2 Kinds of Readers

2 KINDS OF READERS

by Dave Trottier 

QUESTION TO DAVE

I’ve read that executives and readers don’t read narration, only dialogue.  Is this accurate?  If so, what’s the best way to convey the action of the screenplay?

DAVE’S ANSWER

You have named two very different types of readers.  

A reader reader (the official term is story analyst) is someone who is paid (usually a pittance) to read scripts and write coverages.  A coverage consists of a two-page synopsis (approximately) plus an evaluation of the script, along with the story analyst’s recommendations.  In order to write the coverage, the story analyst (reader) must read the script.  So generally speaking, a professional reader reads both the narration and the dialogue.

An executive or producer usually does not read a script until he or she has a coverage.  If the coverage is favorable, the executive or producer may read the script, or portions thereof, to see if he or she agrees with the opinion of the reader.  Some Hollywood types read dialogue only, some read just a few pages, and some read the script like a professional reader.  Some have law backgrounds or otherwise have little experience with screenplay form.  Others have been in the business their entire lives.

In any case, you want to write narration that’s lean.  When any reader sees large blocks of black ink, he or she is likely to black out. You want to write narration that presents clear images and clear actions.  Only include what is necessary to move the story forward.  

Paragraphs of narration should not exceed four lines.  Three lines is better.  As a very general guideline, allow one paragraph per beat of action or visual image.  

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Dave Trottier is the author of The Screenwriter’s Bible and writes a regular column for Script Magazine (www.scriptmag.com) under the name Dr. Format.

Be sure to check out his website, keepwriting.com.