Every script that comes through Stage 32 gets evaluated by a professional Industry Reader, someone who reads hundreds of screenplays per year, who knows story structure inside and out, and who can spot the same problems over and over again.
When you get script coverage or submit to a contest, your script goes to an Industry Reader in our reader pool. All readers in our pool have at minimum 5 years professional experience working on a desk at an agency, in a Writers Room, in a production office, at a management firm, or within a studio development outfit. Many of our readers are screenwriters as well, and some even have produced films on the major streamers. Others might be working directors, producers or studio executives who just prefer to read anonymously. Among our readers are talented script evaluators from companies like CAA, UTA, WME, Fox, Paramount, Sony, and Universal.
So we decided to finally give our readers a voice and ask them directly: What do you see most often that holds writers back?
In a survey that included 12 questions, we asked the members of our reader pool, who evaluate scripts daily, to share about their experience and backgrounds, what they think sinks a script versus what makes a script stand out, and more questions that really get into the nitty gritty of the process of giving feedback on screenplays!
The answers won't be surprising to anyone who works day-to-day in this industry. But they are revealing. Because the notes these readers give aren't often about taste or personal preference. Nor the exotic stuff. Nor the once-in-a-while edge cases. They're about execution - in clarity and in craft. The patterns. The things that appear in script after script after script separate scripts that get requests and recommendations from scripts that get passes.
These are the same notes executives are giving in pitch sessions. The same feedback writers receive in consultations. The patterns that separate "this writer understands their material" from "this writer needs another draft." What we heard back was both humbling and hopeful. Humbling because some of these issues are fundamental. Hopeful because they're all fixable.
Read what our readers see most often. Then ask yourself: Are any of these in my script?
Reader 1: Twenty-three years (since 2003). I started out as an intern at various production houses, and then went on to read for companies such as Amazon Studios, Netflix, and multiple competitions.
Reader 2: Ten years.
Reader 3: Five years.
Reader 4: Seven years. I started out reading for free to gain experience and get my foot in the door, then got lucky and was hired at a development company.
Reader 5: Eight years.
Reader 6: Six years.
Reader 7: Five years.
Reader 8: Fourteen years (since 2012).
Reader 9: Eight years.
Reader 10: Ten years.
Reader 11: Five years.
Reader 12: Fifteen years.
Reader 1: I teach MFA classes in Screenwriting at UCLA. I have credits as a producer, writer, and director, on films that are available on streaming platforms right now.
Reader 2: I've worked as an assistant and coordinator for companies such as Blumhouse, eOne, The Picture Company, Zero Gravity, and Rain Management. I'm also a writer myself and have placed as a finalist in multiple competitions.
Reader 3: I'm a TV producer and repped screenwriter.
Reader 4: I am a working, repped screenwriter. This year I've pitched my concepts to the likes of Apple, Amazon, Netflix, ITV, and Sky.
Reader 5: I am a screenwriter. 5 of my feature scripts have been produced so far.
Reader 6: I have worked in Writer's Rooms for two big TV shows on FOX and ABC.
Reader 7: I've worked over a decade in production, mostly in Writers' Rooms, but have also worked in TV development.
Reader 8: I began as an assistant at Paramount Pictures. Eventually I wrote my own scripts, and have now written, directed, and produced three feature films! I've assisted with many projects from Oscar winners like MOONLIGHT to big budget blockbusters like FREE GUY to independent films made by up and coming artists.
Reader 9: I’ve worked as both a screenwriter and in development. I’ve written for a BBC drama series and have a drama miniseries in development with a production company. I’ve also optioned a couple of scripts.
Reader 10: Production, Development, Management. Screenwriter who has sold projects. Produced a lot of branded content and docs that have premiered on Netflix and AMC+.
Reader 11: I have 300+ produced episodic credits across children's TV programming, fantasy, crime procedural, and comedy formats. I also wrote a feature film which was produced by and released on Disney+.
Reader 12: I work in development and through that process have received a couple credits as an Associate Producer and Script Supervisor.
Reader 1: Thousands. It feels like millions. But there are always gems!
Reader 2: Between 500-600.
Reader 3: About 120.
Reader 4: Between 200-300. I currently work full-time in Broadcasting also, so I balance my script reads around night shifts.
Reader 5: Upwards of 5,000. This is my full time job.
Reader 6: 120-180 scripts.
Reader 7: 200.
