1. Listen to how actual people talk
2. Figure out the flow of your dialogue
3. Pattern out the information
4. Write the scribble version
5. Write the nice version
6. Ask: Are characters listening, or just speaking?
http://johnaugust.com/arch
This is the map to how you would Analyze script. Your analysis will be broken down into specific areas as shown below:
Concept / Premise / Genre: the idea.
Is this a strong concept/idea? Has the writer fully developed his/her idea? Does the premise work throughout the script or is it weak in any of the acts. Are there similar films already produced, if so, does it offer us anything new in this genre? What suggestions can the analyst offer to fix any of these problems?
Plot / Structure / Pace: the story.
Which story elements work/don't work? Which scenes work/don't work? Is the story complex or simple, does this work/not work? How is it paced? Are you pulled along into the story? Is the plot set-up well? Do you understand the plot? Does it make sense; is it plausible within the dynamics set-up? Does the script follow the dynamics of script structure successfully? What suggestions can the analyst offer to fix any of these problems?
Characters / Relationship: Lead & Supporting.
Do we empathize with our lead character or characters? Do we believe their actions and motivations? Do they have good character arcs? Are all the supporting characters integral to the story, are they used well? Do we become invested in the relationships between the characters? What suggestions can the analyst offer to fix any of these problems?
Setting / Locations:
Is the location an integral part of the story? If so, does the writer create the ambiance of the time/place well? Do we believe the characters fit into this time/era? Does the setting hinder the story in any way? What suggestions can the analyst offer to fix any of these problems?
Dialogue:
Is it original, realistic, comfortable or is it clich , trite, awkward, clumsy? Does each character have its own individual voice? Is too much information communicated to the audience through dialogue exposition rather than actions? Is there a voice-over, does this work? Does the dialogue move the story forward or is it overwritten and unnecessary? What suggestions can the analyst offer to fix any of these problems?
Audiovisual Grammar:
Has the writer fully used the tools of screenwriting to make the script strongly visual? What suggestions can the analyst offer to fix any of these problems?
Feasibility / Marketability:
Is this script viable as a feature film in the current market? Is there an audience for this film? Is it of good enough quality both in idea and writer's ability to be presented to agents and/or producers or does the script need more or substantial rewriting and development?
Script Format & Presentation:
Has the writer understood screenplay form; style, format & structure. Are there any typos, spelling and grammar mistakes? Is the script professionally presented?
Writer's Ability:
Does the writer have obvious talent? Does the writer have a strong understanding of screenwriting? If the concept/plot is weak does the writer's ability still show through?
Final Comment:
The conclusion to all the notes above with detailed comments, suggestions and advice.
A script doctor is an established screenwriter contracted by film studios to make changes to another writer's screenplay. Writers who perform this type of work generally agree to keep their services confidential. A script doctor usually meets with the film's production team to discuss specific problems, not rewrite the entire film treatment. Certain scenes may not seem to fit the logical progression of a character, or the solution to a key plot line might sound too contrived to a test audience.
A script doctor is usually known for a specific writing skill. Some are experts in creating realistic dialogue, while others are brought in to create alternative endings. In extreme circumstances, a script doctor may eliminate ineffective characters altogether. This last-minute scrapping of a subplot has lead to some interesting changes in well-known movies. In the 1983 movie The Big Chill an important character is only shown at his funeral as the main cast gathers to mourn him. The original script called for several flashback scenes, but a script doctor believed those scenes slowed the film's pacing. It was more effective to speak about the character, not necessarily recreate him. This is a typical decision a script doctor may have to make in order to salvage the filmmaker's vision.
Sometimes the original writer of a screenplay is not intimately familiar with writing for a visual medium such as film. The author of the source material may be asked to create a film treatment of his or her novel, but the producers may not be pleased with the results. A script doctor may be hired to turn an unfilmable series of scenes into filmable ones. Because of this, many experienced script doctors must understand the needs of filmmakers while maintaining the original author's general story arc. This has lead to a few controversies over the years, as finished films have been known to bear little resemblance to the literary works which inspired them. Others may take extreme liberties with the characters in order to appeal to a target audience. A script doctor may rewrite dialogue to earn a PG-13 rating or add scenes which will make the film seem more adult-oriented.
http://www.wisegeek.com/what-is-a-script-doctor.htm
with Script Doctor's complete Diagnosis and Medication service, you will receive comments that will be directed at what works and what doesn`t work in the following areas:
Genre and Tone
Plot and Maintaining
Character Arc, Character Consistency, Character Novelty
Dialogue Problems and suggestions
A brief Comment on Marketability