MERREL DAVIS

I’ve been asked a many of times through email about what exactly I do as a script reader, and what the rewards for doing such work are. I’ve formulated my emails into a more comprehensive post for your reading enjoyment.

Why do I read scripts?

Script reading is great as a vehicle to help cultivate your own craft. It’s a crash course in what to do and more importantly what NOT to do in your own scripts. It also allows me to connect with other writers and help them with their work.

I got my whistle wet with some one-off gigs, and started writing coverage just for experience. After a while, I answered an ad for a reader at a management company. Now I freelance as a reader as well.

In reading the work of others, it has made me aware of the landscape of scripts in the spec market. In many cases these are my peers and counterparts, so it is a good education. For example: in the past year I’ve observed some prevailing themes, and “go to” stories are that have popped up again and again. One reoccurring dramatic device seems to be setting a story either right before/during/after 9/11 – often to the detriment of the story.

How do I evaluate scripts?

Honesty is key – I evaluate a script in the same manner that I would expect somebody to analyze my work. Which means a forthright and constructive analysis. When I evaluate for a company, my notes come with a recommendation on whether to consider or pass. In many cases, I am the first line of defense between your script and ‘people that matter’ reading your script.

My goal is not to artificially elevate the script or the writer. I evaluate scripts based on what is actually on the page. That is to say, I grade based on the reality of their work, not their perceived intention.

Some excerpts of from general notes I’ve provided.

On a time travel romantic comedy:

“A brisk, funny script with a clearly delineated premise of love and time travel. An effective subplot about gender roles and marriage complements the main story. Though elements of the script are derivative, such as ‘the time traveler forced to make a decision about love’ or ‘the academic forced to see the role of women through his own eyes’, these elements come together well.

The plot of the script is ultimately predictable, but reaches the climax in an enjoyable fashion. Main characters are strong, whereas some secondary characters need development. The dialogue is contemporary despite being a time-piece and scientific dialogue can be overly technical without visual aide. Consider: the sum of its part make for a campy, funny albeit expected screenplay.”

On a gritty NYC crime drama:

“…The set-up begins strong. There is a solid first act, in which the perceived protagonist goes missing. Quickly though, the script loses direction, as the character introduced in the act one is never referred to or seen again.

The script has many formatting, structure and pacing problems that affect the readability and intended meaning of some scenes. A large amount of the action text is novelized, features overly wordy terms, lengthy internal dialogue, and omniscient declarations of character’s feelings.

While the concept of a missing person, a love triangle, and drug deals gone bad are compelling, the script lacks a cohesive execution to bring all these strands together.”

What do I look for when reading a script?

I can usually tell within the first couple of pages what type of script it’s going to be. Good scripts, for me, are almost always immediately engaging. These are a just a small number of the things that I’ll make note of while reading your script.

• Readability is key. Since your script is not the only one I’m reading, things like concise scene headings and clear action text allow for a brisk read. I shouldn’t have to double-back and re-read something because it is unclear. I can usually read a good script 2-3 hours, where as bad scripts actually take longer.
• Sharp involving dialogue. Easier said than done, but, believable dialogue is so important to suspension of disbelief. Poor or even innocuous dialogue can reduce dramatic impact on a scene or even the whole script.
• A new perspective or idea. As an example, we’ve seen countless zombie movies from the point of view of the sole surviving humans fending off the undead. The recently Cannes screened Colin takes that perspective and flips it, following from the point of view of a zombie. It is a new approach that still utilizes the established convention of the zombie genre.
• Not just a clever premise, but a clever execution. A script must stand on more than its log-line. If your script is AMERICAN PSYCHO meets IRON CHEF – that idea must be sold solidly throughout. The script cannot rely on good intention alone.
• Concise yet illustrative action text that puts me in a location quickly and clearly. This allows me to get to the meat (usually dialogue) easily.

What are the No-No’s?

These things will cause me to bemoan and curse you. Don’t do them.

• If you haven’t taken the time to proof read, edit, and correct your script why should I care about your work? It’s clear you don’t. The same goes for formatting. If you don’t even attempt to format a script, you don’t want it as much as you say you do.
• Excessive exposition in dialogue and action text. Sometimes exposition may be a necessary device (depending on the type of script) but most of the time exposition by design belabors and sometimes insults. Be creative and visual if you need to convey back story. Overt declarations in dialogue are unnatural and belabor what could have been a much more subtle point.
• Novelization of action text. A script is not a novel. Do not spend 4 paragraphs verbosely describing: “Jim slowly stepped into the room, things appear untouched, he thought ‘this seems familiar’ as particles of dust catch the autumn sun, revealing the aged and worn wooden floor built in 1952, but later stained with blood in the 1974 murder.” Be concise!
• Excessive back story. Be discerning when disclosing back story. Is it truly important to the audience? If so does it need to be disclosed a the top of the script? Jim may have been an excellent baseball player in the third grade, but unless he has to slide into home to save his life, it just is not important to the story.
• Don’t put a fake production company on your cover page. Realistically, if you had your own production company, you wouldn’t really be trying to get someone else to produce your own work would you?
• Giant watermarks on every page. It’s one thing when you share the script with your friends, but as the FAQ for the Nicholl Fellowship says: “Do not print your pages with admonitions against copying your script. Good scripts need to be copied. Bad ones do not.”

Will you evaluate my script?

Yes, of course. Please email me at ScriptReading @ MerrelDavis.com for rates.