Not only do script readers provide coverage for production companies, they can also be found working for:Īs you progress in your career as a screenwriter you will become aware that screenwriters are frequently given deadlines, so becoming a disciplined writer from the off will serve you well. When looking for companies make sure they’re credible, look at the back catalog of the company and individuals involved. You can look to MFJF for opportunities in the script reader pool, or ask small up-and-coming production companies if they have any scripts that need reading and critiquing. Other screenwriters say their most productive time writing has been achieved by working non-industry-related jobs, giving them more time to work on their projects rather than being caught in a job that demands your complete service. Knowledge is the key ingredient to understanding what makes a great screenplay you can apply this to your work going forward. You will be allowed to rigorously critique other people's work and read a wide variety of scripts, spanning all genres and styles. One option for the aspiring screenwriter is to become a script reader for a production company. What makes big-budget tentpole movies successful, and why don’t mass audiences have time for smaller independent UK films? Get to know your audience, go to the cinema and find out which characters connect to audiences.
Read scripts too, of course, good and bad. Not just scripts but fiction, biography, plays, Dan Brown to Dostoyevsky. It's not prudent to thrust your script into a producer’s hand, however, instead, engage a producer in conversation, discuss what they were up on the stage talking about, ask for some advice, offer to send them an idea you have been working on - make sure you come away with a card. Fortunately, film festivals and discussion panels can offer you an opportunity. This can be tricky, especially if you are coming into the industry not knowing a soul. The best way to get people to read your work is to get out there and meet people in the industry. Some production companies do read unsolicited work you can see here for more information. Many production companies do not accept unsolicited work, meaning if they don’t know you personally or professionally they're unlikely to read your script. Largely, however, once the screenplay is purchased it can be at the mercy of others. This is not always the case, on certain productions, the screenwriter can be modifying scenes as the camera is turning, they can be present on set and offer support and advice. Writers are always working on their projects, and once the script is sold, they will need to let go of the material, letting producers and directors take over the reins. Screenwriters can be engaged to work on an existing screenplay that needs a rewrite, or rework their script if optioned by a company. These figures give an indication of how hard it is to get a script read, let alone recommended for development. Out of those 2,000 screenplays, he only passed on 40 as recommendations. In Sye Fields book The Definitive Guide to Screenwriting, he tells the story of his time working for Cinemobile, where he read and wrote synopsis on more than 2,000 screenplays in two years. The life of a screenwriter has been documented in various forms (see Adaptation for more information), it can fill you with creative freedom and leave you with feelings of rejection and frustration at no one reading your work. If your imagination runs at 24fps writing for the screen is a dream job, it can also be the bane of your existence.
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