I’ve written before about being a freelance reader in Hollywood — it was my first job in the industry, as it was for many screenwriters. It’s been almost ten years since I’ve written coverage, but looking through Scott the Reader’s own explanation of his job, it seems that not much has changed.
Not even the pay: $50 a script. Adjusting for inflation, that sucks.
You can read Scott’s recap here.
Getting a reader job
Read lots of bad scripts
Does bad work spoil mine?
This site is run by screenwriter John August. Mostly, he answers reader-submitted questions about the craft, but occasionally he goes on tangents that run far afield of writing and filmmaking. You'll also find info on past, present and future projects.
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September 23rd, 2005 at 11:56 am
Maybe it’s because I don’t live in LA and don’t know all the costs, but $50 a script doesn’t sound all that bad. I did coverage for a contest where I got $30 a script and wrote 6-8 pages of coverage for it (and none of it was synopsis). I’m not complaining, it was fun. But $50 for 3 pages, I think I’m in the wrong field. Unless I’m missing something (very probable).
September 23rd, 2005 at 1:01 pm
$50 isn’t bad if, like me, you can read and synopsize a script in 2 to 2 1/2 hours. Plus rush stuff usually pays more, and there are a few companies that pay me $65 and $70 for a script, $80 if it’s due the next morning.
But if it takes you 6 hours to read and then do coverage on a script, it might be tough to make a real living at it in L.A.
September 23rd, 2005 at 1:52 pm
Plus I got $90 to read John’s “Fury” as a “sameday” back in 2003, which is when the job gets really cool — when someone pays you to read a script you’d gladly read anyway.
September 23rd, 2005 at 2:15 pm
I think that’s when your job is actually enjoyable. When you have to sludge through hundreds of crap scripts, you could essentially write the same coverage a thousand times. But it makes you respect the field, in the sense that it’s hard to find a truly great script these days. To find writers who can churn them out on a regular basis (Ahem, John, talented fella’), it’s a gift that shouldn’t be wasted.
September 23rd, 2005 at 2:34 pm
I’ve finally managed to get my foot in the door this year, got representation and all that, and my first spec went out wide 2 weeks ago, and we’ve gotten very good feedback from some major studios and offers from smaller ones, but in the thirty places we sent it to, I don’t think we got “coverage” once. It’s always been the CE’s or assistants who’ve read it first and then their bosses. I was told that conventional coverage went the way of the dodo about 5 years ago and now it’s all just an inhouse oral “yah” or “nah.”
September 23rd, 2005 at 3:08 pm
Just because you don’t see it doesn’t mean it doesn’t exist. It’s not done to give feedback to the reader; it’s done so the execs have something they can read besides the script (or something to refer to a month later in lieu of reading it).
Obviously the execs want the agents to think they are reading everything themselves. Doesn’t mean it really happens, at least not until they see that the coverage is good.
September 23rd, 2005 at 4:46 pm
Coverage often happens after, or concurrently with, an executive reading the script. When I was a reader at TriStar, I remember getting chastised for writing bad coverage on a script that an executive had liked. Someone else bought the script. The movie never got made.
September 23rd, 2005 at 5:13 pm
I still get 50 bucks a script, the same as 8 years ago. I have a reader friend who mkes much more, though, especially for overnights - personally, my best overnight rate was -65 in 1996!!!
At first, that was great…now it kinda blows.
SOME companies hav cut down on outside coverage to sqve dough, but it is still VERY widely practiced; Certainly, Gary, your script was given to a reader (if not several) at some point.
September 23rd, 2005 at 8:21 pm
I just recently sent a script to ICM. About a month later, the agent’s assistant ACTUALLY sent me the coverage. It was one page of character breakdowns and logline, two pages of synopsis, one page of comments, and a one page graph ranking various elements of the screenplay. In the end, it received a “consider.”
The assistant told me it was then moved on to an agent that specialized in “independent” films and it might take a while for a response.
That was on July 22. No response yet.
After 5 weeks, I emailed the assistant for a status. No response. Last Friday (7 weeks), I emailed the original agent who requested to read my script. No response. Now the questions for all you experienced readers and scribes:
How do I interpret this? Is it normal? Should I take it as a rejection? Am I being too hasty? I have a phone number. Should I go ahead and call? Should I send flowers? Stalk the assistant?
WWJD? (John, that is)
Thanks!
