Script Reading

I don’t care who you are. When you sit down to write the first page of your screenplay, in your head you’re also writing your Oscar acceptance speech.

— Nora Ephron

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Sometimes writers just want to hear how great/funny/clever/original they are. And why not? Writing is a lonely job; a writer sits for weeks on end talking to nothing but the voices in their head. At the end of it all — when they’ve typed “The End” in underscored Courier 12 — they just want to hear that, yes, they’ve done well, that they really are the next Tarantino, Julia Davis or Alan Bennett.

You can’t knock family and friends for wanting to oblige. However, while your dad is invaluable as a source of unshakeable belief in your ability, objectivity is likely to be thin on the ground. If your best friend has never written or submitted a script, then she’s not going to know where to poke for weak bits, why your secondary story arc is weak, why an audience might not care if your lead character lives or dies and whether, most importantly, your script is marketable.

But luckily I do, and I’ll tell you all about it in a full report covering:

  • your script’s originality
  • plot/storyline
  • character development
  • dialogue
  • structure

Your script has one chance to make that first impression. Contact me to discuss your project and I’ll help you ensure it’s a good one.

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PLAYWRIGHT TESTIMONIAL:

Trudy Morrison has been editing and proofreading my work for the best part of two years now. This is not a task I would normally wish upon my worst enemy but I have come to trust Trudy’s judgement on my work. She removes the clutter and mess, and leaves behind a streamlined user-friendly document with her changes clearly marked so that (as I am dealing primarily in naturalistic dialogue) I can decide for myself if the correction is necessary or if the mistake is a deliberate vocal tic.

As an editor, she challenges me and questions my reasoning in my work where perhaps my intention is still in my head and not on the page. She strips away excess, leaves all the essential and all of the texture and flavour and allows me to retain (and refine) my voice as a writer.

Ultimately, I know my work is in safe hands with Trudy and trust her implicitly. To put it in a way that will make her actually puke: “Through all of the excess noise and punctuative tinnitus in my work, she can hear me out there in the vast ocean of self-indulgence and she can bring me home.”

— Rob Wilkinson, playwright, Artistic Director of The Tideline Runners Theatre Company