7 Tips to Being Your Own Script Consultant

Do not evaluate the script the day after you finish your draft. Give yourself a week or so for the passion and emotion to level out. It’s imperative that you approach your own work as objectively as possible.

A study conducted by Dutch researchers found that ordinary people who thought about what it would mean to be a professor for five minutes before a game of Trivial Pursuit did significantly better than players of the same intelligence level that thought about what it would mean to be a soccer hooligan before the game. As reported by researchers, the first group of people did better because they were in a “smart” frame of mind (Blink by Malcolm Gladwell, page 114).

Likewise, approach your task with the mindset of a script consultant. The best consultants are at once focused (to detect errors, problems, and issues) and relaxed (to intuit new ideas and solutions). They are both critical (in the best sense of the word) and respectful of the work sitting before them. Be firm but encouraging with yourself.

As a writer, it’s natural to be defensive, even when you’re the critic. Step out of that protective armor. Remember, a great script is the goal. Be open to what works and what doesn’t work. Be willing to “kill off your darlings” if necessary. Have tissues handy. And don’t forget the ice cream to celebrate the great scenes you have written.

Read the script in one sitting. Don’t string it out over several days; you’ll lose sight of the forest and will only see the trees. You can break the time up with a light snack and possibly some physical activity. Don’t go longer than two hours without a break; after two hours you will receive diminishing returns for your efforts.

Although an evaluation may be primarily an analytical (“left-brained”) task, it should also be an intuitive and creative (“right-brained”) experience, which is why I recommend an open and relaxed state of mind. After all, the writing process and the evaluation process should be holistic; they are both an art and a science. Besides, why use just one side of your brain? Relax and have fun!

When you read your script, don’t just focus on the parts, but make sure you get a sense of how the parts work together to create a greater whole. In other words, look for opportunities to synergize where the whole can be greater than the sum of its parts. Use your head, but also listen to your heart.

Have conversations and even debates with yourself. Some of my favorite consulting experiences are from phone conversations with clients that resulted in new, productive ideas.

You will get more out of your evaluation if you write down your comments. The act of writing will produce additional ideas. Many of my students and clients are amazed at what “comes to them” if they write ideas and comments down during the evaluating process. In some cases, you may feel inspired to revise a scene on the spot.

As mentioned, it is best to read the script through in one sitting. Some writers like to read a physical script while others read a computer file. Some like to jot down comments in the margins of a physical script, while others prefer a yellow pad. Some screenwriters simply keyboard notes into their computer document.

Personally, I like to place the script on the left side of my computer monitor and open a Word Document on the right side (or have a yellow pad in front of me). In my evaluation, I try to keep in mind 14 writing areas: spine, foreshadowing and unity, conflict and action, heart, characterization, character development and motivation, theme, dialogue, narrative description, formatting, believability, originality, title, concept and commercial appeal, as well as the overall quality of the story.

At the end of “the read,” you will have jotted down numerous comments that you can think about, evaluate, and write out. If a different approach works better for you, given your unique gifts and nature, then follow that creative direction. The important thing is to use a method that works best for you, so decide beforehand how you are going to approach the evaluating process. You can make adjustments along the way.

As you read your script, if you stop for any reason, it’s most often a red flag that usually means there is a problem at that point. There is some uncertainty or uneasiness in your heart and/or mind. Be calm and let the issue emerge into consciousness and/or think about what might be bothering you. Do not block this process with a defensive attitude.

That doesn’t mean you can’t defend this scene or that speech. There should be a healthy tension between challenging something and defending it. The key question is, Does it work? That may require your “writer’s inner voice” or intuition as well as some analysis. In both cases, you need an open mind and an open heart.

As you contemplate or intuit solutions to problems, there is one grand guideline that you can always rely on. If solving one problem also solves one or more other problems, then you know you are on the right track. This doubles the fun of rewriting.

Remember high school exams? The teacher said to pick the first thing that comes into your mind, and that had a good chance of being the right answer. That advice was good, but it doesn’t apply to screenwriting because often the first thing we think of in solving a story problem is the cliché or derivative thing. Brainstorm a little more.

And here’s a bonus tip for the revising process: Some writers ratchet up the quality of their revisions by imagining they are preparing their script for someone they greatly admire (like Aaron Sorkin, Steven Spielberg, or Grandma). They imagine that person reading their script.

If you apply these seven tips in a focused manner, you can’t help but improve the quality of your script. Just keep revising and keep consulting!