Screenwriting : Ask Me Anything (AMA) 9/21 to 9/22- Script Coverage: The Art of Reading and Analyzing Screenplays by Carolyn J Carpenter

Over 11,000 screenplays. WOW, Carolyn J Carpenter! Thanks for having this AMA. What is the biggest piece of advice you’d give someone trying to become a reader?

Carolyn J Carpenter, thank you so much for making yourself available today to help demystify this part of the process. What do you feel are the biggest misconceptions about script coverage/ readers that you hear?

HOLY MOLEY Carolyn J Carpenter - 11k!! Thanks a ton for doing this AMA. I've got two questions if I may...

1. What's the biggest thing you've found that writers struggle with?

2. When you do coverage, do you follow up with the writer for clarification and/or improvement? Or do you have a follow-up strategy?

Oh wait..that's 3 questions.

Love it that you're a life coach!

Thanks!!!

Is there an upside to being a reader? Seems like a lot of work for little pay.

I learned from Carolyn in Hollywood Gatekeepers, she is the reel deal ;)

Impressive, Carolyn. Looks like your training system is comprehensive and carries lots of value because of your own experiences and observation. I really enjoy doing Story Coverage and Consultations. Film/TV is a collaborative art/craft and no doubt your information will help more people to be able to do it well. Wishing you the best and good for you for passing it along to others.

I enjoy doing coverage for my peers and would be interested in being a professional reader. What steps do you need to take to get started and what qualifications do you need?

- also a shout out to readers in general I could not have learned so much about script writing without the wonderful people who did my coverage. It is a lot of work and good communication skill to go through someone script and explain what works and what people need to improve on.

I hope it's ok to ask this from the writing perspective, but I'd like to get your thoughts on how to approach writing great characters. Do you have tips for writing cohesive backstories and how to write characters that when grouped together, add to the drama of the story (hope that makes sense). Thank you Carolyn!

Second Question - Any pointers for writing an ensemble- things to be careful of, common mistakes writers make, etc?

Hi Carolyn,

In screenwriting, what is the difference between telling a story or just describing a situation; is it really so simple to say that 99% of feature screenplays just describe a version of "Fat Tootsie?"

Hi! Thanks for being here! I love that you are also a Life Coach too. I often wonder how coverage can be so different for the same script! How does it work if the type of script the are reading isn’t their genre of movie they like?

Hi Carolyn - I have a question about commenting on a screenplay’s structure. If it’s written in three act structure I can immediately recognize that, but how do I describe something that doesn’t follow that structure in any way? Do I just comment on its flow or if it hits plot points or has a strong narrative? Should I just say it “doesn’t” follow the traditional 3 act structure?

Thanks!

Jon

Hi Carolyn J Carpenter, thanks for giving us some of your time to do this AMA! You and I have discussed coverage a lot but I have a new question for you: what advice do you have for writers to help them get the most out of their coverage when they receive it and to not internalize any negative feedback?

Is there a resource where one can review Reader coverages and associated screenplays? How far off is coverage from the wristers synopsis? I'm really curious.

well I have scripts however I need a good app to help me format it and also need representation like a manager specifically literary manager. I have scripts but want to get better organized as the story is not my issue I am green with the layout. my family and I are actors so I have seen many scripts just laying it out myself is hard but any tips and help to organize and also get representation is greatly appreciated. Had a disappointing experience where a fraudulent person with a fake Amazon logo reached out but thanks to entertainment lawyer we were not harmed. Thank you in advance

Separately my family and I are actors but Virginia is out of the main industry. my son is Sag Eligible and we want to take all 3 of our careers to another level and yet trying to get a good industry agent that can work with our current acting manager would be nice any recommendations? we all have 9 to 5 jobs and trying to leave them to work in the entertainment field is our goal plus we live on a 32 acre horse ranch and are open to our ranch becoming a set. it's absolutely beautiful so we have negotiation items for roles whenever this strike is over of course. my husbands is a real cowboy and professional rider and he trained my son who can ride as well and they have both performed in rodeos. I am a writer, artist and actress and I have great speaking and value that I bring through writing and just experiences as a military veteran , living overseas for 6 years and acting as a teen and growing up in Orange County California so we have opportunities we feel we are willing to negotiate and as for filming on our property we are willing to lease horses and land possibly if that's possible for roles in a professional production is this possible? To be clear for a supporting role a reduced lease agreement can be contracted? we are completely green so we definitely have experience but more extra experience and commercials than movie experiences. Thank you again in advance

@Maurice Vaughn

QUESTION: What is the biggest piece of advice you’d give someone trying to become a reader?