Reader 8: It wouldn't be a stretch to say about 600 a year. Nearly one or two a day nearly every day of the week.
Reader 9: Upwards of 400 per year.
Reader 10: 100-200.
Reader 11: Minimum 100.
Reader 12: Roughly 250 to 300.
Reader 1: A commercial screenplay – whether it’s meant for indie circuits or mainstream studio outlets – literally has to show an audience something new. Simply revisiting genre tropes is not enough, especially in a fragmented narrative universe. Homage is dead. If you can’t bring something new to the table in your latest idea… dump the idea and stop wasting your time and energy. Come up with something new.
Reader 2: A main character who feels generic or lacks an emotional conflict/journey.
Reader 3: Overly expository dialogue (often of the "as you know" variety). Keeps the reader from being immersed in the story.
Reader 4: Honestly... On-the-nose dialogue. I find dialogue to be the most enjoyable thing to write. it's the opportunity to truly express the nature of your character, what makes them distinct from the others and the dialogue enables them to progress the plot in an engaging way, while not giving away elements of the plot. Arguably, I'm very observant of on-the-nose dialogue so even if there's just small amounts of it, I will call it out. It disrupts the flow and challenges the writer's ability of revealing the plot in different ways that spur the audience to engage more by working things out for themselves!
Reader 5: Probably voice. You can teach a writer almost everything else, but their voice is all their own and ultimately it will be what sets their work apart from everyone else.
Reader 6: Give characters clear goals. The most basic definition of a plot is: a Character has to overcome an Obstacle to achieve a Goal. If any of those three elements are missing, then it's a series of events, not a story. Plot is character and character is plot. What a character wants has to drive them from the first page of the script to the last, and the natural drama is found in how close or far they are to getting what they want. For every character, ask: What do they want? How far are they willing to go to get it? What are the consequences if they fail? That's the story.
Reader 7: Making the stakes for the main characters clear. I'll often find scripts where the main character has clear motivations (i.e. win the prize), but the story won't go into why this particular goal matters to this particular character, so the stakes are murky. When the stakes aren't clear, there's no tension, and it makes the script less compelling overall.
Reader 8: Normalize scene headings and lean towards DAY or NIGHT whenever possible. That's literally it. Other than that, it's make sure your premise-defining story launches at the second act. Not the midpoint. Not the climax.
Reader 9: The biggest issue is probably a passive protagonist. A huge number of stories happen to the protagonist, rather because of the protagonist. If the lead isn’t pushing their own story forward, it makes it much harder to feel for them, as they just become a victim of circumstance rather than someone who needs to evolve to prevail.
Reader 10: Character = change over time. Your characters must change. They must evolve. They need a clear Point A and it's your job to take them to Point B. With lots of obstacles in between. When you think about how to craft character change in your story, think of it like this: the main change should be internal. A character's thinking and emotions should be challenged and evolve. The second layer of change is interpersonal. How your character's relationships change (i.e. protagonist and romantic interest, friend/family, antagonist). The third layer of change is external. The basic plot, a start and finish. Where they came from and where they go. Most writers have the plot part down, but they are sorely lacking the internal journey of the characters and how they change/evolve over the course of the story. Karl Iglesias's book Writing for Emotional Impact should be your bible for this.
Reader 11: Underdeveloped characters is the most common note I give to writers. Everything else is secondary. If the characters are relatable, have clearly defined goals, and face big obstacles, the script will work. Characters help us to enter the story world. But don't try to do too many things at once.
Reader 12: Don’t write beats in your screenplay. Beats are a waste of everyone’s time. There’s no reason you as a writer needs to attempt to dictate pace with beats. No reader has ever seen “A beat” and gone wow what a great use of a beat! Amazing how they included a brief pause there to really slow things down and set the tone. Just do without beats altogether, unless absolutely necessary. Beats should be earned by building up to a pressure cooker of a scenario where the only way to move forward is a long pause to let the audience EXHALE and SIGH. Don't use them randomly and willy nilly. They are NOT a tool for solving a script specific problem. They are a crutch that makes your writing worse. Automatic thing to cut from your scripts ASAP. Find a more interesting dramatic action for the characters, dig deeper into their psyche, their ticks, how they process things physically to externalize internal emotion. Give them anything to do. That will at the very least tell us more about them as a character - via seeing how they operate or react - than a boring *DRAMATIC PAUSE* ever will.
