How To Find People to Read Your Screenplay

It’s one thing to finish your screenplay, and a whole different process to find people that will read your screenplay. At some point in the screenwriting process, especially when you’re first starting out, it’s good to get outside feedback from a fresh pair of eyes. 

Sometimes it happens earlier in the process, when the story is still forming and you want to know whether the concept is landing the way you initially intended. Other times it happens after you have a complete draft, when you want to see how the script plays from beginning to end through the perspective of someone that hasn’t been working tirelessly on the script for months.

And then there’s the dynamic of trying to market your script and get it into the hands of industry insiders that can read it for the purpose of possible consideration for acquisition and production, or use the script as a writing sample, representing your screenwriting capabilities and abilities for possible pro screenwriting assignments. 

No matter what type of read you’re looking for, herein lies the question most newcomers have - “How do I find people to read my script?”   

With that in mind, here are some simple and easy steps you can take to get the right people to read your script.  

The first step is always going into the process knowing what you want or need to get from the reader. If you’re looking for feedback on specific elements of your screenplay, it’s important to make sure the person you get to read your script knows the desired parameters for the feedback. 

Without clarity, the reader won’t know what you want the feedback to focus on. 

• Dialogue check?
• Structure notes?
• Character depth and arc?
• Scene description?
• Format?
• Grammar?

These are very specific elements that you may want feedback on. And, yes, sometimes it’s more helpful for you and for the reader, when you have specific elements you want a new pair of eyes on.

Or maybe you just want an overall reaction breakdown from the reader. 

Whatever the case may be, always go in knowing what type of feedback you’d like to receive. If they know you’re not interested in general concept notes, and, instead, you are looking for a dialogue check, they can hone in on that specific element and not waste their time (and yours) on other things.

You don’t want to go through the process of trying to get your script to an industry insider with the intention of just getting their general feedback. Sure, they have an insider perspective that could be helpful. However, you don’t market your scripts to industry insiders to get feedback. You market your scripts to those types of people to sell your scripts, or use them as writing samples for potential assignments. 

Most industry insiders won’t read your script because you want feedback. That’s asking for a favor most won't have time for. It’s both not a good look, and a bridge you don’t want to burn. 

If you’re just looking for feedback, you’re going to want to focus on writing groups, peers, mentors, and maybe someone within the industry who you have a personal connection with who may be willing to do you a favor because they know you. 

If you’re looking to sell your script, or use it as a writing sample for potential screenwriting contracts, you’re going to want to do your research and either cold query industry decision-makers and possible representation, or work any possible networking contacts you have. 

Whether it’s through local writing groups, or groups you may find online, these types of support groups can be helpful when you first start out. Most writers groups swap scripts for the purpose of feedback and support. Taking part in such a process can help you in two different ways:

• You can learn how to read scripts with a more keen analytic eye, and also learn the ins and outs of writing constructive feedback. 
• You can get fresh eyes on your scripts and use feedback to look upon your work through an outside point of view.     

Local colleges and universities often have continuing education courses or writers groups that you can take advantage of without being enrolled. Beyond that, just Google writing groups in your area or online. 

Writing groups are great, but they can also be counter-productive by having too many hands in the cookie jar. Feedback can be highly subjective. When you have multiple people reading your work, you’ll be getting multiple opinions and pitched solutions that can confuse and overwhelm you.

Finding a sole writing peer is a great next step. Maybe they’re a screenwriter like you. Or perhaps they are a budding director or actor. You can find them in college classes, writers groups, continued education classes, or through social events. 

The key thing is to make sure that whoever you give your script to is someone that you trust and are comfortable receiving feedback from. Choose your writing peers wisely because it’s very easy to fall into the trap of partnering with someone who is overly opinionated and in it not to help you out, but to put themselves on a pedestal. That type of feedback is counter-productive. Instead, focus on finding someone that you trust to offer constructive feedback. 

Mentors are those who have more experience than you. They may be writing teachers, film professors, continued education instructors, or possibly industry insiders that you either have a personal connection with, or those who may have been assigned to you through script contests or screenwriting fellowship programs. 

It’s important to remember that, again, industry insiders shouldn’t be approached for the sole purpose of you wanting them to mentor you. Most just don’t have the time to do that unless they have volunteered to take on that role through a course, contest, fellowship or program.   