First I want to say I love how much you show up to things! The power of showing up is amazing and leads to fabulous things. Well done! Great question. Read a lot of screenplays is the obvious answer but I would also say to make sure that you get some training from actual readers/development execs. There are nuances to being a reader that are different from just understanding screenplay analysis. It’s one thing to pick up on problems in a script, it’s another thing to be able to articulate that problem in a way that inspires a writer and/or a producer to see their next step(s). I hope that helps get you started!

Wow Carolyn J Carpenter, what an impressive background and an interesting path you are forging. I love that you recognize the value of coaching readers to "get a grip on their lives so they’re not taking their angsty existence out on a poor writer. (Nasty coverages happen waaaayyyy too often!)" There are a lot of readers (frustrated writers) who get an ego boost by putting others down, and also cancel others out because it's not a genre they like. Have you much experience with fantasy, specifically magical realism like Beasts of the Southern Wild, Amelie, Moonrise Kingdom, or Whale Rider?

Leave it to Ashley Renee Smith to ask a great question! Oooooo….so many to choose from lol. One of my favorite comments that I get all the time is, “You must read a lot of bad scripts.” That’s actually not true. If a script is “bad” it usually just means that the writer just doesn’t know what they don’t know which creates a golden opportunity to open a huge door for them and that's really exciting! It also makes me laugh out loud when people say that readers aren’t writers. Readers condense a screenplay into just a few pages while succinctly revealing the details on many levels. That takes some writing chops! I could go on…..but I’ll leave it at that for now Thanks Ashley!

Hi Carolyn J Carpenter! Thanks doing this AMA! I've worked in this corner of the industry for years and a topic I've been seeing come up a lot is Writing for a Contest vs. Writing for a Spec Feature vs. Writing for "Production" (not writing a production draft but writing with production in mind) - people are debating the differences. And I think there are differences but I they're smaller than people realize and I would love to know your thoughts having read so many scripts and in different stages. What are your thoughts and what do you think up-and-coming writers should be focusing on?

Hi Carolyn! Great information. I'm just wondering how long it took before you felt comfortable being a scriptreader writing coverages without needing training wheels? About how many scripts before you said to yourself, " I've got this on my own. I can do this!" Thanks. Appreciate you taking the time to do this!

Hi Carolyn J Carpenter, nice to meet you! I appreciate very much that you are available to get asked as many questions as possible regarding script coverages!

I just finished my second Master's in International Screenwriting and Production in Italy (and I had a lot of Hollywood professionals as well), and, even though I'm looking for a script reader job here, at the moment, I wouldn't mind moving to the US: are there, according to your experience in the field, any possibilities for a foreigner to move there, find a paid job with a salary that would actually allow them to afford an apartment and make a decent living? Or is it just impossible?

QUESTIONS:

1. What's the biggest thing you've found that writers struggle with?

2. When you do coverage, do you follow up with the writer for clarification and/or improvement? Or do you have a follow-up strategy?

Great questions Leonardo Ramirez - Being a life coach definitely helps with writing coverage. Who knew? Lol. I would say that the answer to both of these questions is: case by case. There is a wide range of things that writers struggle with. Some of the most common are: Rushing: It’s clear when someone has rushed through writing their screenplay without taking the time to really think about their characters, develop the relationships, structure the flow, and maybe even check for typos. Overwriting: Over-explaining everything and having huge back stories for every character is also a common struggle. Allow the audience room to breathe, most people like to figure things out. We don’t need to hit them over the head and explain everything. I’ve actually named a few of the things I see most often, for example Screenplay Stew is a common practice of throwing every possible situation into the mix, even when it doesn't fit, and Genre Jumping is suddenly adding a spaceship halfway through a thriller to liven things up. As far as following up with the writer, sometimes that’s impossible if you’re reading the script for a producer. Often the reader isn’t the person who will give the notes to the writer so being really clear in the coverage is very important in that scenario. As a consultant or coach working with a writer, readers can decide how they want the follow up. Following up might include some phone calls, written exchanges or even reviewing multiple drafts. The strategy will depend a lot on the goals of the writer and the working relationship that you'll build with them. That’s the great thing about being a reader, you can set up the kind of career that suits you best! I hope that makes sense!

QUESTION: Is there an upside to being a reader? Seems like a lot of work for little pay.

I totally get this perspective @Stan Evans. The same can be send about writing screenplays. ;) I absolutely love what I do. It’s so exciting to see screenplays come to life. It’s also really gratifying when a writer’s eyes light up because you have unlocked something that makes them see their story on an entirely new level. Being a reader is like many careers for artists. It’s possible to get caught in a cycle of working for free. Learning how to be as strategic with your career as you are with coverage can lead to a career that is gratifying and lucrative. In my opinion being able to read and analyze screenplays is the foundation to every career in Hollywood. It all starts with the blank page and understanding what makes that page sing is truly a path into whatever career you want to create. It’s a pretty spectacular upside.