Reader 1: Generic plot. Generic characters. On the nose dialogue.
Reader 2: Failure to grab the reader with an engaging hook on page 1.
Reader 3: Overly descriptive writing/directing on the page. Writers will sometimes spend paragraphs telling the reader exactly what every character is wearing, where they're standing (blocking), or detailing every object in the room. This not only hurts the pacing, it makes it difficult to ascertain which (if any) of these details are significant to the story.
Reader 4: Plot holes... they happen easily but when a pair of fresh eyes are laid on a script they truly jump out. For that final equilibrium to be reached by the end of Act 3, story strands need to have ran parallel throughout then meet at the end, even if it's intentionally incomplete (e.g. a cliffhanger) so we see it's been recognized, not forgotten! Another one would be scene description that reads more like prose as opposed to sharp, yet engaging information. Long-winded sentences that form overly-descriptive chunks of paragraphs with information about the characters that isn't expressed on screen for the audience to learn (their careers, personality traits) this would typically be the approach for a novel. For screenplays, the focus needs to purely be what's happening in the scene but the craft presents itself in the way the writer brings their voice to this. Even though it's to-the-point, it's always impressive when a writer can implement their narrative flair/voice to this within 2-3 lines without leering into novel-writing territory and implement character information through the Show Don't Tell method.
Reader 5: Scripts that aren't about anything. Even character-driven scripts need to have a plot and character-development.
Reader 6: It doesn't matter what is happening on the screen if it's not clear how the character feels about it. Tell an emotional story. Write the script for the audience, not the reader. The audience cannot see the narration, they can only receive information through what is seen and what is spoken. Formatting matters. If a writer can't get the basics right (for example, how to write a slugline), how can anyone trust them with a full script or series?
Reader 7: Too much exposition in dialogue, plot points based in convenience instead of the narrative.
Reader 8: Writers often get a bit overly ambitious with their character count. Ensembles are fun, but unless you are confident in your ability to give them all clear niches, narrative value, and defined voices, it's best to consolidate cast for more economical and potent character work. While it's a simple thing, writers tend to neglect giving their character's journey meaning. Arcs are critical. And if a character doesn't grow and succeed in their goal, a cautionary element should be shaped through their failure. This could be an arc of its own. Finally, page counts matter. They influence genre, pacing, and even marketability. Producers won't want a simple lighthearted comedy that is perceivably pushing past two hours in length.
Reader 9: Redundant dialogue. Things like hellos, goodbyes, food orders, recapping things that we’ve already seen, etc. A little can be okay, but it’s usually the easiest stuff to cut. Overwriting. Long blocks of descriptive text about the way sunlight falls across a meadow or describing every micro-gesture of the characters. Again, it’s about balance. A little adds texture, a lot slows a read and makes it a chore. Referencing specific songs and/or camera directions. I get why writers do it, but there are drawbacks. One is stepping on other people’s toes (director, editor, etc.) But a bigger issue is simply that it’s impossible to read a scene and keep a song in your head while you do it. So no mater how perfect a needle drop it might be, it won’t land on the page.
Reader 10: Avoid phrases like MOMENTS LATER or LATER in your sluglines. There is an inherent forward motion of time in movies, unless explicitly stated otherwise via flashbacks or time jumps. Thus, it is understood every scene will be “later” than the last. That's literally how time works, so you're just stating the obvious.
Reader 11: Underdeveloped or thin characters. Overdrawn exposition in dialogue. Cliichéd plotting.
Reader 12: Be wary in dialogue of having two conversations at once. You want to separate thoughts all the way out to address them fully and directly. Then move onto the next thought. When characters make two different statements in one piece of dialogue, then the next character has to respond to two different statements, which is impossible. It takes the audience/reader out of the moment, because it splits the attention of the moment in half between the two subjects of the different statements, which makes for a lesser overall moment. You're basically hashing you're thoughts when you don't have to. So just pitch and catch with the dialogue. One throw at a time. There’s no need to make your dialogue feel like juggling all the conversations all at once. Just have one conversation at a time and progress through the various talking points one by one. Pitch and catch.
Reader 1: Confident storytelling. I oscillate between multiple genres as a reader, so in this sense genre doesn’t matter. For instance, I have a personal ambivalence to modern combat stories (I just don’t like war ‘porn’) but as a reader I have to put those feelings aside. And I’ve read some amazing combat stories and marked them high, accordingly… It’s all about your story and your technique. Whatever the genre: be good at it. Understand the movies that have produced before your script.
