Script readers are employed by production companies, agencies - though assistants tend to do the bulk of the reading here - and major studios. In addition, readers are also paid for their service by screenplay competitions - though in my opinion, these are the cheapest, - managers, and even consulting services such as ScriptShark.com. The reason why employers hire readers comes down to two things, and you’ve heard of ‘em before: time and money. The head of development at Amblin Entertainment simply doesn’t have the time to read every submission that hits the inbox; and that overwhelming bulk of submissions are only from the hotshot agencies in town: Endeavor, CAA, WMA, UTA, and ICM. The creative executive at Paramount Pictures doesn’t have the time to read your screenplay, bub. It’s why making it in Hollywood seems all the more glamourous. It’s why Variety reports when every young and upcoming screenwriter sells their work for mid-six figures backed by low seven. This is Hollywood; no one gets their own coffee in this town, and likewise, no one reads their own submissions … at least, not until a reader tells them they should. It’s only after a submission has been read and “considered” by a highly experienced, and trusted, reader that an executive will even touch a submission. I’ve worked with execs that don’t even go that far!! It seems outrageous, but I’ve read for producers who don’t even bother reading the material before taking a meeting with the writer; though it should be noted, these producers are very intelligent television writers themselves, and strive on their intuition. Side note: As an aspiring screenwriter, it’s important that you understand that the picture business is unlike any other: it’s based heavily on talent, persistence, and luck. Like the actor, the screenwriter falls victim to third party decisions, which aren’t based on scholarly achievement or outstanding extra-curricular activities: it’s based on professionalism, luck, and what mood the exec is in at that particular time of day - the variables are endless, but it’s safe to say that after lunch is the best time to interview with anyone in this town. Jumping back on point, execs read only the best of the best material, which means the reader has to identify it, and the only way to do that is to read everything, which brings me back to my point of this article: be professional and try not to piss off the reader.
The picture above is of a great book for green screenwriters who believe their material is worth those high six-figures; I suggest you read it before letting anyone read your work, because it probably contains 500 things - which you may or may not have overlooked - that piss off the reader. Okay, I’ll admit it, readers can get pissed off about a lot of seemingly small discrepancies, but I kid you not when I say, it’s not because they hate their job; it’s not because they’re jaded; it’s not because they’re jealous that some crappy writer is represented and they aren’t - a represented writer is no different than a represented actor: they’re probably both out of work, and lucked out by landing a green rep desperate for that 10 or 15 percent cut, - it’s because they read everything, and therefore have a large amount of experience when it comes to what works, what doesn’t, and overall professionalism. Depending on the company, a reader can read everything from screenplays, short stories, manuscripts, best selling novels, poems, articles, newspapers, and anything else that might possibly lead to a great story; I wouldn’t be surprised if some readers were already covering blogs. What’s in your blog? Do your work, and your self, a favor and pick up a copy and read it cover to cover; oh, and for those of you writers who don’t like to read because you feel it infringes on your writing time, don’t worry, the 500 tips are short and sweet. In fact, here’s one to start: read more.
We read a lot, and base our decisions upon everything we’ve ever read, but achieving a consider recommendation is not all that difficult: just be the expert. As Terry Rossio put it, “… agents pick screenwriters the same way they’d pick a brain surgeon. Or any professional person. They want someone with knowledge. Experience. Talent. Someone well practiced in their craft. Someone who is capable. Someone who has demonstrated their abilities. Someone who knows what they are doing … they want, in short, an expert.” So how do you become an expert? You read a lot, and you write a lot. That’s all. You don’t need a degree or certificate. You don’t need to attend AFI or USC. All you need is the passion to write, and the will to put in the hard work. Combine this with the 500 tips on how to avoid pissing off a reader in Jennifer Lerch’s book, 500 Tips to Beat the Hollywood Script Reader and you’re well on your way to a consider … maybe even a recommend.
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