Sure does Carolyn J Carpenter - thank you! Hope to see you around the lounges!

Right back at you @Jessica O'Donnell! - Jessica is a certified Screenreader now! if you're a producer looking for great coverage, she is as succinct as they come!

Hello, If one has training for script reading what are some strategies for finding paying or nonpaying script reading jobs?

Just FYI gang - my tagging seems to be a little bit glitchy! I'll put your name if I can't tag you!

Thank you so much @Pamela Jaye Smith - I've actually been following you for years! I absolutely love what you do with. mythology - You're such a great example of a story consultant focusing on a specific topic to really help people. It's lovely to see you here!

There's a video on your site "Meet the readers" Do you have a similar video "Meet the executives" Agents at the top 4 or studio heads or EP's that have used your service and exercised options on scripts based on your team's amazing and accurate coverage.

Can you link to evidence of that sort of thing here? Anything showing that the name HGK means something to execs when a stamp of CONSIDER goes on the script from a HGK reader. Any relevant titles that have been developed that all started when your team of readers got a hold of it?

@Jill Godley QUESTION: I enjoy doing coverage for my peers and would be interested in being a professional reader. What steps do you need to take to get started and what qualifications do you need? And Second Question - Any pointers for writing an ensemble- things to be careful of, common mistakes writers make, etc?

Being familiar with coverage is the first step so check that off your list! There aren’t specific qualifications for readers such as a degree, etc. Most people hiring readers base it off of your level of experience and a sample coverage that you provide. So that sample coverage becomes very important. I started Hollywood Gatekeepers primarily to raise the bar regarding good coverage but also so that readers could show that they’ve had some sort of training. I’m always going to be a proponent of education whether it’s through me or whatever source fits best for you. You’re here on Stage 32 which is one of the best educational platforms out there. So check that off your list too! (Goodness, you’re jammin’!) So getting started involves really educating yourself about how to write solid coverage and then deciding what kind of reader you want to be! You’ll see many different examples of reading careers just in this thread.

As far as writing an ensemble story, being organized is important as you create multiple story lines. Develop each story line on its own so that it has its own build, arc and payoff. Be very clear on the overall themes of the film and how each storyline serves that theme in a different way. Also make sure that weaving between the story lines works well so that it’s not jarring. They should all build and compliment each other, while each one strikes a different note within the same symphony.

Hope that helps!

I did coverage when I was in class years ago. I do coverage for my Stage32 writer's group. Doing coverage helps me to be a better screenwriter because it gives me a surgical eye that I can apply to my own work.

Rutger Oosterhoff QUESTION: In screenwriting, what is the difference between telling a story or just describing a situation; is it really so simple to say that 99% of feature screenplays just describe a version of "Fat Tootsie?"

Lol. You’re certainly a writer! I would say that describing a situation gives the facts. Telling a story is a visceral, authentic and universal experience. I can say that “John walks down the street, hungover.” or I can say that, “John staggers down the broken sidewalk, still tripping over last night’s bingefest.” I believe that ideas and stories (and life) all build on each other. One thing sparks the next. Perhaps Tootsie is built on Some Like it Hot. Tootsie still stands on its own. And Tootsie will inspire new stories. Who we are today stands on the shoulders of who we were yesterday, warts and all. It’s not simple but it’s also not necessary to overcomplicate it. That’s just my take :)

Thanks for having me @Xochi Blymyer! Being a life coach actually fits your question too.

QUESTION: I often wonder how coverage can be so different for the same script! How does it work if the type of script the are reading isn’t their genre of movie they like?

The short answer is people are people and they’re all going to have their own take on things. Although there are fundamentals about screenwriting that we basically agree on, it’s still very subjective. Think about a movie that you hate that everyone else loves. Why is that? We can’t help but filter what we see and read through our own experiences. That said, as readers we try very hard to minimize our biases. In my experience (and all of these answers are just coming from what I’ve seen) the producers that hire readers realllllly WANT the script to do well. They want to find the next big thing. Consequently, they’ll ask what genres you like when they onboard you and they will do their best to align scripts with their readers. If they know a reader hates horror films, they will give them a rom com. Also, as a reader, it is your responsibility to do your best to not take on projects that you already hate before you’ve even read it. As readers, we can align ourselves with the places that will best serve the story. There are a lot of projects out there. Finding the ones that we can serve makes it better for everyone. And this is where the life coaching comes in. The more that we can use tools to understand our own likes, dislikes, strengths, and weaknesses, the more we can serve a story from a centered and open-minded space! That’s the goal for sure! Thanks for the great question!