Reader 2: Something that feels surprising and genuinely original - a fresh character, a unique setting, a shocking moment that creates emotional investment.
Reader 3: Likable, (entertainingly) hate-able, or otherwise interesting characters. If I want to know more about these characters after ten pages, that's a great sign.
Reader 4: Very obvious but: a hook. Something that shakes up the initial world within the first 15 pages that allows the protagonist to adapt to the change of this new world going into Act 2. Another thing is interesting characters, something in their dialogue or actions that says a lot about them so that I have an idea of the kind of character I'm about to align with, give me an idea of their goal to be reached by the end of this script so that when the stakes arise I am truly invested. When a concept feels unique, like something I've not come across before, this is always an intriguing bonus too.
Reader 5: The writer has to have something important to say and a confident voice with which to say it. I'm also a sucker for clever, witty dialogue.
Reader 6: I need to know what the main character wants and I need to know what stands in their way.
Reader 7: Compelling, grounded characters with a unique premise or setting.
Reader 8: A solid indication of genre and a suggestion of where the script is going and the overall trajectory of it. Writers need not reveal the full idea, but a steppingstone moment that hooks attention and builds into the core premise and genre atmosphere is beneficial.
Reader 9: Something significant shifting in the story world. Doesn’t need to be huge, it just needs to be something that alters the status quo. A hook can be very minor, but by page 15 something should be shifting.
Reader 10: Hit the ground running. Build up your line of credit with the reader by optimizing your page design. Show us something we've never seen before (and know, we've seen a lot). Ground the story in your lead character. And don't write an instruction manual. Writers are architects. Architects design plans for a building, they don’t write step-by-step directions on how to hang drywall or hammer a nail.
Reader 11: Engaging characters with clear goals and obstacles. Clearly defined central crisis. Unique perspective. If these three are sorted, then the dialogue, structure, pacing, world-building, and thematic unity can be figured out, without much difficulty.
Reader 12: 10 pages is a long time. Many (most) Producers will tap out on your script before then. Some by page 5. So what should you do in those crucial first few? I'll tell you... Make us think that we understand what is going on on page 1. Then, you're going to hint that based on what we know is going on, there might be a secret on page 3. And on page 5, you're gonna bury the possible key to that secret so deep in our minds that we will reschedule our evening to finish your script. Give us what we expect, what we don't expect, and the key to unlocking it -> offered as a reward for getting to the end. Decide early that you are going to do everything you can to not let us go.
Reader 1: When I feel it. I’ve been reading scripts for so long I literally know within the first page. It could be technical choreography. It could be a killer line of dialogue. A small but vital observation in the action section that manages to be both economical but also evocative.
Reader 2: Beyond having all the usual qualities like a strong lead, a compelling concept, good dialogue, etc., it also has a strong sense of authorial voice. It feels specific, confident, and like it could not have come from any other writer.
Reader 3: Bold choices. I appreciate when writers have the confidence to tell their story without holding the reader's hand or taking forever to reach the inciting incident.
Reader 4: It stays with me. I'll think about it for the next week. To be honest, I think the ones that truly stand out really do leave a mark, they'll always be somewhere in my head rent-free. Then maybe when I watch something I might think, "Ah... that's a bit like that script I read."
Reader 5: If I finish reading a script and I immediately want to turn on Netflix and watch it, that's when I know the writer has something special.
Reader 6: There have been many scripts that have been enjoyable and energetic through the end of act two, and then the ending crumbles and is completely unsatisfying. The setup has to be clear at the start, and the payoff has to be spot-on. An ending doesn't have to be good or bad, but it does have to be satisfying, and make the journey worth it.
Reader 7: There's a page-turning quality to the writing that makes the reading feel exciting.
Reader 8: Usually it comes down to the quality of the script and also whether there is an identifiable audience for the project. The "concept is king" saying is indeed cliche, but it's true. A script can be well-executed, but if it brings nothing new or exciting to the table, it lacks the "wow factor" that makes it worthy to climb the ranks.
Reader 9: It’s one of two things: voice or something surprising. Voice is usually just a catch-all for a writer who has something fresh to say or a unique way of saying it. But surprising storytelling can also be the thing that jumps out. We read so many genre scripts that plot points become very easy to predict, and it’s actually a thrill when you’re wrongfooted.
