We are currently hiring! Full time reader x 1, Part time reader x 1.

Fancy working for ScriptReaderPro as a reader? Please send us your resume and sample coverage to jobs@scriptreaderpro.com

Payment is per script and varies depending on the project.

What the Position Involves

Providing first class screenplay coverage to our clients, to a deadline.

What the Position Doesn’t Involve

Admin stuff like photocopying. Putting out the trash. Research. Making coffee. Therefore it doesn’t matter where you’re based.

We’re Looking For People With…

A passion for film and an extensive knowledge of screenwriting. (A formal qualification in scriptwriting or film related program will be looked at very positively)

A high command of written English.

Ability to deliver work to a deadline. Our reputation depends on it!

And most importantly, script reading experience. And lots of it. Professional experience is preferred from either a studio, agency, script analysis service etc

Please contact us at jobs@scriptreaderpro.com with any further questions. The deadline for applications is March 4th 2012.

Our Screenwriting eBook — “How to Master Sequences” is now available on  the iTunes bookstore and all other major eBook platforms. It can be downloaded by visiting our Author Page on Lulu.com here: http://www.lulu.com/spotlight/infoatscriptreaderprodotcom

This screenwriting eBook contains powerful and practical tools to help writers truly master screenplay structure and take command of their story by utilizing sequences.

It is divided into two sections: 1) Explanation and analysis of sequences and how they work. 2) Sequence breakdowns of six Hollywood films demonstrating this analysis.

In the book you will learn:

— How sequences underpin three act structure by adding hidden plot points.

— How Hollywood films such as The Virgin Suicides, Raiders of the Lost Ark and (500) Days of Summer, utilize sequences after reading our sequence breakdowns of six major movies.

— Why it’s so important to not just think of screenplay structure in terms of three acts. — How sequences are self-contained “mini-movies” with three acts and six major plot points of their own.

— How sequences make conflict easier to create, and screenplays ultimately easier to write.

And much more!

Take your screenwriting to the next level by purchasing our screenwriting eBook at http://www.lulu.com/spotlight/infoatscriptreaderprodotcom

Just when do you know if your script is ready to show it to a professional script consultant like ourselves, or a producer, manager or agent?

Time and time again we see the same mistakes repeated by different writers. So, in response, we’ve come up with a checklist of some of the most common mistakes we encounter.

If you can answer “Yes” to all the questions below, your script is probably well on it’s way to becoming a solid draft and ready to send out into the world.

1. Can you tell your story in two or three concise sentences? What it’s about, what the conflict is, who the protagonist and antagonist are, what the goal is etc. These should all be easily explainable in a short, sharp pitch.

2. Is the concept original—something you’ve never seen before on screen—and has high stakes attached? A life changing event for your protagonist. Something that an audience can connect to emotionally.

3. Do you have a clear protagonist with a goal to achieve against a strong antagonist? Again, are there high stakes attached? Are we going to care what happens?

4. Are all the classic three act plot points in place? Is there an Inciting Incident in the protagonist’s life at the beginning of the script? Do they make a Big Decision around page 25? Is there a Midpoint around page 50? etc. And do these plot points properly fulfil their functions? e.g. Is the Climax a showdown between protagonist and antagonist?

5. Are there 7 or 8 major sequences in the script? Each with its own Call to Action, Midpoint, Climax etc. within a three act structure? (See our eBook—“Master Sequences: What’s Really Going On Under Three Act Structure,” for more info.

6. Are there clear A, B and C stories? Is the A story the thing the protagonist must achieve by the script’s end, and the B story the thing that helps he / she achieve it? Most scripts we receive are not nearly complex enough, and the main reason is a lack of solid subplots that impact on the main plot.

7. Does the script fulfil its genre requirements? If it’s a Comedy do people get hurt but not die? If it’s a Horror do people get hurt and die? Every genre has its own set of rules. Does your script follow them?

8. Does each scene serve a dramatic purpose, have a beginning middle and end and go from a negative to a positive charge or vice versa? Who’s the protagonist of the scene and what’s their goal? If it doesn’t have these things, chances are your screenplay also suffers from the next point—unnecessary waffle.

9. If you open your script on any page and compare the dialogue to that in, say, Up in the Air, does it hold up? The biggest fault in spec script’s dialogue is unnecessary waffle. Does every line have a purpose?

10. If you open your script on any page and compare the writing style and description to Little Miss Sunshine, does it hold up? Do you write things like “The phone rings. Kaitlin looks at it nervously. She thinks about who it could be. She bites her bottom lip. Finally, she gets up, walks across the room and picks up the phone.” Or “The phone rings. Kaitlin nervously picks it up.” We hope it’s the latter.