Hey Carolyn!:) Funny that I haven't asked you this (all things considered), but what do you find are the key differences between a live action screenplay and one for an animated feature?!

Carolyn J Carpenter thank you for the great advice!

@Carolyn Script readers must be in a situation some days when there are many “Good” writers but only a few of their stories escape the slush pile. So many artists meets so few paid jobs, what’s the X factor you & peers find mainly make the grade? EG Memorable characters, unexpected switch, cool plots, big bang start then back flash, small slow start then build up ETC. I fully understand what you said about each case being different with many factors at play but was wondering if any scenario in particular comes to mind that happened more than once when different scripts got to screen. Another Q. I write in different genres & occasionally it’s material that may perturbe the reader, not for any cheap shock effect but in that particular world it belongs & rings with true emotional resonance. I sometimes wonder does reader think I lack grace if I go down some dark road that subverts all their prior expectations or am I too self conscious? Thank you for offering your input here!

Great advice (in all of your answers), @Carolyn J Carpenter! Thanks, and thanks for "First I want to say I love how much you show up to things! The power of showing up is amazing and leads to fabulous things. Well done!" You're right. There are times when I'll show up for Stage 32 events, comment on someone's post, etc. just to be showing up, and it'll lead to opportunities. Thanks again for having this AMA and hope you continue to have success in your careers!

Hi Carolyn! It's so fun hearing from current readers as well as wannabe readers like myself. My question is: What's the difference between writing coverage for a producer vs for a writer? Like if I wrote coverage for a writer, could I give a producer that same coverage (assuming the screenplay stayed basically the same)? Thanks!

Where can we sign up for your program????

Hi @Jon Carlson! It's nice to see one of our Screenreaders here and that you continue to improve your reading skills!

QUESTION: I have a question about commenting on a screenplay’s structure. If it’s written in three act structure I can immediately recognize that, but how do I describe something that doesn’t follow that structure in any way? Do I just comment on its flow or if it hits plot points or has a strong narrative? Should I just say it “doesn’t” follow the traditional 3 act structure?

If a script lacks structure, you’ll need to do your best to create a narrative that will make it so the producer can get an idea of the script’s story within your synopsis. Then when you add your comments, make it clear that the structure needs development. As a reader, you want producers to know if a screenplay is confusing, especially if the confusion is reflected in your coverage. It’s best if the producer realizes that the script has structural problems rather than thinking the reader is unable to recognize the storyline. If the story works even though it’s following an unconventional timeline or structure, you can comment on that as well. You don’t necessarily need to use a lot of technical jargon but you can if that is the best way to get across what is happening. Usually if it is hitting plot points and has a strong narrative, it is following the three act structure in some way. If it isn’t, point out where these structural elements are either surprisingly effective or detrimental to the overall story. Hope that makes senses!

Hi @David Aboorkin! Yes! You are a coverage expert for sure! That’s why you’re throwing out such a great question!

QUESTION: What advice do you have for writers to help them get the most out of their coverage when they receive it and to not internalize any negative feedback?

Yet again, life coaching comes in handy! Lol. First, it’s always good to remember that it’s one person’s opinion and that writers don’t have to take the reader's advice. That said, I am a firm believer in collaboration and that, even if the note sounds off, to look for the intention behind the note. For example, if the coverage is saying a character isn’t necessary, maybe it’s just that the character needs a stronger voice. Also keep in mind that everyone involved WANTS the screenplay to succeed. No one is out to get anyone. So every comment is coming from a place of wanting to make the story better. Also having a healthy amount of detachment from the work is good. Screenplays aren’t “babies,” they can be pulled apart and reassembled. Writers have so many options! If a character doesn’t work in one screenplay, don’t throw it out…set it aside and use it for another story. I call it maintaining Opportunity Ears. Listen for the opportunity in every suggestion. Come with curiosity. The more we can be curious and open our ears to opportunity, the more we will be hit with life-changing inspiration and ground-breaking ideas. A reader’s notes are a launch pad for the writer’s genius.

Carolyn J Carpenter I love that, opportunity ears! Such a great perspective.

@Jackie Tarascio Wow! What a great idea!

QUESTION: Is there a resource where one can review Reader coverages and associated screenplays? How far off is coverage from the wristers synopsis? I'm really curious.