September 23rd, 2005 at 10:12 pm
No idea. Though I would caution that L.A. largely shuts down in August through Labor Day (thanks to people going on vacations and enjoying their beach houses), and it is only now getting up to speed.
So you may want to have a little more patience.
September 24th, 2005 at 8:07 am
I think this is an interesting aside–the fine art of “the ignore” in Hollywood. I’ve seen it in so many guises. Phone calls that don’t get returned, emails that go unanswered, or the worst actually seeing someone at a function and having them turn their back (yes, it even happens working writers with six-pack abs like me). It is confusing and mortifying, and the true reasons for the particular ignore are probably myriad. The subject is brought to mind after reading RDane’s quesiton about anunaswered emails from ICM after receiving a “consider” on a script. I’ve experienced the same thing from ICM. A positive response that turns into deafening silence. My experience with ICM and other companies has been that “the ignore” is a widely emkployed tactic, and I’d like to hear what John thinks of it. Should the ignore be interpreted as a “fuck off”? Is it simply an “I’m too busy to say no”? What the hell do they do when the script sells elsewhere and they run into you next time: “I was going to call you…in 2007.”
September 24th, 2005 at 8:14 am
My favorite ignore is the one we used to do when I worked at a major studio. My boss wouldn’t want to totally blow someone off, so we’d roll calls at like 8PM, leaving dozens of voicemails, so at least he could say he called. Even if the person called back two minutes later, he was suddenly “on another call” … leaving a voicemail for someone else he doesn’t want to talk to.
September 24th, 2005 at 8:33 am
Warren-
It’s funny because it’s so mean. Begs the question why an ICM assistant couldn’t send RDane an email of so many words: “Thanks for sending us your script, “Hack”. We thought it had merit, but we just don’t believe we can find a home for it at this time, so we must unfortunately pass. Keep writing. Best regards, Faceless Nameless One.” At least RDane wouldn’t be left wondering…do they like it?…am I being a pest?…is the squeaky whell going to get the oil…or just get blacklisted?
September 24th, 2005 at 10:36 am
Sadly, The Ignore, Late-Night Voice Mail and Public Snubbing are just given circumstances in our chosen business.
The only coping mechanism is to not take it personally. That way, madness lies.
In response to the coverage questions, I did two basic types while I worked at a production company: 1. The exec’s “make it appear to agents and managers that I’ve read the script.” This allows the exec to believe that 2. The exec’s “This is from a ‘real’ writer and thus must have ridiculously detailed coverage.”
My favorite moment as a reader: One of my own scripts (co-written with a buddy of mine) landed on my desk for coverage.
September 24th, 2005 at 1:26 pm
I applaud anyone who has the patience to read through so many scripts. Hell, I can barely get through my own.
September 25th, 2005 at 5:46 pm
So - possibly on vacation, eh?
Alright, fine. I’ll put down the high-powered binoculars for now. And the rope.
And the dart gun. With the poison tips.
Seriously - I guess I’ll give it a couple more weeks before I make that phone call.
Thanks!
September 25th, 2005 at 7:27 pm
Test
September 25th, 2005 at 7:29 pm
It’s nice to see a screenwriting/entertainment related blog that has intelligent people conversing.
I’m a screenwriter, script consultant, and published author myself. I also have a new script consulting firm ScriptwriterCentral.com.
We’ve got some of the top script consultants and studio readers, using our propietary screenplay analysis — and actually helping screenwriters take their scripts to the next level!
We are also always looking for new qualified readers at Scriptwriter Central’s The Script Clinic.
One other thing I thought I’d mention — and I apologize for taking up so much space — is The Script Consultant Institute.
This is the only place on the planet where you can learn how to make up to 6-figures as a qualified script consultant.
Learning to read a script like a pro will also take your screenwriting ability to a whole new level.
Anyway, I’ve said enough. Thanks for indulging me. And please stop by and let me know what you think.
To Your Writing Success!
Derek Rydall ScriptwriterCentral.com
September 25th, 2005 at 11:57 pm
Hi Derek (The post above mine)
It’s good to see that you are still advertising your site on message boards across the web.
And I checked out your website (www.scriptwritercentral.com). It scares me.
You are right. Architects do hire other architects to review their plans.
But to get their plans reviewed, they don’t go to a website which claims:
Don’t get me wrong - the consulting may be worth every penny.
