script consultant

Here’s a screenwriting truth.

A script is for READERS. A film is for AUDIENCES.

Seems obvious, right? Clearly you can’t have a film without a script but, here’s the deal, our engagement with a script is entirely different than our engagement with a film.

Why?

Because a screenplay is a written document that tells the story in words. This is done in such a way that the reader will visualize the movie in their mind’s eye. Though a script is a blueprint for a story that will be told visually it’s ultimately a piece of writing. Because of this a reader’s engagement with a script is akin to reading a novel.

A film on the other hand is visceral and immersive. A film has the benefit of actors, a visual world, music and special effects. These elements help tell the story in ways that words alone cannot. Given this an audience’s engagement is a lot more focused and full on.

What does this mean for screenwriters?

It means that we have to choose our words very carefully thinking about how the reader will respond. Yes, it’s also essential to keep the audience in mind, but first we need to fully engage the reader and tell a story that will keep them hooked to the very last page.

How can writers keep the reader engaged?

-Immediately grab the reader by getting to the heart of the story quickly. Audiences are engaged with a film from the moment it begins through music, the opening credit sequence and the unique visual world of the story. They have likely seen the trailer and the one sheet and are willing to settle in and let the story unfold. The first pages of a screenplay don’t have this luxury. You have to get to the heart of the story quickly and economically with urgency and tension.

-Clearly establish the world of your story. In a film the unique world of the story is conveyed in every frame. It’s communicated through costumes, set design and music. On the page it’s easy to lose the sense of where the story is set unless we’re reminded of it throughout the piece. With this in mind attention has to be given to the specific detail that communicates the world your story is set in. If your story is set in a rundown urban center this has to be evident throughout the script not just on the first page and then forgotten. You may need more establishing shots or beats that hone in on the kind of details that tell us where the story takes place. On screen the setting is woven into every scene and doesn’t require the same kind of specific focus.

-Establish the visual relationship between characters through their actions. For example if your piece is an interracial romance or involves physical opposites like Laurel and Hardy this relationship will be front and center on the screen. Yet this kind of visual information will soon be forgotten on the page unless it’s apparent in what the characters say and do.

-Succinctly convey action sequences. Action sequences on the page rarely measure up to their on screen version. It’s nearly impossible to convey the excitement and spectacle of adrenaline fueled action sequences without the benefit of stunts, special and visual effects, sound effects, music and performance. Because of this readers generally skim action sequences to find out the outcome – who lives, who dies etc. While action sequences on the page still need to be tension filled and engaging write them with your reader in mind and leave the full blown description to the director and production team.

There’s something else to think about here. Readers/executives are reading screenplays for work. Not only do they have a stack of scripts to read, e-mails to answer and calls to make but they are evaluating the piece with their specific agenda in mind. Be it coverage, financing, repping the writer, seeing if it’s right for their acting client etc. Audiences, on the other hand, are watching a film for enjoyment – it’s entertainment. This means readers and audiences are coming at the material from completely different perspectives and engage with it in very different ways.

Ultimately (fingers crossed) a screenplay will eventually be a movie. This means the writer needs to tell the story in a way that communicates what we’ll see and hear on the screen and enables the reader to see the movie in their mind’s eye. Film, clichéd as it might be, is a visual medium and at the end of the day visuals come first. That said in order for a script to eventually become a movie it has to fully engage the reader. Knowing how to keep your reader hooked through to the very last page is the first step in getting your story on the screen.

originally published in Scriptmag

Before I read a script I don’t want to know anything about it. I like to come at the piece with an open mind and no preconceived ideas about the premise or intentions that might ultimately influence the read. Now, is this truly possible?

Nope.

Because all reading is inherently subjective.

All writers, whether new or established, have to deal with a certain level of subjectivity when their work is being evaluated. This of course can be both good and bad.

For example when a script goes out for coverage the reader doesn’t generally know about attachments such as cast or a director. But knowing who is set to star or what kind of director will be involved can make a huge difference when reading the script. Put yourself in their shoes. If you know Paul Feig (Bridesmaids, The Heat) is going to direct you’ll instantly filter the writing through his unique perspective. If Bradley Cooper (Silver Linings Playbook, The Hangover) is the lead you’ll have him in mind as you read the script. Clearly knowing the attachments will have a big effect on whether or not you respond to the piece and ultimately how you evaluate it.

Another factor that can come into play is if the executive knows the writer personally either as a friend or professionally. If the writer is a friend the reader may bring qualities to the writing that aren’t there just because they know them. Some of the story events may have a familiar ring to them or they might sense the writer’s “voice” more easily than someone who doesn’t know the writer. If the executive has worked with the writer in the past and has read other material they will bring that context to the current script seeing patterns and themes that other readers wouldn’t.

In addition we all have our own personal taste and interests. Maybe you love sci-fi and hate romantic comedies, perhaps you’d choose an epic drama over a horror script. You might be into period pieces because you really like history and detest teen comedies. Effects heavy action scripts might bore you while a low budget indie keeps you hooked. As a reader you can work to put these natural interests aside but they still can’t help but influence how you look at a piece of material. Another aspect of this is the reader’s mood that day. For example if a writer submits a romantic comedy to an executive that’s just broken up with their girlfriend chances are it might not go over as well as it would if they were still in the first few days of their romance. Ultimately we’re all human and respond to writing from our own individual, highly specific place.

Context also matters. If a reader or executive is looking at a script for a production company, agency, manager, contest or lab this too will play a role in how they evaluate a piece of work. All of these venues have very specific agendas and are looking for scripts that fall into their particular niche. While everyone is looking for quality work with a fresh perspective a big studio isn’t looking for the same thing as Sundance. An actor’s production company is looking at star vehicles and may not want something action or effects laden or too indie. HBO and Lionsgate don’t have the same agenda. Agents and managers are looking at the overall career of a writer and are looking at material from a sales perspective. Who the script is being evaluated for plays a big role in how it’s interpreted.

Where the writer is in their career can affect the read. For example brand new writers are at an advantage on one hand because their work can be looked at with a certain neutrality. But on the other there’s no track record or frame of reference which can often lead readers to be harsher and expect more. A more established writer can get away with more in both execution and concept as they have previous work to look to. I’ve read scripts by new writers that couldn’t get traction in the marketplace only to see an established writer successfully pitch and produce a very similar idea. So while concept is king so is how well known the writer is and this too will affect how a piece is read.

The experience level of the reader is something that comes into play as well.  An executive who has read 1000’s of screenplays will be able to spot formula from miles away, see twists coming and be underwhelmed by overused conventions. They may have higher expectations overall but be able to see good writing immediately.  Whereas a new reader might judge a script too harshly or focus on the minutia because they are still learning the language of feedback. They may see the piece as highly original when it’s premise is overly familiar. Either way how many scripts the executive has read will play a role in their interpretation of the material.

So what can a writer do to mitigate all of this and ensure your piece is being read in the most favorable way? Well, truthfully, there is no way to have a completely unbiased read. That said the only defense is to make sure the script reflects your intentions and is telling the story you want to tell. Getting feedback from trusted peers, friends, writers groups, story editors or consultants before you take your piece out is a good way to check to see if your script is in line with your intentions. Executives and readers will always have their own unique take on the work and hopefully it’s in sync with yours but if not at least you can be confident knowing you’ve written a piece that accurately conveys the movie you see in your head.

thanks to Lucy @bang2write for some last minute inspiration!