I am not familiar with such a database but, it would be a fantastic resource! We might just have to create that! Lol. Regarding how far off a writer’s synopsis is from a reader’s coverage, of course the idea is that they aren’t not that far off, right? Just to be clear, reader’s don’t usually cover a synopsis. Sometimes we can take a look at a treatment or a pitch deck but in general, readers come into play when a full screenplay is on the table. I’m not sure if that’s what you meant but just want to be clear just in case. As a writer, it’s always good to have a reader (or two) take a look at your script before submitting it anywhere. And have the reader do a synopsis! Sometimes writers ask readers to skip the synopsis and just give notes because they assume that the story will come across. However, seeing the synopsis is often more revealing than the notes because it becomes very clear what is coming across in the story! If you think your screenplay is about a boy but the reader thinks the story is about the boy’s mom, there is a problem and that difference will be crystal clear in a synopsis. That’s why a reader’s feedback can be so integral to the writer’s journey! Great idea and great question!

All questions are welcome @Tami Eckley! Nice to see you here too!

QUESTION: Do you have tips for writing cohesive backstories and how to write characters that when grouped together, add to the drama of the story (hope that makes sense).

All characters, grouped together or not, should add to the drama of a story. And by drama, I mean stakes - so even if the genre is a comedy, all of the characters need to add to the stakes of the protagonist. They have a reason for being there. Sometimes back stories actually pull away from the drama of the story. Not every character has to have a complete backstory and this is one of the most common places where I see writers get tripped up. They think they have to explain the whole story of every character. I often use the original Shrek as an example because it was written by readers but also because it’s so structurally solid. Every character has a job to do. The Dragon is a beautiful example of a side character being really important but not dragging down the story (no pun intended). The Dragon starts as an obstacle, a pretty high-stakes obstacle at that, then they flip the script and turn her into a love interest. Brilliant. Later there is a tiny moment, a few seconds in a montage that shows Donkey and the Dragon reconnecting. Then later, all he has to do is whistle and she shows up and provides a path for the hero to race to his love. Then to top it off, she literally eats the villain! Talk about high stakes! So many writers would have decided that because she is so important to the story, she needs a back story as to why she is in the castle and blah, blah, blah. Nope. She never says a word. Well, other than a roar and whine or two. I hope that helps reveal some details about creating compelling characters!

Cyreita Drummond QUESTION: I need a good app to help me format it and also need representation like a manager specifically literary manager.

Wowie Kazowie you have a lot going on! Although I’m not seeing a question about script coverage, I think life-coaching can kick in here :) First off, I personally use Final Draft as it is the industry standard for screenplay formatting and I can use it to collaborate with other writers. There are other tools out there and you can lean on your fellow Stage 32 community to see if they have suggestions if you don’t want to go the Final Draft route.

As far as representation goes, a literary manager is going to shop a specific screenplay more than negotiate a production deal like the one you're describing. A lot of times writers think that representation is the answer to everything but representatives are our partners. We need to hold up our end of the partnership by having a clear plan and solid screenplays. You have some spectacular ideas and a ton of resources that are really unique! From where I sit, you actually need a Productivity Coach or maybe a Production Manager that can gather all your resources and help you come up with a plan to both monetize your situation as well as provide opportunities for your talented family. Perhaps your acting manager has connections to such a person. I’m glad you dodged a bullet with the fraudulent person. Keep an eye out in the Stage 32 community as well. We live in such a fabulous time of opportunity. Studios are popping up all over the place. I recently shot a movie in Montana where there is a robust film community. Check your local Chamber of Commerce to see if there is a film commission near you. Who knows, maybe there are already resources in your area. Very exciting and a ton of potential. Good luck to you!

Carolyn J Carpenter Thank you for the suggestions they are greatly appreciated. I joined the writers room and hope we will cross paths again whether here or somewhere.

Robin Gregory Thanks for the comments! Yes, we are passionate about creating readers that are here to elevate writers! There are 2.8 million people that identify as having an interest in screenwriting on Facebook. Some of the bigger contests get about 10-20,000 entries which seems like a lot until you compare it to the nearly three million people that say they like screenwriting. So, in my opinion, if someone actually sits in a chair and finishes a screenplay, we honor that person. They clearly have something to say. We read every page and we do everything in our power to nurture that voice and uplift that writer. Cuz they’re DOING IT. They’re not just talking about it. ok….soap box aside now. Lol

QUESTION: Have you much experience with fantasy, specifically magical realism like Beasts of the Southern Wild, Amelie, Moonrise Kingdom, or Whale Rider?

Absolutely. I have read many screenplays along these lines. It’s funny though, I would typically say that magical realism isn’t my speciality although these are some of my favorites. Lol. The beautiful thing about this genre is it can often both explore and override cultural differences by cutting to the chase of universal humanity.