But it really is ringing all the wrong bells. You are telling people with NO EXPERIENCE, that: 1. They pay you for a course. 2. They work for you for free (’internship’) 3. Then they’ll be ‘eligible to become part of your paid staff’…
Another annoyance is a minor mistake on your website.
If you look at http://www.scriptwritercentral.com/sclinic/staff.html , you’ll see you are describing your new employees :
A simple mistake. I assume you really meant:
Quote: We are currently adding a full stable of Studio Script Readers, Story Editors, and other top script consultants who work for (or have worked for):
I assume you’ll be correcting your webpage ?
Ok - I’ll admit it. I don’t know much - your course might be great, but it seems to have a really dodgy advertising.
Mac
September 26th, 2005 at 7:54 am
Just to be clear, the script consultant Derek is a different one from me. Thought I was the only one here, now I don’t feel so special.
September 26th, 2005 at 11:26 am
Though I made a crack about this Institute on Fun Joel’s blog, it really is very worrisome the way these script analyst services are over-charging aspiring writers, who can probably get the same feedback for free by just making some bright creative friends.
Especially since now we learn that same of these analysts have never had a studio job (or any real-life learning experience) but instead are taking a course, which one assumes that they are paying for.
It’s the blind leading the blind.
Hell, I feel guilty charging an aspiring writer $60 to read and comment on their script (which is why I have basically stopped doing it), much less hitting them up for hundreds of bucks. Writers can benefit from a knowing eye, and if you feel you need to pay someone I’m sure there are good professional readers out there who will give very good value (and Fun Joel is likely among this number).
But the idea that they are churning readers out of some sort of half-assed reader factory just underlines the greed and dodginess of too many of these outfits. I learned how to read scripts like a pro by loving reading, loving writing, loving movies, and reading a hell of a lot of scripts. And I don’t think any course can teach that.
September 26th, 2005 at 11:46 am
hey scott,
man, fifty bucks for a read is not right. (and that’s what it was ten years ago?) not right. i couldn’t do it - not because of the money thing, but because i just can’t take that level of writing.
i’ve read several (i know, you’ve read hundreds/thousands) scripts by aspiring writers. it’s a painful process. after the first few horrendous scripts, i only read a few pages. if writing was bad, i stopped reading. and, i always stopped. i’ve never read a script by a newbie trying to break into the industry that wasn’t bad. just plain, line by line bad.
they had everything wrong/clunky/junky: dialogue, turning points, spelling, syntax, choice of words, poor sentence structure, etc. and all this poor technique was used to tell a story that could never draw an audience (let alone talent)
not to put to fine a point on it, but i should just come out and say it; i feel sorry for hollywood readers. apologies for that, but it’s the simple truth.
(not that you should give a damn how i feel). i know. what’s next for you? can you move into production or something? are you trying to become a working writer? do you plan to keep reading? should i take a long walk off a short pier?
kojled
September 26th, 2005 at 12:14 pm
It’s important to know that I love my job. I can’t imagine doing anything else. I do write, and if I ever sold a script that would be amazing.
I’ve had a few offers to move into low-level production company jobs, but I’m getting a little long in the tooth for that — I’m 42, I’m married, and it would be a big cut in pay and mean an office job. If the right situation came along, I’d think about it, but it hasn’t come along yet.
So meanwhile, I read. And as I’ve mentioned elsewhere, it isn’t all that soul-sucking; the scripts and books I read are coming for the most part from agents and producers, so it is of much higher quality than if I was slogging through someone’s slushpile.
Plus I’m a fast reader, so if it’s a bad script, it’ll be over soon. And there’s something to learn from every script, even if it’s what not to do.
So don’t feel sorry for me. Feel sorry for the readers who hate their job, and do it anyway.
Just hope it’s me who gets hold of your script, and not them.
September 26th, 2005 at 12:16 pm
Having just lived in Spain (Madrid) for a few years, I ended up doing more than a few things I probably wouldn’t have done in the U.S. One was reading and evaluating scripts for a Spanish production company. They paid 80€ euros (120€ for a rush) and, in the end, I read almost every English language that came through the pike…everything dreadful (except for a Goya film by Carrerre which is being shot now)…and my negative comments meant the script died, as the head of the company didn’t read anything and the developement executive didn’t want to be bothered…in the end that final stamp from my analysis being a death kneel was too much for me to take…knowing what writing a script entails…the point being, that readers can be and often are very potent forces, no matter the pay structure…in fact, having also been a Production Designer, I have found that often the more the creative input the less the pay…it’s not about the dough, something much larger is at stake…
September 26th, 2005 at 2:44 pm
I personally, read as many sold scripts as I can. The more information the better in my opinion.
