You need them to stick with the story and finish it.
The important thing to remember is that if there are commercial breaks in the movie, you must end that scene with a cliffhanger to ensure the audience does not change the channel or get distracted during the break. An example of this is that some producers want 95 pages for a Hallmark movie, some 105, so go figure. Keep in mind that producers’ opinions vary greatly, and you should always listen to the person who’s paying you. Having worked with producers who tell me exactly what they want, I’ve taken it upon myself to clarify what I’ve learned about writing TV movies, whether it’s a Hallmark Christmas movie, a Lifetime Woman in Peril movie (yes, that’s a genre) or an ABC Family movie. Because I’ve been talking about writing Christmas movies, and most Christmas movies are bought by Hallmark and Lifetime, I decided to address the nine-act structure. At least I could never find much advice online, and what is written, often has the idea left open to interpretation and that makes figuring out how to write a TV movie with commercial breaks even harder. But little is written about the nine-act structure for TV movies. This template works beautifully to give the audience the ultimate experience as they sympathize with the MC (main character) and take the journey to fulfillment. Or not, if you are making a movie in France. The second act is the main part of the film, lasting sixty minutes (ish) and taking us to the point just before the hero takes off with renewed vigor (act three) to achieve their goal and tie things up nicely. The first act is the first thirty minutes (ish) that gets us as far as the protagonist heading off on their adventure. Most screenwriters are familiar with the three-act structure of a feature screenplay.
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