cut it and move on.

Be ruthless.

Summing It All Up

You should value each word you write. People who read screenplays want to get to the point ASAP. Give them as muc has they need to entice their imagination. but not so much that it turns them off.

The art of saying more with less is a skill that will undoubtedly elevate your storytelling craft.

Now, go get back to writing.