Reader 10: Nirvana. I laugh, I cry, I'm thrilled, I'm excited, I'm scared, I'm swooning. Stand out scripts evoke strong emotions. Even the ones that turn into bad movies. The greatest pilot script I've ever read came from the creator of one of the most popular network series of all time. It was their next project and it still lives rent free in my mind to this day. The network shot it, butchered it (awful casting), and it never got picked up. But on the page it was pure electricity. Which is why they invested in shooting a pilot. Be electric. Give us something we can't help but tell our friends about. Doesn't have to be "undeniable" as they say, but it might be something that just stays with you or has some crazy unique element you can't forget (conceptually, thematically, or otherwise).
Reader 11: Engaging characters and a fresh voice/perspective. The script should have something to say. There are times when a script is written using a formula. The characters have clearly defined goals and crises, but it still feels stale as they lack a fresh perspective.
Reader 12: A fresh story hook, cinematic visuals, bouncy dialogue with subtext.
Reader 1: This is the greatest empathetic frustration one experiences as a reader: a great idea, but the writer simply doesn’t have the chops to execute it. It happens far more than one might think. What is missing in this instance is craft. And that probably is going to need another three or four drafts to get to something approaching viable. If the writer is capable of it, that is.
Reader 2: Fairly often. There are plenty of strong concepts that are evergreen, or have been done before a thousand times, but that's not a bad thing. They work for a reason. What's important is finding a new angle on it that speaks to your own personal taste and experience, and keeps it feeling fresh.
Reader 3: This is rare, but the few times I've encountered this it's been a "diamond in the rough" situation. The writer will have a great concept and overall story, but a lack of formal/technical knowledge. This isn't a huge problem, because it's a lot easier to learn format than to develop storytelling instincts.
Reader 4: Arguably, the concept itself is the first battle. It's very difficult to get a fresh concept that's standout regarding originality in particular. In some sense it feels like everything has been done, we are just actively having to think how can we make our concept that little bit different yet different enough to be classed as unique. When the concepts are strong, it tends to be aspects such as character development that falls short, by the end the characters don't tend to feel like they've changed from who they were in Act 1- that's quite a common thread. Or the characters all sound the same, there's not much distinction of personality even if the dialogue is well-written and natural, if the personalities all feel the same it can cause the dialogue to feel static anyway.
Reader 5: This happens quite often where I read a logline and become genuinely excited to read the script only to realize the idea was way stronger than the execution. Sometimes the writer hasn't taken the time to learn proper formatting, structure and pace, and other times they just struggled to bring the idea to life with their own voice and through a unique lens.
Reader 6: Very often. It's easy enough to come up with a good idea, but execution takes practice. When reading for contests, I come across a lot of scripts that have great potential, but potential doesn't win contests. Usually, it all comes down to the character. If the character is the same person they were at the beginning of the script as they were at the end, then they didn't grow or transform because of this journey. If there's no change, there's no point.
Reader 7: This is about 90% of scripts I read. Typically, it's too much backstory too quickly that drags the pacing, but really it's mostly lack of tension and a sense of heightening as the script progresses. The scripts that don't stand out have a consistency to the writing that makes it boring. Exciting scripts vary the rhythm of the story and dialogue, to keep readers on their toes.
Reader 8: Usually it comes down to some of the basics being neglected. Character count is bloated, the protagonist is diluted in presence, or the pacing of the story is off. Whenever a concept is good but the execution is not working, it mostly comes down to reducing content and refining the focus of the story.
Reader 9: It’s common. And what’s missing is usually either characterization or exploiting the concept for all it’s worth. A lot of writers mine the concept for the minimum, where you can often see layers more to explore. That’s why multiple drafts and getting feedback is important: to go back mine that extra stuff.
Reader 10: Often. More often than not. I regularly see great concepts that stand out in the sea of loglines that I would gladly pitch to my contacts. But then they don't back it up on the page remotely. What's typically missing is character development. But specifically - for comedies - it's not enough laughs; for action - it's not good enough set pieces; for horror - it's not enough fear; for sci-fi - it's not enough WTF-ery; and down the line...
Reader 11: 9 out of 10 times the execution falters despite a unique and potent concept. Without engaging characters the plot in itself cannot hold our interest for long.
Reader 12: Very often. What's typically missing are authentic world-building and fully fleshed-out lead characters.