This post is to let you know our Screenwriting eBook—”Master Screenplay Sequences: What’s Really Going On Under Three Act Structure,” is now available to download from our website.

This screenwriting eBook contains powerful and practical tools to help writers truly master screenplay structure and take command of their story by utilizing sequences.

It is divided into two sections:

1)     Explanation and analysis of sequences and how they work.

2)     Sequence breakdowns of six Hollywood films demonstrating this analysis.

In the book you will learn:

— How sequences underpin three act structure by adding hidden plot points.

— How Hollywood films such as The Virgin Suicides, Collateral and (500) Days of Summer, utilize sequences after reading our sequence breakdowns of six major movies.

— Why it’s so important to not just think of screenplay structure in terms of three acts.

— How sequences are self-contained “mini-movies” with three acts and six major plot points of their own.

— How sequences make conflict easier to create, and screenplays ultimately easier to write.

And much more, all for the price of a coffee and a muffin!

We hope you’ll head on over to the site to purchase a copy of this screenwriting eBook. On this page you can also download a sample of the first few pages.

Keep learning and keep writing!

So, as you may already know we have a screenwriting e-book coming out very soon—“Master Screenplay Sequences—what’s really going on under three act structure.”

As we mentioned in a previous post, the book goes deeper than the classic three acts to expose how screenplays are really constructed using sequences.

The screenwriting e-book contains not only the tools and knowledge required to construct proper sequences, but sequence breakdowns of the five most popular genres in Hollywood today.

We not only describe how sequences work within the framework of three acts, but how each individual sequence is itself broken down into a mini-movie.

This book will equip you with the knowledge required to employ sequences in your own script, making structure and conflict easier to understand and, ultimately, easier to write.

Here’s a sample taken from the breakdown of The Virgin Suicides. We’re in Sequence D, which takes us up to the midpoint where Lux gets together with Trip—the action which leads her unwittingly to her and her sister’s deaths.

Sequence D – Trip gets together with Lux (- / +)

I

Tim watches a boy make Lux laugh—he can’t believe it.

Several schoolboys talk to the camera about their relationships with Lux. But the narrator says the only boy who got to know her was Trip Fontaine… (negative inciting incident)

Montage: Trip flirts with a girl / He walks down the hall and all the girls stare at him / He lets a girl into his house / He flirts in class.

The narrator says Trip could have any girl he wanted but fell in love with Lux. Trip goes into the wrong class to avoid a teacher and ends up behind Lux. She turns and smiles. (call to action)

Adult Trip talks to the camera about how he never got over Lux.

Lux ignores Trip at school. (big event)

II

Trip approaches the Lisbon girls outside, but she ignores him.

Trip sits depressed at home as his dad tries to advise him about Lux.

In the school movie theatre, Trip sits next to Lux as everyone watches a documentary. They silently flirt, and then Trip says he’s going to come round her house and ask her out. He leaves. (midpoint)

At the Lisbon’s, Trip sits with the family watching TV.

Later, Trip says goodbye to Lux and leaves. (all is lost)

III

He gets in his car, disappointed. Then, Lux suddenly jumps in the car and they kiss passionately. She rushes back inside. (screenplay midpoint / positive climax)

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The screenwriting ebook can now be downloaded here.

This post is to let everyone know about our upcoming screenwriting ebook, “Master Screenplay Sequences—what’s really going on under three act structure.”

As the title suggests, this screenwriting ebook moves on from traditional three act theory to expose how each act is actually constructed using sequences.

We were motivated to write it because of the distinct lack of information on structure out there beyond the generic framework of three acts and five major plot points.

Sequences are SO important and yet hardly anybody seems to want to write about them!

By the end of reading this book, you will have a complete understanding of how sequences underpin each act, making each one that much easier to write.

Six films—one of each major genre—are broken down to show their true inner workings.

You can find a list of those films below in the table of contents:

1. Introduction: Re-thinking Structure

Going deeper than the usual three acts to discover the world of sequences underneath.

2. So, Just What is a Sequence?

How acts are broken down into sequences and sequences into segments.

3. But What About Jean Luc Goddard?

Why it’s wrong to call screenwriting structure methods “anti-creative.”

4. A Note on Genre

Why this book contains sequence breakdowns of each of the top five genres in Hollywood today.

5. What the Heck Does That Mean?

Screenwriting terms used in this book, both old and new.

6. A Note on the Analyses

A look at the fixed yet fluid nature of sequences.

