Do you ever read your words aloud with a group? I do. It’s essential whether it is a book or screenplay. Why? You’ll hear everything good and bad in your work: pacing, dialogue rhythm, wordiness and you’ll get great feedback regarding characters and everything else from potential audience members and readers.
One of my first scripts was an adaptation of a New York bestseller – a historical biopic set in the 1920s, a beautifully written book, clear and visual characters and action. I was in heaven! It seemed so easy to adapt into a screenplay and I knew mine was great when finished until I heard the script read aloud.
Before I get into that, let me give you an idea how I set up this reading event. I had about 28 roles to cast and needed readers to do it for free. So I made a list of all my associates, friends, actor friends, actor friends’ friends, wannabe actor friends, wannabe actor friends’ friends, wannabe friends of actors, etc. From that list, I highlighted the names I knew to be great readers then eventually, through process of elimination per availability, etc., the script was cast (although I combined small roles to 2-3 individuals).
Scripts were sent out to each reader ahead of time (costly snail mail back then but now it’s the free PDF version. Phew!). Sending readers the script ahead of time gives them the opportunity to highlight their dialogue and practice, take notes, etc. if they want. I don’t worry about ideas being stolen as there’s not much I can do about that except make sure the script has already been sent to copyright and the WGA which, of course, mine always are.
So why should all these people agree to read for free? Many reasons.
1) I’m a great cook and I have a huge buffet ready to be devoured after the reading.
2) Actors want roles (and they may mention the script to an agent, producer, director or other connection).
3) Non-actor readers get to meet actors and could be extras in the film.
4) Good practice to read aloud.
5) People love being a part of these kinds of events: meeting new friends, connections and being part of a
creative experience.
6) It’s always a laugh to see the ham come out in all of us – an escape from reality.
7) We learn about how to make our writing the best it can be to sell.
The day arrived and cast members filled up my living room (which thankfully spilled out on to a deck), drinks in hand, and the reading began. I was the narrator.
By the 5th page, I knew that I was in trouble. Exposition way too wordy and slowed the pace. I got bored. A lot of dialogue felt unnatural, held back, words/idioms inappropriate for the era, not progressing the story, boring. Lead characters were too one-dimensional.
This was not what I heard when I read it aloud to myself. It was horrifying to go on but we did. Afterwards it was clear I did a lousy job adapting this book. I didn’t get to the essence of the story, what it was really about then focusing on telling THAT story. On the positive side, there were many praises for specific scenes, visuals and conflict but I knew what had to be done.
This reading experience was the most effective lesson I’ve had in screenplay writing. (BTW, the enthusiastic kids who read my soon to be published children’s book THE POET AND THE PAINTER aloud, made sure I sharpened it up with word choice and kid actions).
I will always conduct a group reading for my writing and, trust me, whether the writing is good or bad, everyone will need a lot of food and drink thereafter.
So eat, drink and listen to your words!