Reader 1: Thinking that homage = craft. For instance, if you’re crafting a mermaid story, it better have something truly new that might make it escape the deadly suffocating narrative ennui of a thousand bazillion mermaid stories that have preceded your script.
Reader 2: Taking for granted the fact that the audience will be invested in their main character's journey. "Save the Cat" is a useful technique, but beyond that your character needs to have something that feels truthful about them.
Reader 3: Underestimating the audience. Some writers will repeatedly explain the plot and characters via dialogue rather than allowing the story to unfold in an organic, engaging manner.
Reader 4: I would say a common factor is the writer having the idea in their head, fully-fleshed out but this falls short in the script. It's so easy as a writer to be locked-in writing and in flow state getting your idea on a page that you know inside out but not implementing how the audience can gain the same understanding. For example, presuming because you know as the writer that your protagonist is a Gemini so they're a bit unpredictable that the audience will just understand their choices with no question, but if the audience don't know this information then this bit of cause and effect for the character's choices could get missed and the audience lose believability in the plot.
Reader 5: It's pretty common for a writer to focus on getting the story on the page but aren't completely considering how it will be perceived by the audience. Every moment has to entertain. Every conversation, every scene, every character must exist for a reason.
Reader 6: A common problem within scripts is assuming that the reader knows who is in what scene. Always start a scene with names, not pronouns, and be clear when someone arrives or leaves. Always err on the side of clarity.
Reader 7: Overestimating an audience's buy in to the plot or character. The best scripts give an emotional reason to care early on in the story.
Reader 8: Misunderstanding structure and its importance. Returning to pacing, oftentimes, writers launch their full plots and premise-defining ideas by the midpoint. This makes it difficult to sum up in an honest pitch. Setup is valuable, but it oftentimes should be more economical so that your intended story has full room to breathe.
Reader 9: Understanding that lived experience is not necessarily dramatically interesting. A lot of scripts have some real perspective that the writer has lived, but sometimes these are presented plainly, rather than in their most dramatic fashion. A writer should always be thinking of what the most entertaining or engaging version of events is, rather than what the truth might be.
Reader 10: Everything related to marketing. People will look you up online. Have a positive social media presence. When producers set meetings, they will want to see a version of you online that seems agreeable yet confident, easy to work with and smart. For your concept, understand 3 things - budget range, casting needs, and the comps (aka the size of the audience of similar films in terms of box office receipts). These 3 things determine your project's marketability. And they are all infinitely researchable. How would I market this? That is a question anyone working in this industry would think if they like your project. Marketable genre, clear budget range, based on specific comps (which ideally made money at the box office), so Producers can have a picture perfect clear vision of who to cast.
Reader 11: In terms of craft, emerging writers usually do not know how to create context. They slip into voice-overs or verbose dialogue to give the backstory and explain character motivations. Novice writers are also overeager to share their work even when it is not ready. The excitement of having finished a script gives them such confidence that their judgement is impaired toward their own script. Ideally, after finishing a script, a writer must spend a few weeks away from it. Then come back with a fresh set of eyes.
Reader 12: Forgetting that the characters should drive the plot (not vice versa).
Reader 1: Avoid dull and predictable openings (e.g. a shot of the universe and zooming in on planet Earth. Or a CU on a frying pan (so many scripts start with breakfasts!). Or a person looking intently into a mirror). That’s not to say that an opening cannot be discreet – it doesn’t need explosions - but it does require something – anything! – novel and unique in the first page. It could be a line of action. A line of dialogue. Engaging universe-building. You get one chance to make a first impression - make it count!
Reader 2: Trim the fat as much as possible. Go through every scene and ask yourself if it's truly necessary to the story, especially in the first act. Each scene should have a sense of momentum that pulls the reader forward.
Reader 3: Write the exact movie you want to see. Don't second guess yourself or chase trends. Imagine that YOU are the paying audience for this film. Would you be satisfied with the finished product?
Reader 4: Probably to write out each story strand, from end to end, then think how can I make this different? Even if it's a little bit. So many stories tend to cross over with others and it arguably affects the impact of reveals. So yeah, I think it would be worth looking at the A, B and C story strands, note any initial similarities to other existing material and just think, how can I tweak this so it feels a bit more original?
Reader 5: Rewrites and feedback, professionals and regular people. Make sure your plot makes sense. Make sure people get your vision. Then rewrite that script until you feel like you can't rewrite any more. Then rewrite it again.