7. Action / Adventure Breakdown

A sequence breakdown of Raiders of the Lost Ark.

8. Comedy Breakdown

A sequence breakdown of Planes, Trains & Automobiles.

9. Drama Breakdown

A sequence breakdown of The Virgin Suicides.

10. Thriller Breakdown

A sequence breakdown of Collateral.

11. Horror Breakdown

A sequence breakdown of Wolf Creek.

12. Non-linear Breakdown

A sequence breakdown of (500) Days of Summer.

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This book will help you master sequences, master structure and therefore the means to tell the story you want to tell.

We hope you download this screenwriting ebook when it becomes available and pass it on to all your friends!

See you on the next post!

Here’s the final part of our series of posts on how to sell your script.

Step 7. Send out your screenplay

Armed with your list of managers, producers and leads from people you know in the industry, it’s now, finally, time to get that puppy out there!

In order of preference, we suggest the following steps:

1)     Give your script to someone you know (or someone a friend knows) in the industry.

2)     Call the producer / manager and request to send in your script.

3)     Email / snail mail the producer / manager and request to send in your script.

4)     At the same time as doing one or two of the above, submit your script to showcase websites, such as InkTip.

The number one golden rule in sending out your script is: Never Send Your Screenplay To Someone Who Hasn’t Asked To Read It.

The second golden rule to requesting a submission is finding out what the company’s submission policy is, and then adhering to it.

The third golden rule is to keep your query brief and professional; whether it’s a call or an email or a letter.

Step 8. Sit back and wait… Then, repeat

Resist the temptation AT ALL COSTS to leap on the phone after three days, call all the companies you queried and demand to know why they haven’t yet responded to your masterpiece.

If they don’t get in touch, they’re not interested. However, there are a number of possible favorable responses to your query:

1)     A request to read a synopsis. Great, send it in!

2)     A request to read the script. Even better! Ask them their submission policy and then send that bad boy in!

3)     A pass on the script you sent in, but a request to read something else. In this case you should ask whether they want to read a synopsis or the whole script, and send it in.

After receiving one of the three responses above, in this case it’s permissible to follow up your submission after a couple of months . Again, keep the query to the point, friendly and professional.

And then, wait… But while you wait, you should be writing, honing your craft, networking and sending out new queries.

If you hear absolutely nothing favorable about your work after sending it out, then it may be time to concentrate on trying to get your craft up to standard.

There are no guarantees in this business, but eventually, if your work is good, and you diligently follow these eight steps, you will sell your screenplay.

Welcome back to the next post in our look at how to sell your screenplay.

In the first post we examined the following three steps: 1) Write as many scripts as it takes to get good. 2) Gain some positive feedback. 3) Create a portfolio of scripts and synopses.

Now, to the next stage…

Step 4. Place in the Top 10 of a screenwriting contest

Placing well in a contest is obviously not a guarantee to success, but doing so greatly enhances your chances of landing representation and hence selling a script.

Although not all scripts that win or do well in screenplay contests are amazing scripts, the industry keeps its ears firmly to the ground of these things in the hope of snapping up new writing talent; especially the high profile competitions such as Nicholls and Scriptapalooza.

Place well, and you have more ammunition for your resumé in preparation for the next step.

(Read our previous blog on screenwriting competitions, here, for more info.)

Step 5. Research the hell out of your script’s market options

Presuming your screenplay isn’t optioned immediately after doing well in a major competition, you will need to start approaching literary managers and producers. For now, forget agents. A manager will help you find an agent.

Research takes time, but is well worth the effort in the long run; saving you countless hours of frustration pursuing pointless leads.

1)     Buy the latest copy of the Hollywood Representation Directory. Make a list of all the managers who represent screenwriters.

2)     Buy the latest copy of Hollywood Creative Directory. Make a list of all the producers who work on similar material to yours.

3)     Go online and make a list of all the alternative screenplay submission engines, such as InkTip. (We have a page that lists some of the best which can be found here.)

4)     Create a list of everyone you know who’s somehow connected to the industry. Or, at best, someone you know who knows someone connected to the industry. The amount of scripts sold over the water cooler each year are testament to the fact that Hollywood is built on relationships.

5)     Create a list of all the networking opportunities you can possibly get involved in at writers groups, societies, screenings, etc. In fact, points 4 and 5 are by far the best way to approach someone with a script.

6)     Create a spreadsheet, detailing the name of the friend / company / manager you’re going to approach, who you spoke to / corresponded with, what the outcome was etc. Trust us, you’ll need it!