Back when I did coverage for my assistant friends at several agencies, the majority of the scripts I recieved were quite poor. The reason a legit reader can’t skip reading the entire script and just settle for the first ten pages is because there are often lousy scripts with a really interesting character or secondary storyline. Several of the crappy scripts that I did coverage for had minor characters that would have worked great in a romantic comedy…but just not the romantic thriller that the writer had chosen to write.
While $50 a script might seem like crap…if your like me and can fully read a script and write coverage in about 2 hours, it ain’t to shabby.
3 scripts a day is $150…4 out of 7 days a week…your looking at $600 a week for about 24 hours of easy work. Again if you like to read scripts, even bad ones, and are a very quick reader who doesn’t forget everything he just read….it seems like quite a lovely job.
Compare that to being some hack’s assistant..working M thru F from 8 am to 7 pm doing crap like brushing your boss’s dog’s teeth, cleaning his dishes, gasing up and having his car washed, getting yelled at 24/7 etc etc. And with that job your lucky if you make $400-$500 a week.
I’ll take the reader gig any day of the week.
September 26th, 2005 at 3:22 pm
What I think people are missing is this:
Reading burns a hole in your brain.
I found it really hard to get excited about writing my own script after reading and covering two or three scripts. The same muscles that you use to write get fatigued trying to find something useful to say about the fourth corrupt-cop thriller you’ve read that week.
Don’t get me wrong: I think being a reader is helpful for an aspiring screenwriter — for a while, up to a point. But I got a lot more written once I took a mindless office job, where the ony mental challenge was remembering whether W came after V when filing.
September 26th, 2005 at 4:40 pm
W. No, V. No, W.
Come to think of it, I do drool a lot.
September 26th, 2005 at 11:41 pm
I guess it just depends on how you view it. The majority of coverage I did was while I was in college, so it just felt like more homework…along with all my poli sci papers etc.
My brain seperates that from my own writing. It is a nice reminder though, that no matter how much I think my writing sucks…it actually doesn’t look so bad after doing 2 or 3 coverages.
Anyways…I just thought I’d throw my two cents in because while I have had industry type gigs..assistant, intern, office, yada yada…My expierence has been that they are far worse than getting paid $50 a script. I’m gonna try to do the reader gig from now on.
In almost every assistant type gig your going to have to do coverage anyways…might as well do it full time, on your on schedule, and not deal with all the b.s. and crap that comes along with an assistant job. Nothing is more soul draining and mind numbering than being someone’s personal slave from 8am-8pm monday thru friday… with extra crap on the weekends.
Your better off working at Fed-Ex 9-5….god knows you’ll get paid more.
I’ve known too many people who went the assistant route for the “connections” and ended up never getting any writing/directing done because they were too busy in their job, and they ended up going into studio/office jobs instead.
September 26th, 2005 at 11:50 pm
I’m sure this isn’t the case if you have a great boss like JA or its a writer’s assitant gig on a TV show…which can still be bad, but the JA’s of this industry are a minority.
p.s. don’t listen to what I say…I’m jaded.
September 27th, 2005 at 6:37 am
H. Grunt,
I’m a bit confused. You said, “The reason a legit reader can’t skip reading the entire script and just settle for the first ten pages is because there are often lousy scripts with a really interesting character or secondary storyline. Several of the crappy scripts that I did coverage for had minor characters that would have worked great in a romantic comedy…but just not the romantic thriller that the writer had chosen to write.”
Now, does that mean you or your bosses wanted that information to use in their own works? Like you didn’t like the script, but found a gem you could use somewhere else? Could you please clarify that.
September 27th, 2005 at 12:27 pm
I think what he’s saying is that if you are working for someone who actually wants to develop stuff, interesting things in scripts can often be developed by writers into interesting scripts. Though most companies don’t care about that; they just want scripts that are ready.
I have to read every page of every script and book because I have to summarize it. And because that’s my job.
And just to make John wonder about the hole in my brain, I have written just a little over 8800 pieces of coverage.
And my brain is FINE. I think.
September 27th, 2005 at 1:05 pm
At a majority of the places I did coverage under the table for they were looking for not only good scripts but roles for talent. One of my friends was a lit agent assistants and two others were talent assistants. The talent assistants had to do coverage on scripts just like the lit agents, sometimes just as much. The only difference is that talent assistants seemed to be told to focus more on the characters, in part because they were looking for material for their clients.
