Script Reader
Script Readers must have specific skills in analysing screenplays. They evaluate Screenwriters' work, and make recommendations about the next stage in the process. They may also work in other film industry roles, Script Reading to make extra money, and to hone their analytical skills. The work is not always well paid, but it can be very satisfying, and is a useful entry route into Script Editing and Script Development.
Responsibilities
Script Readers mainly work for public funded bodies, such as the UK Film Council, or the Regional Screen Agencies. Where UK film companies use Script Readers, they are usually trusted Readers or Script Editors, whose opinions are highly respected by Producers or Development Executives. Script Readers may also be commissioned by Screenwriters to provide objective opinions on screenplays before they are submitted to Producers or funding bodies. Script Readers assess whether screenplays are professionally crafted, and write a Reader's Report (or 'coverage' report). In most instances, screenplays are only read by one Script Reader; however, in specific situations, e.g. when a Producer is applying for National Lottery Production Funding, the final draft screenplay may be read by two or more Script Readers to ensure that it is given an objective appraisal. The typical Reader's Report is 4-8 pages long, although it can be longer, and includes a breakdown of the story, and an assessment of the story's suitability for production. This report typically contains the following elements:
· Logline - a one line summary of the central proposition of the film
· Premise - an analysis of the originality and commercial potential of the central concept
· Synopsis - a one page breakdown of the story
· Tone and Genre - an analysis of whether the writing matches the intended tone and genre
· Comments - two or more pages of comments detailing the strengths and weaknesses of the Concept, Premise, Plot (and subplots), Structure, Character (and in some cases possible casting), Dialogue, and Technical execution
· Summary and verdict
When screenplays are read as part of a Screenwriting Competition or Short Film Production Scheme, Script Readers may also be asked to indicate whether the screenplay should receive funding, be short-listed or rejected. Script Readers assessing screenplays for National Lottery funded awards may also be required to complete a Reader Response Form, detailing whether the project satisfies other funding criteria.
Skills
Script Readers must be familiar with screenplay format and layout, and with the required contents of a Reader's Report. They should know the key points required in a screenplay, and they must understand the art of the synopsis, and the screenplay development process. They must be able to organise clearly, in writing, their thoughts, criticisms and opinions. Script Readers should understand the different markets for films, and the trends in film production, so that their reports provide an objective appraisal of the screenplay, both on its own merits, and within its intended market. They must also be aware of developments in the arts and culture in general, with particular regard to new works in film, fiction and poetry.
Qualifications/Experience
Script Reading is one of the best entry routes into Script Editing, Script Development, and Producing. Script Readers are typically highly educated with a BA or Masters Degree. To find work, Script Readers must submit examples of coverage work they have written, and one of the best ways to secure employment in this area is to take the graduate Script Reading training course provided by the Script Factory in London, and in partnership with Regional Screen Agencies in other parts of the country. Prospective Script Readers should watch as many films as possible, and read a large number of good original screenplays as well as published transcripts. Script Readers should also attend Screenwriting courses, and read Screenwriting books, but must be wary of fixing on one specific theory or screenwriting system. Screenwriters' commentaries on DVDs may also provide useful insights into the screenwriting process.
Responsibilities
Script Readers mainly work for public funded bodies, such as the UK Film Council, or the Regional Screen Agencies. Where UK film companies use Script Readers, they are usually trusted Readers or Script Editors, whose opinions are highly respected by Producers or Development Executives. Script Readers may also be commissioned by Screenwriters to provide objective opinions on screenplays before they are submitted to Producers or funding bodies. Script Readers assess whether screenplays are professionally crafted, and write a Reader's Report (or 'coverage' report). In most instances, screenplays are only read by one Script Reader; however, in specific situations, e.g. when a Producer is applying for National Lottery Production Funding, the final draft screenplay may be read by two or more Script Readers to ensure that it is given an objective appraisal. The typical Reader's Report is 4-8 pages long, although it can be longer, and includes a breakdown of the story, and an assessment of the story's suitability for production. This report typically contains the following elements:
· Logline - a one line summary of the central proposition of the film
· Premise - an analysis of the originality and commercial potential of the central concept
· Synopsis - a one page breakdown of the story
· Tone and Genre - an analysis of whether the writing matches the intended tone and genre
· Comments - two or more pages of comments detailing the strengths and weaknesses of the Concept, Premise, Plot (and subplots), Structure, Character (and in some cases possible casting), Dialogue, and Technical execution
· Summary and verdict
When screenplays are read as part of a Screenwriting Competition or Short Film Production Scheme, Script Readers may also be asked to indicate whether the screenplay should receive funding, be short-listed or rejected. Script Readers assessing screenplays for National Lottery funded awards may also be required to complete a Reader Response Form, detailing whether the project satisfies other funding criteria.
Skills
Script Readers must be familiar with screenplay format and layout, and with the required contents of a Reader's Report. They should know the key points required in a screenplay, and they must understand the art of the synopsis, and the screenplay development process. They must be able to organise clearly, in writing, their thoughts, criticisms and opinions. Script Readers should understand the different markets for films, and the trends in film production, so that their reports provide an objective appraisal of the screenplay, both on its own merits, and within its intended market. They must also be aware of developments in the arts and culture in general, with particular regard to new works in film, fiction and poetry.
Qualifications/Experience
Script Reading is one of the best entry routes into Script Editing, Script Development, and Producing. Script Readers are typically highly educated with a BA or Masters Degree. To find work, Script Readers must submit examples of coverage work they have written, and one of the best ways to secure employment in this area is to take the graduate Script Reading training course provided by the Script Factory in London, and in partnership with Regional Screen Agencies in other parts of the country. Prospective Script Readers should watch as many films as possible, and read a large number of good original screenplays as well as published transcripts. Script Readers should also attend Screenwriting courses, and read Screenwriting books, but must be wary of fixing on one specific theory or screenwriting system. Screenwriters' commentaries on DVDs may also provide useful insights into the screenwriting process.
