GITS: The Twitter Conversations — Script Readers (Part 9)
Twice last year, we did a live Tweet Chat with three people you should follow: Amanda Pendolino [@amandapendo], Nate Winslow [@nate_winslow], and The Bitter Script Reader [@BittrScrptReadr]. For two weeks, I will be reprising posts I ran on the blog including the transcripts of those conversations. Read on, then go to the bottom for some exciting news:
Back in May late one night, I stumbled into a Twitter conversation with @amandapendo [Amanda Pendolino], @BittrScrptReadr [The Bitter Script Reader], and @nate_winslow [Nate Winslow]. These three all have different things going on in their lives, but one bit of business they have in common: they read scripts, covering them for Hollywood industry insiders (production companies, agencies, etc]. In other words, they are professional script readers and as such serve as the first line of defense in the Hollywood script acquisition and development system.
Our conversation that night evolved into a spontaneous Q&A about the experience and perspective of professional script readers about screenwriting. You can read a transcript of that conversation in these GITS posts:
Part 1, Part 2, Part 3, Part 4, Part 5.
The response to the conversation was excellent, and I received lots of email and tweets asking for it to happen again so others could join in with their questions.
So on Monday, June 25th between 7:30–9:00PM Pacific, we held a second conversation with the same trio. I will be posting an edited transcript of the conversation every day this week, essentially picking up from the first chat.
BSR [Bitter Script Reader]
GITS [Me]
NW [Nate Winslow]
AP [Amanda Pendolino]
Here is Part 9 of GITS: The Twitter Conversations — Script Readers:
In response to a question from Chief_Sherrick about period pieces:
BSR: Period pieces are HARD sells. Esp. from new writer. more likely to break in on mainstream concepts
NW: Tough sell for a first script trying to break in as a general rule.
BSR: some costly genres (period, WWII) suffer from such low return that the writing had better be DAMN good
In response to markmazur:
BSR: “Make sure your idea is a MOVIE. Make sure it’s a STORY.”
MasonAnimation: What is the best way to submit a spec script? Can it be done from outside of LA?
NW: Query query query query query.
NW: Ask @SMLochhead how long his query emails were for HANNA. (Hint: not long).
CaitlinMcWriter: Can you query agents or managers who say “no solicited submissions”? I thought this applied to queries, too.
BSR: You can send a query, and if they’re interested, they request. At that point it becomes “Solicited.”
TheRealShko: Moving to hollywood in six months. Advice? How do I get a job with no “hollywood” experience?
BSR: Apply for internships like crazy. Meet people.
BrandiLGulledge: Is there an age limit on those interns? Like how welcome would a 30yr old be?
BSR: There shouldn’t be an age limit on interns, no.
NW: I’ve personally worked with interns who are in their mid-30s. Just depends on the company.
AP: I cover a lot about assistant and PA-type jobs on my blog: http://t.co/4eFUrcah
DonnaMcTavish: what advice would you give to aspiring script readers?
BSR: Don’t. Seriously, the script reading market is drying up. http://t.co/o8lFSI8F
BrandiLGulledge: What would you like to see more of in scripts?
AP: I WOULD LIKE TO SEE MORE WOMEN, both as characters and on the title page
For Part 6 of the script reader conversation, go here.
For Part 7, go here.
For Part 8, go here.
Tomorrow: Part 10 of the GITS Twitter Conversation with Amanda, Bitter, and Nate. Covering a lot of script specific topics.
Some background info:
The Bitter Script Reader has spent many years — “perhaps too many,” he says — working in development and as a reader at production companies and agencies. For over three years, he’s blogged regularly about the missteps he’s seen writers both young and professional make, and implored his audience to avoid those same writing pitfalls. You can find him at his blog and check out his videos on his newly-launched YouTube Channel.
After working for a motion picture literary agent at a major talent agency, Amanda Pendolino went on to become a professional script reader for a few different production companies. She is also developing some feature comedies, in addition to an original sitcom.
Nate Winslow moved to Los Angeles last year and spent the majority of his time reading scripts and writing coverage for a production company and an A-list director. He’s currently working at the production company Defender Entertainment.
[Originally posted July 19, 2012]
Here’s the exciting news: We will be doing another live Tweet Chat, offering you an opportunity to pose questions to Amanda, Nate, and TBSR. Date: Wednesday, April 10th at 10PM Eastern / 7PM Pacific. Hashtag: #GITSTC. So book that date and remember that hashtag.
Be sure to read this 10-part series to see the territory covered, then come up with some fresh new questions to ask these guardians at Hollywood’s gates.