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So I have just read something that I found really interesting and thought it would be certainly worth sharing with you guys so I have shamelessly ripped it from the unknown screenwriter's blog - http://www.unknownscreenwriter.com/ - Hope he doesn't mind.
He has a friend who does some work as a reader for one of the big agencies and when he started he was handed an "under the table guidelines" before he read his first script....
Incorrect format If the writer isn't willing to take the time and effort to learn basic screenplay formatting, why should we take the time to read it when we get paid by the script? This includes incorrect fonts, incorrect slugs, centering the characters and dialogue, right-justified text, and character's intro not capped. WE PASS.
Directing the script No camera angles. No songs. No soundtracks. No actors. WE PASS.
Screenplay too long Screenplays should be no longer than 130 pages and that is pushing it for a spec. WE PASS.
Screenplays too short When a screenplay is less than 110 pages, we immediately begin to worry if there's going to be enough story in it to entertain and 99.99999999% of the time, there isn�t. WE PASS.
Notes to the Reader My own personal pet peeve. I hate them. I don't think they're cute. I don't think they're funny. When I read them, I either pass right away or dig in with both feet to find a reason to pass. Don't tell me what I should know after having just read the scene. I should be able to figure it out from reading your action and description. Don't tell me what a character is thinking. Don't explain things to me that you should be explaining with your action, description, and dialogue. WE PASS.
Colorful covers We tend to keep skipping these scripts. Sometimes, if the screenwriter is a friend of a friend and we have to read it no matter what, we'll go ahead and put a regular white cardstock or agency cover on it but most of the time, screenplays with bright colorful covers are rejected immediately. I should also mention the use of graphics or binding material other than brass brads. Don't use them. WE PASS.
Boring first 10 pages This is actually one of the first things that get drummed into us. The inciting incident is nice during the first 10 pages but if for some reason, you don't have your inciting incident within the first 10 pages, those first 10 pages better be phenomenal and provide conflict, action, tension, and/or suspense. WE PASS.
Structure You'd be surprised at how many scripts we have to read that have no discernable structure. That means setting up the Protagonist. Inciting Incident. A crisis. Setting up the Antagonist. Subplots. Several twists, a climax, and resolution. WE PASS.
Action and description that cannot be shot You can't shoot a character that's thinking or dreaming of something that's happened to them in their past unless you've written that past in some action and description. Let me mention notes to the Reader again. WE PASS.
Dialogue Dialogue shouldn't be flat or on the nose. Good dialogue uses subtext. Bad dialogue explains the plot. Bad dialogue tells us what happened instead of letting us see it happen. Talking heads and specifically, pages of talking heads. It's not somebody else's job to figure out what your characters should be doing while they carry on their conversations. It's the writer's job. There's nothing worse than two characters standing together yapping for an entire page (or more) without something else also happening. Show don't tell. WE PASS.
Pet peeves Every reader I know has his and her pet peeves and though there's no way to know who will end up reading your script, it's best to cover as many bases as possible. Some of us readers for our agency also provide freelance reading for studios and producers so all the above still applies
Thanks for sharing. Not much new under the sun here but the "when a screenplay is less than 110 pages, we immediately begin to worry" actually surprised me a bit.
Down in the hole / Jesus tries to crack a smile / Beneath another shovel load
I like how they capitalized WE PASS. It's like they're trying to drum something into someone's head. My only pet peeve is that no one ever asks to read my scripts, so I never get this far...
He has a friend who does some work as a reader for one of the big agencies and when he started he was handed an "under the table guidelines" before he read his first script....
The part in bold really stuck out to me.
It was interesting to see the "too short" comment, but I actually wasn't that shocked by it. A lot of the scripts floating around out there (purchased/produced) are quite lengthy.
This is really interesting cause I had a review for my Fade a few days ago from someone with only 1 post (the review to Fade) and he copied in a link for that very same set of things to look for, complete with the "WE PASS" stuff.
I thought he came across as a pro script reader or the like, based on his comments.
Most will advise against it. My personal opinion is it depends on how much it actually has to do with the story. Is somebody singing, or is this just music in the background? If it's the latter, best to leave it out.
Also, try to take into how much the song may cost to obtain into consideration. Led Zeppelin and AC/DC are ridiculously expensive.
Most will advise against it. My personal opinion is it depends on how much it actually has to do with the story. Is somebody singing, or is this just music in the background? If it's the latter, best to leave it out.
Also, try to take into how much the song may cost to obtain into consideration. Led Zeppelin and AC/DC are ridiculously expensive.
Another reason not to include particular songs is that the director may thing poorly of your song choices, which could only hurt you. What if you wrote a surfing script and included Little Surfer Girl? What if the director/producer/reader hates the Beach Boys for some reason?
Leave the songs and music out unless it's absolutely required.
Screenplays too short When a screenplay is less than 110 pages, we immediately begin to worry if there's going to be enough story in it to entertain and 99.99999999% of the time, there isn�t. WE PASS.
An entry level reader at an agency doesn't have the ability to PASS on anything. They write half page summaries on scripts that an agent can't remember asking to see and hope to heavens they graduate to a better quality of writer.
That kind of list only emphasises how important luck is in this game. Rejecting scripts on fairly trivial matters is surely at the discretion of a reader. At the end of the day, great writing will circumvent the issue of length, I would hope.
Structure You'd be surprised at how many scripts we have to read that have no discernable structure. That means setting up the Protagonist. Inciting Incident. A crisis. Setting up the Antagonist. Subplots. Several twists, a climax, and resolution. WE PASS.
Seriously, I wonder how many films are produced every year responding to those criterias?
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