Always remember that any feedback you get is optional. It’s always best to cherry pick by taking  what you want, and leaving the rest behind. 

Sometimes people just have different tastes. Other times, they may love your concepts but prefer a different approach. When it comes to feedback from peers and mentors, consider everything, but know you have the freedom to pick and choose what applies best to you, your process, and your screenplay. 

However, when it comes to receiving notes from industry insiders you’re under contract with, those notes have to be addressed and applied. Sure, you can choose your battles with notes you may get, but in the end, if they need or want something added, edited, changed, or cut, when you’re under contract, you’re obligated to do so. 

Getting writing peers, writers groups, and mentors to read your script is relatively easy. But when you’re trying to get Hollywood to read your script, it can be an uphill battle. 

It’s no longer about feedback. When you feel that you and your script are ready to make a run for possible sales or as samples for pro writing assignments, this is the point where it’s all about making great first impressions with solid scripts that are ready to go. 

So, don’t jump into this process too soon. Sometimes it takes two, three, or four scripts to get your writing to a point where it’s ready for the big leagues. 

But when you believe you’re ready, here’s what you can do… 

Final Draft’s Big Break and the Nicholl Fellowship are perfect examples of contests and fellowships that have major Hollywood connections. Entering every small or local screenwriting contest isn’t going to win you any Hollywood contacts and contracts. You need to enter ones like these that have major industry insiders attached as judges, mentors, and potential suitors for representation and contracts.

Agents, managers, development executives, and producers look to these major competitions for potential clients and acquisitions. This should be your first step to getting industry insiders to read your script. 

Cold-querying can be a long and exhaustive process - with much failure and rejection to endure - but it can and does work if you do the proper research. 

• Join IMDbPro
• Look up movies similar to yours in genre, tone, subject matter, etc. 
• See who is writing those movies
• See who is representing those writers
• Cold query their reps if their email addresses are listed
• See who is making those movies (producers, production companies, etc.)
• Cold query them if their email addresses are listed

What’s in a cold query email?

• A simple line of introduction (addressing a specific individual when possible)
• The logline of your script
• Some comps (It’s This meets That)
• A simple line with a thank you       

That’s it. Keep it short, sweet, and to the point. Your personal story doesn’t matter to them, unless you have a specific connection to the story of your script (you’re a veteran writing about a battle you were in, you’re a former detective writing about a case you were involved with, you’re a nurse writing a series about nursing, etc.). 

The logline will be the most important element of your cold query. That is why it’s so important to do your research and not approach people and companies that don’t make or represent what you’re writing. 

Click here for a full tutorial on cold querying

Cold queries are great, but there’s nothing better than having a personal connection with someone in the industry that you can point to for the purpose of trying to get someone to read your script. 

• Map out any personal connections you may have to any industry insiders, even if they are friends or relatives of friends or relatives. It doesn’t matter how many times you’re removed from them. Any connection counts. 
• Map out any geographical connections you may have. If you find Hollywood decision-makers from your school, your hometown, or your homestate, that’s a connection you can open up with in your cold query emails.

Any connection you can make is worth a try. 

These types of events offer screenwriters the opportunities to meet and connect with industry insiders. 

• Q/As
• Panels
• Workshops
• Meet and Greets
• Social Events 

Search for writing conferences and film festivals that you’re willing and able to travel to. Pay specific attention to Film/TV guest speakers, panelists, and VIPs that are scheduled to attend. 

Writing conferences, film festivals, and the events within offer perfect potential opportunities to connect with someone that may be willing to read your script down the road. 

• Be prepared with a 30-second pitch of your script. 
• If an opportunity presents itself, ask if you can have their card or get their email address.

But always proceed doing the above with caution. Let the opportunities come organically during conversations. 

Getting feedback after finding people to read your script can be an effective tool you can use to grow and evolve as a screenwriter. However, you can’t rely on feedback alone to help you write your scripts. 

Feedback should be thought of as an early tool, and also one that you can return to from time to time later on in your screenwriting career. 

But feedback can also easily turn into a crutch when you start to rely on it. So, utilize feedback early on as you develop as a screenwriter. But then do your best to learn to trust yourself and your instincts as a screenwriter.