Well this is easy because I happen to agree with you, @EmilyJ! Really wonderful observation!

QUESTION/OBSERVATION: Writing for a Contest vs. Writing for a Spec Feature vs. Writing for "Production" (not writing a production draft but writing with production in mind) - people are debating the differences. And I think there are differences but I they're smaller than people realize and I would love to know your thoughts having read so many scripts and in different stages. What are your thoughts and what do you think up-and-coming writers should be focusing on?

Well I didn’t expect the life-coaching element of what I do to be so prominent today but it comes into play here as well. I think sometimes we can overthink and overanalyze ourselves into a corner. A good script is a good script. Yes, there are nuances and yes, a writer that focuses on an area like these might have some success doing that… but I don’t believe it’s something for up-and-coming writers to focus on. They have enough to worry about. lol. Writers need to focus on finding their voice. As readers, we see that voices are often buried under all the “shoulds” of overthinking writers. When we see a screenplay that’s a “knock off” or that’s trying too hard to fit a mold like the ones you’re suggesting, it’s our job to use that as a springboard and, if we can, suggest to the writer to use that influence as a foundation but play on top of it. So all you writers out there, look at the people in your world, whether they be public figures, politicians, celebrities, colleagues, friends, neighbors or family members. Who drives you nuts? Who inspires you? Why? When you despise someone, is it because they represent something you actually despise about yourself? What filmmakers rock your world? These are all clues into your voice. Focus on that! Find your true passion, get uncomfortable, write the thing you're afraid to write and let your true voice sing. Goodness Emily, thanks for prompting me to geek out and get fired up!

Hi @John Weaver! I love seeing Screenreaders in the house! Thanks for showing up!

QUESTION: I'm just wondering how long it took before you felt comfortable being a scriptreader writing coverages without needing training wheels? About how many scripts before you said to yourself, " I've got this on my own. I can do this!

Thanks for the trip down memory lane. lol. It was daunting at first because I didn’t have anyone training me, it was total trial and error. To combat the lack of guidance, I dove in and read a massive amount of scripts! I first learned what a reader was at a writers’ conference. I went out on the break and made business cards that said I was a reader. Then I came back and handed one to anyone that even glanced my way. Lol. Like many of our Screenreaders, what I lacked in experience, I made up for in enthusiasm. I was also very fortunate because early on I got an internship at Sundance and they were very passionate and lovely. That helped a lot. I had already been writing screenplays so that helped as well. I'm not sure how many scripts it took but I would say it took a few months before I had the hang of it. It took over a. year to start developing my own system and then after about a year of using the system, it started to bring in referrals and then it "hockey sticked" meaning it was flat for a while but suddenly spiked up like a hockey stick and I started choosing my gigs. That system is the same system that I teach today so hopefully it will be a lot easier for people like you!

Luca Mannea I love this topic! Thanks for sharing!

QUESTION: I just finished my second Master's in International Screenwriting and Production in Italy (and I had a lot of Hollywood professionals as well), and, even though I'm looking for a script reader job here, at the moment, I wouldn't mind moving to the US: are there, according to your experience in the field, any possibilities for a foreigner to move there, find a paid job with a salary that would actually allow them to afford an apartment and make a decent living? Or is it just impossible?

I will say out the gate that nothing is impossible. But the really cool thing is that, because you are in another country you actually have a lot of opportunities available to you. Filmmaking is becoming more global every day. I’m not sure where you are in Italy but being able to help Italian filmmakers perfect their scripts in English is a great foundation and can provide you with a solid career. We have a graduate that lived in Greece and found a lot of work helping writers understand the American market in order to translate their screenplays. As you build your career there, you can also look into production companies that are in the states but that have foreign distribution deals. Also, distribution companies often have readers as they look for international projects to invest in. Look into IMDb pro, google and whatever resources you have locally to find production deals that are cross cultural. This will help you break into the American market before you come. Then if you do decide to come you will already have a network. Think big! You can create your own path! So exciting. :)

Hi Will F - Really great question!

QUESTION: Hello, If one has training for script reading what are some strategies for finding paying or nonpaying script reading jobs?

Hi If you’re already a trained script reader, make sure you have a really solid coverage sample. It is your calling card!

Also, what kind of reader do you want to be? Do you want to read for producers? Writers? Both? What are your favorite genres? What is your ultimate plan? It might not seem important but the more you can map out your path, the easier it is to then find the right places to start.

