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HOW DOES A READER "COVER" A SCRIPT?
My Fellow Writers,
This week, I'd like to pull back the curtain on professional readers, and pass along some insights as to how they look at scripts. In doing so, I hope to point out the mistakes that will get your script passed on every time. Of course, every reader has a different work style and varying experiences, but there are some basic notions that remain the same.
First, let's talk about the life of the reader. The reader is the lowest person on the development totem pole. That's actually not as bad as it sounds, because it means that they're possibly on track to become development executives themselves. It's also the reason that they're often called "gatekeepers" -- they're the first line of defense against terrible scripts invading a production company. Their experience ranges from days to decades. If they're freelance, they're trying to get through your script as quickly as possible. If they're staff, they may be overloaded with dozens of scripts in a pile on their desk -- and they sometimes won't even have to read your whole script if they're not hooked in the first ten pages. Not only that, there's a decent chance that they're just be reading on the side of a full-time assistant job, just to get a leg up.
Whatever the case, know that whoever reads your script will be overworked, underpaid, underappreciated, and in the midst of "paying his or her dues." They might be a writer as well. While you think this might give them a better appreciation of just how hard it is to write a script (and so make them less harsh), it can also have the effect of making them the toughest critics. Still, readers (and executives and producers, for that matter), really do want your script to be great and easy-to-read, because (1) it makes their job easier and more palatable (as there are many, many dreadful scripts out there), and (2) if they're trying to move up in development, finding and recommending a good script can help them.
Another thing everyone should know is that even the best scripts are only going to hook about 20% of the readers. Thirty percent is phenomenal - a USUAL SUSPECTS in the making. You can't get them all, no matter what you do. But you can avoid the most common mistakes -- the things that readers most often use to "pass" on a script.
So here's how coverage works: The reader is assigned a script, often along with many others. They're sometimes given the elements (who submitted it, stars, directors, financing, etc.), and two days to read it (or over the weekend for scripts given on Thursday or Friday). Most experienced readers can read and do full coverage on a feature-length script in about two to three hours.
After the readers read the script, they make up their own logline for it, then do a summary (usually one to two pages). The best readers can capture the tone of the script in their summary, though they don't usually bother doing this unless they really love it.
Next comes the part that really matters - the analysis. Readers look at some combination of the following aspects of your script: premise, story/structure, characters, dialogue, and an overall view. I'd like to speak briefly about each section.
PREMISE: I've actually found that most scripts at least have a decent premise - though most of the reading I've done over the past five years is of scripts that have already been sold. The most common mistakes that writers make on the premise is matching another movie (or other movies) too closely, either in tone or in concept. It just feels like something we've all seen before. This makes the script an easy target for the reader - meaning they'll be able to "pass" on it based on premise alone. In fact, it's not uncommon for even well-written scripts to be passed on because of problems with the premise. One well-written script by a top writer collected passes all over town because it undermined the credibility of rape victims - and why would any of us want to see that movie get made anyway!? If your script is bigoted, hateful, overly violent, ethically flawed, or otherwise empty-headed, don't even bother.
Make sure that, even if you're in the area of other movies, you really give yours a unique spin and tone. Also, no scripts about writers moving to Los Angeles. And no sequels to movies already written. Consider commercial aspects of moviemaking, but keep them in the back of your mind. Think about this for a minute - you're going to be spending anywhere from six months to several years writing your script. Make the damn premise something worth doing - something that is personal to you. Something you love. That's the only way to make it truly unique and compelling.
STORY/STRUCTURE: This is, of course, where most scripts fall apart. It's the difference between an idea and a movie. A good chunk of scripts are passed on because "the plotting didn't live up to the potential of the premise." The mistakes that writers usually make include contrived plot points - things that are so convenient or unlikely that they could only happen in a movie. Those things will kill your whole script. If a plot point seems even a tad shaky, you better believe that the reader is going to catch it and use it as a reason to pass. Your script has to be perfect. The opening needs to grab the reader. The transitions need to be dynamic and the pacing needs to keep the reader turning the pages. The ending needs to be satisfying -- neither too abrupt or overly long.
Another weakness that readers point to involves subplots that are not resolved, or don't have anything to do with the main storyline. You have to strike a delicate balance between adding texture with those subplots and accidentally overwhelming the central story. It's no fluke that almost every writing book and writing teacher tells us that scripts are about one thing and one thing only. Don't try to reinvent the form just because it would mean cutting out your favorite scene. Make sure each scene moves that central story forward.
Also, in terms of structure, try to avoid using flashbacks and dream sequences. Most often, they don't work, especially in screenplay form. If you do have such scenes, keep them concise and clear, or you're going to lose the reader. When the reader starts skimming, you're in deep trouble.
CHARACTERS: After you've rewritten your script fifty times and you really think you've got it polished up and you're ready to send it out, go rewrite it again a few times to make the characters distinctive. Far too often, the characters have no inherent personality traits, and their actions are dictated solely by the plot. This, in turn, makes them inconsistent and unpredictable - plot devices more than fleshed-out characterizations. Also -- and this is a personal preference -- try not to make every last one of your characters despicable. Reading through a script where ever character is a lowlife is a truly miserable experience for most readers. Audiences experience films through the characters, but often, writers make the mistake of letting the plot carry too much of the burden of moving things forward. Create roles that actors are going to jump at - distinctive, fresh, lively, realistic characters.
DIALOGUE: Usually, the dialogue just follows the rest of the script - it doesn't stand out or deviate from the quality of the premise, story, and characters. In my opinion, fantastic dialogue won't save a terrible script from a pass, and below-average dialogue won't sink an otherwise good story and premise. But it is a good way to help make the characters more distinctive. It's also often the most rewritten part of a script. Writers get a structure in place, and, right or wrong, leave it there and just work on the dialogue. Very experienced executives aren't all that concerned about a few lines of below-average dialogue - they figure they'll pay someone to fix it. Be careful in trying to recreate dialects - it goes wrong more often than it goes right. Probably the most common mistake is to have too much exposition in the dialogue. Be careful of this, since it not only gets you bad marks in the "dialogue" section, but it also slows down the pacing of the story.
OVERALL: The overall view summarizes the four aspects above and puts them into a thesis of sorts. It's basically an argument for the reader's position. If the reader's on the fence, all you can hope for is that they just have a personal liking for the script, the concept, one of the characters, or something else about it, because then they'll point out all of the positives, barely mention the negatives, and give the script a "Consider." If they love the script, it will be a "Recommend."
Most scripts get a "Pass," of course, but don't let that stop you. Everyone has different tastes. If you're finding that your script is getting passed on consistently for similar reasons, then it might be time to reassess it. But Hollywood history is, of course, filled with great movies passed on and horrible movies recommended. Educate yourself in the business, develop your craft, and write a script that truly satisfies you (and a few trusted reader friends). Then fight to get it out to everyone possible, and let the Readings begin!
Good luck. All you Write Every Day people out there -- keep it up -- the one-month mark is only a week away!
Ex-Reader,
Grady
P.S. Every week, I've said what's coming in the next column, but for three weeks in a row, I've changed my mind mid-week. So, next week, I'll just start typing and see what happens. In the meantime, you can contact me at EmailGrady@aol.com. A few people have already given me suggestions for future topics - feel free to do the same if there's something you'd like me to discuss that can't easily be covered in the Q&A section.
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