Screenwriting Tip: Advice from a Professional Script Reader

“An experienced pro reader always knows a ‘bad’ script within the first 10 pages, usually within the first 3, and often on the first page.”

Recently, I posted an article in which I answered a reader question: “Is it useful to read a bad script to see what not to do?” Barbara Schiffman posted a helpful response. Reprinted here by permission:

Scott, thanks for posting this question — I read scripts as a Hollywood reader for major production companies, cable companies, indie producers, directors, and agencies full or part time for 35+ years, before retiring to Montana last year. I now work with local writers and organize a Meetup for Screenwriters in Montana where we discuss a “script of the month” by award winning writers to discern how good scripts read to studio and agency readers.

I also read for local and international screenwriting contests, where readers like me would weed out the most amateur scripts and also the “best in show” which go on to get read by the final “pro” evaluators (producers, directors, literary agents and managers). Last year I coordinated a regional competition for Montana screenwriters sponsored by the Bigfork Indie Film Festival. It was a delight to discover there are more good screenwriters in Montana than we expected, tho none of the scripts was ready to become a film yet. Sad to say, we also read quite a few “bad” scripts.

An experienced pro reader always knows a “bad” script within the first 10 pages, usually within the first 3, and often on the first page. If it starts out with a clock waking someone up, and they’re late for something, it’s usually not a good script. If it’s about a screenwriter trying to break into the biz or sell their script, it’s not a good script. If it reads like a novel or lacks enough description to properly “ground” the script or describe the tone to grab the reader by page 3, it’s not a good script. If all or some of the characters speak alike (despite age, gender, background and personality differences), it’s not a good script. [emphasis added]

Most scripts — even by top-paid writers — have both “good” and “bad” elements in them, especially early drafts. But bad scripts can be improved and even “saved” by good writers. So it can be very helpful to read bad scripts to learn what not to do and also to appreciate what pro readers like me experience when we read your script. (We must read the whole thing and write up the coverage so the exec or agent won’t need to read bad scripts.)

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But after you read a few “bad” or just plain amateur scripts, you probably won’t want to read more — ever! You’ll want to read the good ones, the ones that you highlight in your articles and lists, Scott, which are invaluable for both new and seasoned writers. Thanks for helping us find and read scripts worth reading, good or bad!

You may think it’s crazy that a trained script reader can determine a bad script in a few pages or even by Page 1, but believe me, I’ve heard this from more than one development exec. Even one my DePaul University School of Cinematic Arts colleagues (Anna Hozian) makes a similar point in this video I produced as part of the 60 Second Screenwriter series:

To quote Anna: “Your first page is absolutely essential. People think I can get to five or ten pages and eventually someone will read my screenplay, but if you can’t get them from the first page, many people will turn it down.”

My advice: Read as many scripts as you can, good AND bad. Learn what not to do… and what to do. That puts you on the path to writing a great script!