There are some scripts that have a cool idea, ok story, so-so characters, and not too special dialogue. Those are passes but you may highlight the concept if its really that good.
However there are other scripts and they tended to be comedies or romantic comedies in my expierece. That had a generic concept/storyline, ok to bad story, the majority of bad to cliche characters, but one or two really funny characters with great dialogue. Why the writers couldn’t do this for all their characters is beyond me.
So if you bothered to do an extensive re-write the script might be worth it seeing that the two characters would be perfect for “…” “…..” who we represent.
The script and writer still got a pass usually, but a major emphasis would be placed on those minor bright spots.
And besides, you can tell if a writer can write about 1-3 pages in…but you can’t summarize a script in 10 pages. You might get away with it if you just skim the last 100 pages…but it will show in your breakdown and comments.
September 28th, 2005 at 11:53 am
Hi there folks!
I feel a need to clear up a few things — it seems my site and comments about ScriptwriterCentral.com have spurred some angry or frustrated comments from others.
I’m a screenwriter, script consultant, and author. I’m also an actor (you can even Google me to see some of the cheesy films!).
I’ve been in and around this business all my life. My uncle was a big director — Don Siegel of DIRTY HARRY, ESCAPE FROM ALCATRAZ, INVASION OF THE BODY SNATCHERS (the original)…so I’m not some novice trying to ‘make a buck’ off the unsuspecting screenwriter.
Actually, if you get my free e-course, The 7 Deadly Mistakes Screenwriters Make When Using a Script Consultant,” which is on the site…you’ll see that I warn writers of a lot of this stuff.
You might be right, that the ad on Script Consultant Institute is misleading. It does sound like anyone with no experience can get a job at The Script Clinic. In fact, I’m probably going to change that — because it’s not at all what it’s supposed to mean.
What I’m trying to say is that both screenwriters and non-writers can become highly qualified and successful script consultants. Some of the best consultants have never written a script in their life! Or they didn’t have much success at it. Look at Linda Seger, considered the ‘mother of script consulting.’ Or Michael Hauge, or Chris Vogler. Even Robert McKee, screenwriting guru never made it as a screenwriter. He did some TV, and that was that. Now he makes millions a year telling writers around the world how to write better — and many of them go on to win academy awards!
The fact is there are many talented people out there who aren’t writer, who have unique backgrounds that could come in real handy - like military, history, legal, mythology, you name it — and they could create niche consulting businesses that really add value to the writing community. It’s what the studios do anyway. They find psychologists to analyze scripts when they’re doing stories on that topic, they get military advisors on scripts that deal with war, etc.
What’s interesting is the comments that it’s wrong to expect the ‘internship,’ but you’re also complaining that they’re not qualified. That’s the whole point of internship — to see if they’re qualified. If the analysis sucks, they’re not going to get a job cleaning the toilets here! If it’s good though, really good…why wouldn’t I want them to be a part of the team?
And why wouldn’t you want them to read your script?!
And we’re also the only script consulting firm I know of that offers a MONEY-BACK GUARANTEE! If you don’t think the feedback is qualified and helpful…you get your money back. Why would we offer that if we knew a bunch of hacks were doing the work.
And on the list of future consultants, I’m not referring to a bunch of interns from the Consultant Institute. I’m actually referring to a lot of qualified consultants and execs that I’ve spoke to, but who have yet to confirm their availability.
Man, I could go on about this subject. It’s sort of a sore spot. There’s so much misinformation and negative ideas about script consulting. And while some of it is warranted (there definitely are scam artists out there), a lot of it is misguided. The fact is, having a qualified consultant analyze your script and help you see your blind spots, and de-bug it of all the reasons readers reject scripts can put you way ahead of the pack.
Why do you think the majority of the 50,000 scripts registered with the WGA end up in the round file? Because writers (including me in the past) don’t take the time to really invest in their craft and their business. They think they can just knock off a draft over the weekend and wham-bam-I’m the million dollar spec-man! You know it doesn’t work that way.
And pros in every other field use consultants. The business consulting field is a multi-billion dollar industry, and has accounted for some of the greatest innovations in the business world. But there was a time when using a business consultant was considered insane! And if you did, you didn’t admit it. It’s the same with script/story consulting. It’s still in its infancy.
