Pia, I think it is because they see 90+ pages (constantly, daily) ahead and see VO as a florurish distraction of message.

They want to check asap the core and if its worth.

If you want me to, I provide links soon; to some pages, no problem.

Cheers

I don't need links, but thanks.  

I'm just saying, that if a script starts out with a V.O. that is strong and pulls you in, they will continue to read. If the V.O. comes later in the script, I doubt that they will ditch the script because of it, if what they have read prior is great.

I have read/listened to Robert McKee's Story seminar and he says that Hollywood really is looking for the best scripts out there. They want nothing more than finding a GREAT script. I truly believe that. The problem is for writers to get their scripts out there to be seen. I also think that most of us writers believe our scripts are better than they really are. There's a saying out there, can't remember exactly how it goes, but it's something along the lines of, when we're young we think we know everything, but the older we get, we realize how little we know. I think that's true for screenwriting as well. When we are new to the craft, we think our scripts are great. The more experienced we get, the more we realize how hard it actually is to write a GREAT script.

Now, maybe someone smarter than me can put that a little more eloquently in text.  

Quoted from Grandma Bear Now, maybe someone smarter than me can put that a little more eloquently in text.

No no, your text was perfect and I agree with you all along.

The selling stuff, cold calls, email traffic for "budget" projects just made me take a look into all of the details, interviews and notes.

It's just hard to articulate but I think they prefer characters in actions, nor dialogue nor VO, to experience if the characters can hold/stand

VO is not the problem... the problem is bad writing.

As with all things screenwriting... there are no 'rules' as there is no 'rule book', only current trends and fads that come and go.

Some people think that VO should be avoided as it has become seen as a little cliched/overused.

BUT I agree with Dena, Pia, Dustin, Dave, Prussian and CJ (and I guess that means we all agree), that if the script is great then no one will reject is due to VO... why would they if this script may make them money!

Juts my two peneth

It's not the VO that is cliche, but the dialogue the writers choose to write. Rather than really being involved with their story, they are too involved with making their story like so many others before it.

Quoted from Grandma Bear I don't need links, but thanks.   I'm just saying, that if a script starts out with a V.O. that is strong and pulls you in, they will continue to read. If the V.O. comes later in the script, I doubt that they will ditch the script because of it, if what they have read prior is great. I have read/listened to Robert McKee's Story seminar and he says that Hollywood really is looking for the best scripts out there. They want nothing more than finding a GREAT script. I truly believe that. The problem is for writers to get their scripts out there to be seen. I also think that most of us writers believe our scripts are better than they really are. There's a saying out there, can't remember exactly how it goes, but it's something along the lines of, when we're young we think we know everything, but the older we get, we realize how little we know. I think that's true for screenwriting as well. When we are new to the craft, we think our scripts are great. The more experienced we get, the more we realize how hard it actually is to write a GREAT script. Now, maybe someone smarter than me can put that a little more eloquently in text.

I believe a lot of us do have great scripts, but it's just getting them in the right hands that is the hardest thing.

I have read scripts on these forums that have been a lot more entertaining than movies I have seen on showtime channels or even at the cinemas recently.

Writing a grest script is the easy part. It's breaking through to have it read by some one high in ranks that is hard. If anyone knows how to get a script in the hands of a a list producer, please feel free to share that information

Quoted from Grandma Bear I think you did a GREAT job on the V.O. in the last OWC. I use it myself sometimes as well. The longest one probably in my sci-fi prisoner transport thriller. I have also read many pro scripts and watched many films using V.O. and it works well, especially if done in the beginning to sort of set the stage.

Thanks Pia but at least half of that V.O. was reworked by Kevin when he read and gave me notes/suggestions. I swear that man has really got a knack for dialogue. Wish I could take all the credit but can't