Often contests and film festivals can be a good place to volunteer and get your feet wet. Then finding the producer and/or writers that are creating the projects that you want to read is the next step. They are everywhere. Let everyone know that you’re a reader. There are quite a few writers and producers right here :). Create a profile and a bio and sing it from the rooftops. Imdb pro, Facebook Groups, Clubhouse and social media sites are great places to meet producers and writers. If you know what you want, knowing who to look for gets easier. I actually have a free blueprint that walks you through some of this. You can find it at HollywoodGatekeepers.com/BreakingIn

And there are a lot of resources right here in Stage 32! Join the Writer's Room if you haven't done so already. I know there are coverage trainings and pitch sessions where you can meet others. You’re in the right place! Nicely done!

M LaVoie Thanks for checking out the site! We have several Meet the Screenreader interviews on our Hollywood Gatekeepers YouTube Channel. And I love the way you think!

QUESTION: There's a video on your site "Meet the readers" Do you have a similar video "Meet the executives" Agents at the top 4 or studio heads or EP's that have used your service and exercised options on scripts based on your team's amazing and accurate coverage.

Can you link to evidence of that sort of thing here? Anything showing that the name HGK means something to execs when a stamp of CONSIDER goes on the script from a HGK reader. Any relevant titles that have been developed that all started when your team of readers got a hold of it?

This is such a great conversation! Have you been listening in on our team meetings? lol. Hollywood Gatekeepers was originally set up as a training site for readers. People come to us to learn analysis as a foundation to many things. We have been training people how to use a specific system to analyze a screenplay and then create the career that they want. We aren’t a coverage site so executives don’t hire Hollywood Gatekeepers. It currently goes the other way. Our readers create the path they want and then find the places where they fit.

But just like you, I want to turn that around. So we have recently created the Screenreader Pipeline so that we can assist our graduates in finding work and do exactly what you’re describing. We want to know what our readers are up to! I started with the Meet the Screenreader interviews so that I can stay in touch with our Screenreaders and see what they’re up to after they graduate. The next step is setting up interviews with the people that are using our readers. Stay tuned so that you can find these interviews in the coming months! Being part of Stage 32 is also a step in that direction as we share what we do with all of you! I am honored to be a part of Stage 32 and I’m looking forward to building even more relationships with producers and executives in order to raise the reading bar across the board. You’re spot on! HGK all the way!

Anthony McBride Right?? It’s so great! There is nothing like reading a stack of screenplays and then reading your own work. The problems jump off the page! Thanks for sharing! Love this!!

OBSERVATION: I did coverage when I was in class years ago. I do coverage for my Stage32 writer's group. Doing coverage helps me to be a better screenwriter because it gives me a surgical eye that I can apply to my own work.

Debbie Croysdale Really interesting questions!

QUESTION: I was wondering if any scenario in particular comes to mind that happened more than once when different scripts got to screen. Another Q. I write in different genres & occasionally it’s material that may perturbe the reader, not for any cheap shock effect but in that particular world it belongs & rings with true emotional resonance. I sometimes wonder does reader think I lack grace if I go down some dark road that subverts all their prior expectations or am I too self conscious?

1. I would have to say that if I had to pick one thing above all else, authenticity would be my choice as the thing that tips the scales and gets a screenplay to move forward. Authenticity comes in many forms. It’s the ability to stay true to a vision no matter what. The voice is authentic. We can talk all day about what makes an intriguing character; but if the character isn’t authentic, it doesn’t matter. We can study structure, build, and arcs; but if the thrust of the story doesn’t ring true, it doesn’t matter. We can give dialogue tips and be quirky, clever and/or dramatic. But if the characters don’t sound real, it doesn’t matter. If it isn’t authentic, no one cares. Think about the filmmakers that have a body of incredible work. They might have hits and misses for sure, but they are true to themselves. There are many things that can go wrong when producing a movie, but if it isn’t authentic on the page, making it in to a good film becomes the thing of miracles.

When it comes to shocking or offending a reader, it’s kind of the same answer. You mentioned that it rings true with emotional resonance, so it goes back to authenticity. When we have shock value just to be shocking, it fails because it’s not authentic. As readers, we must either learn to put aside our biases or only ready things that stay in our predetermined lane. I prefer that as a reader, you develop a thick skin so that you aren’t personally affronted by anything, then your job becomes far more interesting. As a writer, just be sure that the intent is true and that there isn’t an underlying attempt at shocking someone because it feels powerful. Ask yourself why the offensive moment, or character, or dialogue is necessary. Stay true to it if it is honestly an authentic reason. The reader isn’t supposed to be thinking about the writer at all. Only about the story. No one should picture the writer when reading a screenplay. Only the characters. So if you’re wondering what the writer thinks about you personally when they’re reading your screenplay, be sure to double down on your characters, otherwise your presence as a writer might seep through. They'll only think about the writer if the characters stop holding their attention. I hope that makes sense! Very intriguing!