But we’re moving into an entertainment culture where EVERYTHING will be about entertainment and narrative-driven experiences. Video games, corporate america, education — it’s all becoming about story and entertainment. In fact, many top companies are now hiring people who have taken writing and storytelling courses over the typical MBA!
So there is so much need for qualified storytellers and qualified coaches to help them create the best stories/scripts possible. I make my living as a writer, not just a consultant — and I use consultants and readers on every script I write. Usually several of them! And it has not only helped me grow as a writer, but make more money as a writer.
You wonder why the town doesn’t take writers seriously — it’s partly because writers don’t take their business seriously. We need to let go of magical thinking and start looking at other successful fields and asking what are the principles present there that allow a person to succeed. And, not to be a broken record, but one of the top principles is ‘using a mentor, coach, or consultant.’
I know I sound like a zealot, but I’ve just seen firsthand how it makes a difference. My early experiences working with script consultants totally, radically improved my writing and led to me making money as a writer. So what can I say?
Another main intention for creating ScriptwriterCentral and The Script Consultant Institute has everything to do with creating better writers and better writing. And part of that is developing better ‘readers’ of scripts. Yes, there are a lot of bad ones out there — in the public and private sectors. A lot of them are making decisions on our careers as the gatekeepers! So I wanted to have a little more impact on the quality and quantity of good consultants, development execs, readers, etc.
You said that it’s just as good to get feedback from an intelligent friend (or something like that). This can definitely be true. I have my scripts read by friends, family — anyone who’s willing! And there is a lot of value there — if you know how to sift through a lot of opinion. The fact is these people see movies, and the audiences today are really smart. But they often don’t know WHY they don’t like something or WHY they do. And that can be really frustrating, because you may get lots of negative feedback, but not know what to do with it…or lots of positive feedback and be afraid to change anything for fear of deleting the ‘good stuff.’
So do this, yes. I do. But to use the metaphor of another profession again…would a professional, successful architect or entrepreneur only get feedback from their friends and family who know little to nothing about these fields? Of course not. That would be not only unprofessional, but potentially asking for a lawsuit!
There was a comment made that architects wouldn’t take a course for 8 weeks and then tell other architects how to build (Or something like that). This was meant, I imagine, to discredit the possibility that a good reader/consultant could be found/developed in a few months. There’s some truth to this and, again, the intention is not to whip them out on an assembly line. Not at all. However, if you pose this concept, you have to also acknowledge that the majority of screenwriters in this field think that they can just read a book or take a course and write a script the next week!
This is one of the few industries where people think that they don’t have to have any training or qualifications to make millions! And that, I think, has led to this very immature, unprofessional approach to the art, craft, and business of screenwriting. An approach that doesn’t think we need help from others, an approach that doesn’t think we need to invest our time and our money in becoming better and more successful. If we took this approach in any other major industry, we would fail, utterly and completely. Lawyers, doctors, successful business people – most of them have spent years and hundreds of thousands of dollars on becoming professionals who could make 6-figures or more.
How much has each writer on this board – or any other board spent in time and money on their career? Put us all together and we probably haven’t invested as much in our business as a single doctor or lawyer. I talk to and learn from the top entrepreneurs all the time – and the one thing that separates them from the losers is that they are willing to pour more time and money into building their business than the others. In fact, they stress the need to continuously invest in courses, classes, teachers, mentors, coaches – especially in this fast-paced, constantly evolving marketplace.
Is any of this ringing true, or am I sounding like a bag of wind? I’m probably pissing off some of you. Not my intention. But hopefully, something here is making sense.
So I think we need professional help in addition to friends and family. I wish it weren’t so. And some of us are so brilliant, we don’t need any help. But this business is more complicated than that. Just writing what you think is a great script doesn’t mean it will go anywhere. It might be a great script — but about a subject that nobody outside your circle cares about. Or your friends and family might be so impressed that you actually finished something, they think you’re a genius! We need coherent, qualified, objective feedback — from as many sources as possible. And the we need to determine what to use based on our inner guidance. That, in my bloated opinion, is the best way to see our blindspots, uncover our potential, and realize our goals.
Anyway, I apologize for going on and on, and for sounding arrogant, self-righteous, and narcissistic at times.
I know I’ve made a lot of mistakes along the way – and will make many more – so I would love any suggestions, ideas, thoughts, etc…that could help me improve and be of better service in this field.
Please don’t hesitate to comment. You can also email me:
derek@scriptwritercentral.com
Thanks!