Step 6. Write a compelling query letter

Just like the synopsis to your screenplay, this needs to be red hot. It needs to be short, sweet and compelling; making its reader simply HAVE to read that screenplay.

Include, a logline, short synopsis of the script, and simple personal bio, remembering to mention that “Recommend” you received from ScriptReaderPro, and that contest you placed well in! We don’t have the space here, but there’s a ton of useful information out there on how to write a great query letter. Look it up and, if needs be, even pay a professional to take a look at it before making the call and sending it out.

In our final post, we’ll take a look at the final two steps required to sell your script. See you there!

So, now you’ve finally finished your screenplay how do you sell the damn thing?

In this post we’re going to take a look at the best way to do just that—sell your screenplay. Unfortunately, the steps are anything but easy and there’s no guarantee to any of it.

Follow these steps, rigorously, though, (for as long as it takes) and your hard work will be rewarded!

Step 1. Write another screenplay

By that we mean, keep writing until you have mastered the craft. Some people nail it after writing one script, but the chances of that happening are about a million to one.

Be prepared to write at least six scripts and six drafts of those scripts before you crack the art of screenwriting.

Step 2. Gain some positive feedback

You only want to start sending your script out to people who matter when you’ve gained some positive feedback from people who don’t matter.

Make sure that before you show your script to an agent, manager or producer, (or someone who can give your script to an agent, manager or producer) it’s rock solid.

By all means show your work to friends / family, but we suggest gaining some objective positive feedback from an industry professional before showing it to anyone really important. Gaining a “Recommend,” or at least a “Strong Consider” from a screenplay consultant is a good way of doing this.

Step 3. Create a portfolio

Once you’re confident your writing has reached the standard necessary, you should create a portfolio ready to show industry people at the drop of a hat.

This should include:

Two, preferably three, amazing scripts. There’s no point putting yourself out there with just one awesome script if that’s all you have. The first question you’ll be asked is, “What else have you got?” and you’d better be able to show them another script equally as good if you don’t want to blow your big chance.

An amazing synopsis for each script, including a title, logline and two or three pages outlining the story and characters. This is what people are going to ask for to save them reading the whole script in order to get an idea of the project and your talent as a writer.

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In our next post we’ll show you the following five steps in how to sell your screenplay.

Ah, subtext… That elusive screenwriting phrase that sends a shiver down the spine of most writers. Subtext is a difficult skill to master (even professional screenwriters get pulled up on it) but once you do, your writing will go up to a whole new level.

Go through your script’s dialogue, scene by scene, line by line, looking for instances of characters saying things in an obvious “on-the-nose” way. Be on the look out for all cases of characters saying exactly what’s on their mind and exactly what they feel.

TOM

I’m upset you were talking to your ex for so long back there.

JANE

Well, I wouldn’t have done if you’d remembered our anniversary.

Then…

Use these three methods below to make sure your characters talk using subtext.

1 Convey subtext through action rather than words

Show what your characters are thinking through their actions, rather than have them say what they’re thinking.

In the above example, say Tom and Jane are driving home from a party. If Tom’s driving really fast and wearing a scowl, we get that he’s upset about something that’s just happened at the party.

If Jane then flicks open a calendar, circles a date and drops it on his lap, we get that she’s upset about him missing an important date. It’s a silly example, but you know what we mean.

2 Convey subtext through words but not the obvious words

Characters with real emotions don’t show their vulnerabilities, they hide them. When they talk, their language disguises what’s really going on in their head.

In the above example, Tom could say, “So, Bill’s now a CEO? Wow, what a guy.” We get that he’s upset, he’s just not saying straight out.

If Jane replies, “He is. Just took his girlfriend to his beach house for a long weekend. Nothing fancy, but it sounded so romantic,” we’d get that she feels Tom takes her for granted.

3 Brainstorm a range of reactions

For any given instance of “on-the-nose” dialogue there are a range of possible alternative reactions for your character.

Try to get into your character’s heads to work out a possible range of reactions for when something happens. Ask yourself when X happens what would Y do? Take out the “on-the-nose” dialogue and replace with one of a list of alternatives, either verbally using subtext or, preferably, with action.

In Sideways, after Miles discovers his book isn’t being published, he doesn’t say “I can’t believe my book isn’t being published,” he demands a full glass of wine at the wine tasting. When the pourer refuses, Miles picks up the spit bucket and pours wine down his throat and shirt, before being thrown out.

It’s a very good exercise to brainstorm and discard all other less visual, less true to character options before deciding on the one that will be in your screenplay.

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Take a look at our post “Show Don’t Tell—Here’s How,” for more information on screenwriting visually and with subtext.

Thanks for reading!