Diane Hamlin Are you our Screenreader? :)

QUESTION: What's the difference between writing coverage for a producer vs for a writer? Like if I wrote coverage for a writer, could I give a producer that same coverage (assuming the screenplay stayed basically the same)?

On the surface, coverage is coverage. You can write a coverage that reveals what happens in the story and then goes on to identify the things that work and the things that need work so that both a producer and a writer can see the details. People do it everyday.

However, in my opinion, understanding the nuances between reading for a producer and reading for a writer is something that really points to a professional Story Analyst. I believe this so much that I have created what I call the Inside-Outside Technique. I dive into this in a big way in our programs. Although it’s a generalization, writers have a tendency to be internal. They’re caught up in their head and their heart. They are digging deep to pour authentic characters onto the page. So coverages that speak to this will speak to them. Producers want to see what the story is about so they can immediately and easily describe what’s happening in order to sell the script to anyone they want to bring onto the project. It’s much more external. Coverages that are visual and descriptive are easier for producers to grasp. Writers believe it then they see it. Producers need to see it to believe it. As a reader, knowing what kind of coverage is easier for you to write can make it a lot easier for you to figure out your path and get more work. This is an advanced approach and I’ve never seen anyone really talk about it. Kudos to you for asking such a big question!

Adam Watts So I’m going to totally out Adam Watts because he is an amazing artist and another Thought Leader at Stage 32! Stay tuned cuz he’s going to be sharing all kinds of cool stuff.

QUESTION: What do you find are the key differences between a live action screenplay and one for an animated feature?!

It’s funny you mention this, Adam. There used to be a huge difference because special effects were so expensive and so clunky that having characters do outrageous things was really hard in live action screenplays. But that line is totally blurred now as graphics have become so amazing. As a reader, I used to shy away from animated projects because I favored the rawness of live action. However, that line has blurred as well as animation has become more realistic. That said, there is still a heightened tone to animation that sets it apart. As a writer, I am having so much fun working on an animated feature because it feels so limitless. Especially when that animation is accompanied by head-spinning music and deeply authentic characters that will change the world. ;)

Adam is also so kind to ask about my programs. :) All the links to Hollywood Gatekeepers are on my profile page. I'll also be doing more things here at Stage 32. Some of them with you! He he. We're going to have so much fun!!

WHEW! Carolyn J Carpenter: You're a trooper for fielding all of these questions, my friend! Thank you so much for taking the time - we really appreciate it!

If you have time for one more, I'd love to have your thoughts on continuing education for current script readers. Allow me to give you some context:

I co-host a weekly event in the Stage 32 Writer's Room (Mondays at 6pm PST) called the Coverage Report, which is akin to a guided script exchange. Now, offering a script exchange is free and available to any member here (just give notes to get notes), but you never quite know the skill level of those giving you notes. With guidance from our professionals, we can improve the language used for feedback and generally improve all our abilities to offer a script exchange. PLUS, with a group event, you do have the advantage of a consensus and receiving notes in a timely manner. We even do a Produced Script Coverage Report to see what passes for "producible".

While this is great practice for up-and-coming screenwriters and script readers, the professionals are not necessarily as challenged. Any recommendations for how professional script readers can challenge themselves and sharpen their skills?

Thanks so much!

Yes, thanks Carolyn for doIng this Q&A! Learned a lot from reading through the questions and answers.

Thank you to all of YOU! These questions were so thoughtful! You would all be (and some of you already are) terrific readers! And thanks Karen "Kay" Ross for your kind words and final question. Stage 32 definitely has a lot of resources for people to learn about reading and writing coverage. Volunteering to read for contests and festivals is also a great way to learn more about the process. Showing up like ya'll did here will also build powerful results! I have a lot of free resources via Facebook, YouTube, Clubhouse, Instagram and a Podcast. Just look for Hollywood Gatekeepers with all of these. (Instagram is @Screenreaders) I also always have a free tree available to help people learn more about coverage at HollywoodGatekeepers.com/action. Although I manage my biases as a reader, I'm totally biased about our programs. lol We are passionate about raising the bar and building a powerful community. I think it's why I was drawn to Stage 32 as well. Like minds. Also, stay tuned. I'm just getting started with Stage 32. More education is coming down the pike and I'll continue to have a presence here. Thanks again for having me. I absolutely love learning what's on the minds of all the amazing, talented people that are creating the stories of tomorrow!

Thanks for your time, @Carolyn J Carpenter. Phenomenal answers! Phenomenal!