Derek Rydall
September 28th, 2005 at 12:30 pm
Here I am again…with just one more thought (or two) about the whole notion of Script Consultant Training.
It’s been implied that it’s not a good thing, maybe even a scam. That there are enough consultants out there, and writers can just get friends to read their scripts.
But it occurs to me that the real problem is that there are too many unqualified consultants/readers out there. There are too many who call themselves script consultants and script readers, but have had little or no training or experience in this arena.
So why wouldn’t we want more people who are actually trained to read, analyze, understand, and develop scripts? Isn’t that one of the most common gripes — nobody know anything! And these college grads from the MBA program are judging my script!
So why not take some control of that and train people to read script better? And it’s more than just how to read scripts…it’s how to give feedback. You can have great feedback, but if you don’t know how to communicate it to a sensitive writer (which is most of us), then your good feedback is going to likely sound like the teachers in Charlie Brown cartoons…or even worse, no matter what you say, all they’re hear is “You suck! Your script sucks! Your momma sucks! Why don’t you just crawl back into the hole you came from and die!!!”
And, like I said before, learning how to analyze a script like a pro can also make you a much better writer.
And then, if a person wants to actually be of service to writers, they need to know how to market themselves to get the attention of writers. Otherwise all their good knowledge and feedback skills will be for not. And no writer will benefit from them. The whole marketing, niche creating process is also part of the program. And even if the person doesn’t ‘go pro’ the knowledge on how to market yourself and your work is invaluable as a writer (or anything else) in this information-overloaded culture and industry.
Okay, end rant.
Thanks for indulging me.
I’m open to any and all comments, feedback, and suggestions — as long as their constructive.
Derek
September 28th, 2005 at 2:16 pm
No amount of training makes someone a great reader. Like no amount of training makes someone a great writer. It’s guts and instinct and fly by the seat of your pants territory. No one knows anything for certain. Hopefully, a good company hires a good reader: someone who, having relevant “training” or not, does have an instinct for a good story and knows a thing or two about the marketplace. This is not an exact science. Like it or not, we’re dealing in dream-states, poetry and alchemy.
September 28th, 2005 at 3:53 pm
I think he uses way too many exclamation points. And that he doth protest way too much.
Mentors? Sure, mentors are great. But people shouldn’t have to pay their mentors.
September 28th, 2005 at 7:23 pm
After reading Derek’s post, I’ve come to one conclusion:
Reading DOES burn a hole in your brain! AND I’m drooling!
September 30th, 2005 at 7:09 pm
I agree. No amount of training necessarily makes a great reader/consultant or a writer. There has to be some kind of ‘gift’ there. But that doesn’t mean training isn’t needed. Can writing be taught? If not, why are so many writers paying teachers to teach them, and buying books, and studying films. If it can be taught, then so can how to ‘read’ a script better.
Maybe I do protest a bit too much. It just hit a button with me. Not so much in defense of myself, as in defense of what I’ve perceived as a narrow mindset of many writers — one that I’ve personally seen cause them a lot of pain and failure.
So take it for what it’s worth. It’s really meant in the spirit of an open, honest dialogue.
And regarding the idea that reading burns a hole in your head — are you saying that I sound like I have a hole in my head? Just checking. I wasn’t sure. And the drooling thing, is that a chronic condition, or was it brought on by something delicious that I said?
I’m just messing around. I do have a hole in my head actually. A birth defect I was born with. But, fortunately, it gives me a very open mind.
Thanks for all your feedback — seriously — and keep it coming if you like.
Peace
Derek
October 2nd, 2005 at 6:48 pm
Well, it sure has taken me a long time to comment here. Beena crazy busy few weeks.
First off, Scott, thanks for the tip of the hat, suggesting I’m probably worth what I charge. I like to think I charge very fair and competitive prices to make it worth both my time and the writers’ money! Hopefully I am right about that!
Also, John — I find it much easier to read scripts for a long time (I’ve been doing it for years) if you also have other things to shift your mind to, so you don’t get burnt out on it. I’d go crazy if this was all I ever did!
And FINALLY I got to posting my own thoughts on this topic over at my blog. Hope you’ll all come over and check them out!
August 15th, 2007 at 10:10 am
I think we should ask the film directors and producers to write coverage or take a course in screenwriting.
The directors and producers are not looking for what the reader is looking for? So they have to work together.
Regards Renny