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GOOD READERS ARE HARD TO FIND
My Fellow Writers,
Last week, I warned writers never to send out a script before it's 100% certified and truly ready. But how can you tell if it's "ready" if you don't send it out? Well, one reliable (and cost-free) way is to have trusted readers in your circle who can give you an honest and competent assessment of your work. That's a lot easier than it sounds, because the sad truth is that most people who read your script simply don't do it right. They make fundamental mistakes, and often do more harm than good in helping you to move your script forward.
From my own experience, and from advice I've received from some who are far more experienced than I, I've put together a few tips on reading and analyzing scripts for development:
(1) Focus on the writer's movie, not yours.
This speaks to the underlying notion that, when you're reading a script for a friend, your primary job is to help the writer realize his or her vision, not yours. This is a pervasive problem, reaching from writers' groups to top producers and executives. A person reads a script and makes suggestions that have nothing to do with what's on the page -- brainstorming about new occupations for the lead, a romantic interest that's not there, a plot change that undermines the very core of the story, utterly new scenes or sequences, or even a complete change in genre. The trouble is, this type of discussion quickly becomes so hypothetical that the notes become absolutely useless.
Try to remember that the writer wrote the script for a reason. Either the script (or scene or line) accomplishes what the writer set out to do or it doesn't. If it doesn't, it's often enough to point out what your feelings are on the perceived weakness. Anything more than just a quick and light suggested solution or two is probably going too far. It's the writer's job to figure out how to fix things - and you can brainstorm with the writer after he or she reads all of your notes. However, even in that brainstorming session, try to act more as a sounding board than a co-writer. Find out what the writer is trying to accomplish in the scene or the script - or how they meant for the character to come across. Then give your perceptions of the script as you see it. This will help the writer far more than a bunch of wild ideas about what you'd like the script to be.
And as writers, we have our part in this, too. We have to make sure that the first draft that we give to our readers solves the major problems of the story. It can't be boring, meandering, or otherwise frustrating to read, or even the best of readers won't be able to help it. So work hard and rewrite several times before you even show it to your dog. Then, when you do give it to your first readers, they'll be able to focus on the details and help you kick things in to high gear.
(2) Point out the positives
Your first readers - and most especially those who are writers themselves - are often very good at pointing out what's wrong with the script. The trouble is, readers often forget to point out all the things that are really working in a script. But an accurate critique discusses the positives and the negatives throughout the script and in every aspect - and an analysis that focuses only on the negative is less accurate than it could be. In fact, when you do deliver your notes to the writer, I think it's best to give a general overview of the positives of the script first, even if you believe it's the worst script that you've ever read. Otherwise, the writer may just shut down and stop listening. On the other hand, if the writer sees that you have a sense of what the script is really about, he or she might be more receptive to your suggestions.
A major action writer once taught me a trick. When he reviews a script, he puts a check mark next to the scenes - and even the lines of dialogue - that work particularly well. Two check marks mean it's outstanding. An exclamation point means that it's absolutely perfect and ready to shoot.
This technique helps the writer in several ways. It highlights which scenes are hitting the mark - and which lines they should try to keep in subsequent drafts. It helps the writer to determine how well the pacing of the script is working. It also helps the reader because it keeps the reader focused on the details - a point that's related to the next section:
(3) Write on the script as you're reading
When you're reading a script, you have new thoughts about it on every page. Trust me -- the writer wants to know those thoughts, both good and bad. It's simple, and it helps you give more specific and honest notes. If something's really working, just write "great scene" and keep reading. If something's a little confusing, write a little note in the margin, with maybe a specific word on what you found confusing. Don't wait till the end of the script to do this - do it as you go along.
Also, really listen to your inner monologue as you're reading. If you find yourself laughing, write it down. If you think a character is acting stupid, say so. Paying attention to these subtle, slight, and fleeting feelings about a script can mean the difference between a good reader and a great one. Plus, all of these little notes along the way will help you to support your overall notes with page citations. Therefore, instead of just saying "the protagonist is unsympathetic," you'll be able to show the specific actions that led to your opinion. These are known as "page notes" - they're the most specific types of notes and they're usually given after you deliver more general notes first.
These three general tips are a good start toward making your script analysis more helpful and insightful. Next week, I'll talk a bit about how professional readers look at scripts - and hopefully help you avoid the mistakes that will get your script passed on every time.
That's all for this week. I'm trying to land a rewrite today, and I've got to go do notes on a script myself! Hopefully, I'll actually follow my own advice above. Wish me luck.
By the way, I'm hearing from lots of people who have started their own Write Every Day streak (as discussed in my first column on this website). That's wonderful - keep it up! One day at a time, one hour per day, you'll barrel toward a writing career.
An hour at a time,
Grady
P.S. I'd love to keep hearing about writing streaks out there. I'm reachable at EmailGrady@aol.com. But please, no more letters that begin "Dear Mr. Hall" -- I'm definitely more of a "Hey Grady" . . . maybe even a "Hey Dude." Also, if you have a specific question, you can go to the "Ask a Hollywood Pro" section of the website. In the meantime, get back to writing!
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