Who Reads Your Script?
I’m done with the second draft. Now I’m going to give the script to certain readers for feedback. I’ve kicked around this thing for over a month, and I’m ‘in too deep’. Some fresh outsider perspective, and time off, will be perfect to get me out of my writing doldrums.
Who to give it to and why
Various readers have been confirmed. They will be introduced to you along with their feedback once I get it. When picking your reader(s) there are some important tips I want to hip you to.
Your ideal reader should have all or most of these qualities:
- understands the writing craft
- knows the writing language
- familiar with script formatting
- not in the film (or doesn’t know it yet)
- you respect their work, and therefore, their opinion
- they want to see you do better
- they have the decency to be honest
Top of the list: you’ll want readers who understand the writing craft. Doesn’t need to be a millionaire novelist or cutthroat publicist. Find someone who writes, has written, knows the process of writing, and the importance of readers. Non-writers lacking the understanding of the craft won’t have the insight as to what you need from them.
You’ll need someone who knows the language of writing. Some one familiar with story structure, character, plot development, etc. and can carry on a conversation about it.
They need to be familiar with the formatting of a script. A script is not a book. There is much less detail, it’s dialog heavy and sometimes includes shot instructions. It’s difficult to get into a script the first time you read one, especially for a movie that you haven’t seen. I think the clunky nature of a script formatting could turn a lot of people off.
Don’t use your parents. They love you. That’s great. But what you need now is honesty. Criticism. Loved ones will skew their feedback in an effort to (hopefully) make you feel good. It’s sweet, but won’t help your script. Same goes for your girlfriend/boyfriend/husband/wife/lover.*
Potential actors in the film could work, but only if you have yet to assign them a part. If you give your lead the script to review, most of the notes you get back will have less to do with the story and more to do with what cool shit he/she could also do.
Do not give your draft away expecting praise. Furthermore, when you hand it over, don’t add your neurotic notes:
I know the 2nd act needs work.
The main character isn’t fully developed yet.
I’m going to cut some of the scenes, I promise.
Relax. If these things are a problem, your reader will pick up on it. That’s their job.
Give them a few days. When they finish, engage your reader in a discussion about the script. Bring a tape recorder. Actually, a digital one would be better. Keep the meeting loose. It should feel more like a conversation about the script than an interview. Pay very close attention to what stuck with the reader, and what they didn’t talk about. Good or bad. These readers are like a pre-test audience for your film. Be respectful to their opinion. Don’t take anything personally!
Finally, when it’s over, you get to choose which elements of their notes you will incorporate into your next draft. You don’t have to listen to everything they say, but outside input can be just what you were looking for to make this motherfucker dynamite. That’s right.
Joe
*Steven King uses his wife as his reader, so what the fuck do I know?
