Quoted Text For example, in Pulp Fiction, the opening in the diner was a quick way for QT to set the tone. The hitman scene is more ponderous, so maybe that's why it was not used first.

I'm curious if that movie hadn't be made and you posted it today on a forum or a site, the reaction it would get. Would people be patient enough to read it whole.

Quoted Text My third script got optioned(fell through later), but even the guy who bought it and set up a kickstarter page for it did not really understand the story.

This made me smile. Funny situation.

Quoted Text I've tried to avoid doing that now...I try to be clearer. I still have an inclination toward complicated plots, subtle dialogue, and use of metaphor...and it usually gets me in trouble.

While I understand why you quit doing that, I think it's a shame.

Hey D -

Without reading the other responses here...and just giving my personal opinion (for what it's worth), here are my five cents:

When it comes to plot twists, you can (and should) hide details.  Otherwise, the reveal loses all it's power.

But speaking as someone who's gone through the wringer with a few studio readers...  do NOT leave anything vague when it comes to other plot points. Seriously...point out every time change.  Clarify every single detail.  For example: If a character closes a door, and it's necessary that it be locked, *tell* the reader that the lock engages.  I know it sounds like silly overkill.  But if an overworked reader is skimming through your script, he/she WILL miss things like that, and ding you on them.  With a bitter vengeance.  It's a huge balancing act, because any extraneous detail should and must be weeded out.  Streamline everything possible.  But anything important to the plot?  POINT IT OUT.  Regardless of how trivial.  Because if you don't, *someone* will misinterpret it, miss something important - and then hit you for not being clear.

My five.... or six cents.

Cheers,  --J (W)

^^

Thanks, wonkavite. It's cool to hear from someone with experience from studio readers.

All you need to know about studio readers is that they are arseholes... bypass them if you can.

Quoted from DustinBowcot All you need to know about studio readers is that they are arseholes... bypass them if you can.

Have you had bad experiences with them?

Is the process of getting your script made in the UK similar to that in the US?

Quoted from Demento Have you had bad experiences with them? Is the process of getting your script made in the UK similar to that in the US?

They're Hollywood readers... and you have to have everything perfect to the Hollywood formula. They're not paid to take chances... whereas producers are usually paid for taking chances. If you can bypass the readers and get your scripts to producers you stand slightly more chance of getting picked up. Unfortunately, Hollywood producers have this ninja-like barrier of readers you must surpass before you can get to them. Only the smartest grasshoppers can find a way past the ninja.

Getting a script made is pretty much the same here or in the US though in regards to indie productions. Although the US is bigger and I'd say it's more likely you will get picked up there... but you'll never get picked up anywhere if you don't get out there and try to sell. Obviously you need a few scripts first. Get experience now though, get out there and get rejected, then get rejected again and again... and learn from it. It's a process. By the time you've written your sixth script you'll be better equipped to sell, and be writing killer, smooth-flowing stories.

After that you just have to find somebody interested in making it... but if they like your stuff they may ask you to write something for them and for free. Do it. Waste your time. We have to learn. And it's good to know people like your shit and what you can do.

It's certainly not an easy road. I've been travelling for around 20 months now... which is another thing you're good at and have time for... writing. You can throw a script down in seven days and you have flow. That's all you need. A writer's voice, the will to tell stories, understanding how a story goes together... a killer concept. In a year or two you will have double figures in scripts, like I have. I do work, but I don't have to leave my house... much.

If you want to know what level to aim for, I'd say all of it. I write blockbusters and low budget and everything in between. If you're weak in an area, attempt to strengthen it. As all genres are involved in every story, or they should be... a moment of light relief in a thriller, or a thrilling moment in a comedy... romance is always an area we should seek to strengthen as male writers too.

^^^

Thanks for your insightful post, Dustin. I've looked over your site a few times, you are very prolific.