Reader 6: Submit for feedback at any draft stage, if you need help. Be receptive to feedback. If one person doesn't connect with your script, it could just be them, but if more than one person gives you the same feedback, it's worth keeping in mind.
Reader 7: Make sure your character's actions make logical sense based on the rules you set up for them. Map their actions beat by beat for yourself to make sure this is clear before revising.
Reader 8: Learn to read your own work objectively and critically. Be your own worst enemy. When you "finish" a script, sit back, detach for a few weeks, then go back to read it, and criticize it as though it was not your own. Find what's missing. Identify what this movie could be beyond what you've written. Then go in and rewrite your own work to make it what you as an audience member, not as a writer, would want to see from this film.
Reader 9: Firstly, proofread it. A lot of scripts have grammatical errors on page one. That’s never a good look. Second, read the script out loud, start to finish. If it ever feels like a chore, that’s telling you something. The easier it is to read, the easier it will be for a reader, too.
Reader 10: Embrace the basic structural standardization and formatting conventions. They are your friends. There is absolutely zero need to reinvent the wheel. Just roll with it, brothers and sisters.
Reader 11: Just see if the character motivations, goals, and crises are clearly defined. Do the characters take action to achieve their goals, or overcome the obstacles?
Reader 12: Avoid predictability.
Reader 1: That it’s subjective. But not really! I might not like your script, but another reader could love it, so bear that in mind. Keep your hope alive. We are ALL screenwriters and often that’s the only thing that keeps us going! But, frankly… if your script is poor, it’s likely to get the same observations, no matter how many readers you get.
Reader 2: As a reader we try to be objective as much as possible, but ultimately each evaluation is one person's opinion. It can be tempting to brush off negative feedback as just due to a reader who "doesn't get it", but there's value in hearing them out. If you think they didn't understand something you were trying to convey, ask yourself how you can make that clearer for future readers.
Reader 3: We WANT to love your script.
Reader 4: From my own personal perspective, how much I care. I read every script with the real hope that I'm going to love it and be invested. On the other side of the coin, I will also be very honest and thorough in my critique (and give credit where it's due!) even if a note is small, I'll include it in my feedback. It's not a harsh, devil's advocate kind of thing... it's simply because I care!
Reader 5: I feel like a lot of writers don't realize how important those first 5 to 10 pages are. It's perfectly acceptable to write a slow-burn, but if there isn't something in those first 10 pages to draw in the reader, they're going to struggle to engage with the story and characters.
Reader 6: I want to like your script. I have to read it from start to finish whether I like it or not, so I want it to be good. I go in expecting scripts to be bad (that's the most likely outcome), and I'm always pleasantly surprised when a script comes in that isn't a first draft, and it's clear that the writer knows what they're doing.
Reader 7: Notes are valuable, even when you don't agree with them. If a note doesn't resonate, try to determine what bumped the reader, and find a way to address it while staying true to your vision.
Reader 8: Craft-related mistakes are an easy way for a script to lose ranking or be passed up on. Ensure that your material appears professional and polished. Improper formatting is distracting, and oftentimes, it's enough to mark a script as not being ready for further development or production.
Reader 9: That we want to help. I have never looked at my job as purely evaluating if scripts are good or not. My goal is to help writers polish their scripts into the best possible shape. If I can help a writer uplift their script by even 1%, that’s worthwhile.
Reader 10: Read more scripts so you have a better baseline for where notes are coming from and the things readers point out to you. You get better at writing scripts by reading scripts. When you've read 1 script in a year (your own), you should probably listen to the readers who've read hundreds - not only that year, but for years and years because we've seen it all. Every mistake. Every neat trick. Every variation of everything. There's nothing you can do, nothing you can write that will surprise us.
Reader 11: Bulky exposition in the first 10 pages is a death-sentence for the script.
Reader 12: We genuinely want every script to be a great read.
Reader 1: Take the coverage to heart. Be open to critique. Don’t fall into the “Yes, but what I was trying to do was…” (clearly, you didn’t succeed) or “You just don't get what I’m trying to do” (erm… yes I do. I have read literally thousands of screenplays. I know how they work… and why yours needs more work…). Also, DO NOT WATERMARK YOUR SCRIPT. Forget the idea that you're going to get ripped off, (you won't be...) it doesn't work like that. But mainly because it makes for a horrendous visual read, and gets your reader already exhausted with your script, regardless of the content. Seriously, every reader I know loathes this.
