STORY ANALYST’S TOP TEN LIST

STORY ANALYST'S TOP TEN LIST
By Writers' Program Instructor Barney Lichtenstein

In terms of content, it is almost impossible to say, as what one reader passes on as too "small" or character driven, his colleague down the road may eagerly recommend.  What another thinks is too high concept or violent, her counterpart may relish as a fresh take on a standard action vehicle.  These various reactions have nothing to do with story analysts being capricious – on the contrary, good readers are extensions of the eyes of development executives, producers, and agents for whom they work.

One thing however that distinguishes professional story analysts from non-professional readers is the number of screenplays read.  Through the hundreds, perhaps thousands of scripts covered, a story analyst becomes fluent in the language of film.  He or she recognizes and appreciates professional methods of screenwriting – what I call "in-between details".

- Layout and pacing – Lean descriptions (doesn't describe every turn of the hand and movement of the head).

- Dialogue – generally short lines, not speeches, unless the script is a showcase for dialogue.

- Opening shots should ideally touch on theme.

- Look for predominant tone established quickly and kept consistent, balanced. "Seeds" should be planted if it is going to change significantly.

- Does the screenplay grab you by bottom of the first page, ideally the first sentence?

- Writing should make the most of a lead's entrance.

- Do secondary characters and even minor ones speak with their own distinct voices? 

- Look for strong set ups, or what I call "planted seeds", and their payoffs. 

- Is length appropriate for genre?


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STORY ANALYST'S TOP TEN LIST - IN BETWEEN STRUCTURE AND FORMATTING