Reader 2: Even if you're not getting paid for it, reading and analyzing scripts makes you a better writer! I see a lot of scripts which feel like they were written by someone who has never actually read one before. Join a writers' group, download professional screenplays for movies you like, and think consciously about what works and why.
Reader 3: Keep on chipping away at your scripts! One "no" or one reader pointing out flaws isn't a reason to give up altogether. Keep growing and pushing forward. I don't know a single screenwriter who is a one hit wonder. All the "successful" writers I know grinded through the rejection, continued learning / mastering their craft, and didn't let a "bad" read faze them.
Reader 4: Keep going. Probably very generic, heard it a thousand times but a lot of this industry is arguably luck and timing so keep working on that script even if you've got an abundance of notes. You literally never know who the script might end up in front of one day! Don't be disheartened, be encouraged. We're rooting for you.
Reader 5: I just want to reiterate the importance of voice, having something to say and finding a unique way to say it.
Reader 6: Study the craft. Read more scripts. Learn all the nuances of formatting. Don't be afraid of feelings.
Reader 7: When revising, try writing scenes from different POVs. Oftentimes the most exciting scripts are the most unexpected, and finding different ways to approach scenes in your story could uncover something truly surprising.
Reader 8: Concept is king. Script readers go through hundreds of scripts a year. Ensure yours stands out. A killer first ten pages and a strong central concept are key to capturing attention. Then, if you have proper execution in terms of structure and a clear character-based story that runs alongside your actual plot, you're in a great position to be noticed.
Reader 9: As someone who has both written and read professionally, I can only reiterate that writing is rewriting. Drafts are never finished. Ever. So any chance to get a fresh perspective or consider a different approach to a story problem should be seen as a win.
Reader 10: Write better character descriptions than just ‘handsome’ or ‘beautiful’. Describe what characters are wearing, bits of their personality. These things matter to character way more than looks. People are never exactly what they look like, but you can add visual cues to amp up an audience's understanding of their personalities. Plus, if your script gets made, the characters are going to be portrayed by actors and pretty much all actors are really hot, so that part is baked into the formula, which is extra reason for you to not bring up looks, unless they are so specific and unique (crooked nose, big ears, balding, rhinoplasty) or important to story (i.e. their looks serve the plot in some way - i.e. the story of a man with one leg who is on a righteous quest to get his lost leg back).
Reader 11: Good story hints. The audience must figure out from the hints what happened, what is happening and what will happen to the character. And these hints must be communicated primarily through the characters' actions.
Reader 12: Camera/editing cues distract from the story. Leave those details for a director's shooting script later on down the road.
What Our Industry Readers Want You to Know
After surveying these industry professionals who collectively read thousands of scripts per year, one truth emerged clearly: They're rooting for you.
In a real, practical way. They want to love your script because if they do, they get to champion it. They get to tell people about it. They get to be the one who discovered something great. That's the job they signed up for. But they can only champion work that's ready. And the gap between a great concept and a great script is real, which is not a judgment on you as a writer. It's just information.
The issues our readers see most often aren't unsolvable mysteries. They're fixable problems. Character arcs that need deepening. Dialogue that's telling instead of showing. Stakes that aren't clear. Structure that needs tightening. These are all things within your control and imminently fixable.
The writers who break through aren't the ones who nail it on the first draft. They're the ones who rewrite. Who get real honest feedback, not just encouragement. Who read other scripts obsessively. Who study the craft like it's their job (because it is). Who listen to notes without defensiveness and ask themselves: How can I make this clearer?
Your next move:
Take these reader insights. Look at your script honestly. Ask yourself which of these issues lives in your pages. It's all data. Information from people who evaluate screenplays every single day. Then do the work and revise what you've got! Get feedback from other writers. Consider professional coverage. And when you're ready, pitch with confidence knowing you've addressed the fundamentals.
The readers are rooting for you. They want to find great scripts. Your job is to make sure they're not seeing the same problems in yours that they see in a hundred others. Now go rewrite.
New to Stage 32? Check out this blog on How to Get the Most Out of Stage 32! And if you ever need help on figuring out your next steps, the success team and I are here to help! Email us any time at success@stage32.com
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Ashley at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 , Twitter @stage32 Facebook @stage32 , and LinkedIn @stage-32 .
]]>
