I have a playwright friend who holds staged reading of his works in progress. He hires actors, rents a theater and finds an audience to fill the seats. When the house lights come back up, he takes a chair, center stage, and asks the audience what they thought. Then he listens and takes everything said to heart. The next draft of his play is always better.
I wish more writer/directors would employ this technique. There’s such a rush to make a film, and get it seen by the public, that story often suffers. Yes, as a filmmaker, you learn by making as many films as you can, BUT, if your script isn’t worthy, you’re not doing your reputation any favors. Give your story a fighting chance by holding a staged reading.
Invite some actors over to your house, along with friends that you trust will be honest. Don’t forget to have enough copies of the script for each actor. Remember, these people are doing you a favor, so forgo the cheap pizza and have real food. (The last time I had a reading, I made lasagna and stew) Steer clear of booze. You’ll want everyone sober when it comes time for the discussion at the end of the evening.
As the scriptwriter, you should not participate in the reading. Don’t even hold a script in your hand. You need to be listening. If there is discreet spot, set up a video camera so you can record, then review the session after everyone has gone home.
As the actors bring your story to life, listen carefully. Dialog spoken by your actors is much different than dialog read by you in the glow of your laptop. It’s also much different that a rehearsal. At a rehearsal, you’re thinking about blocking, costumes and set design. At a reading, you’re only hearing the words.
When the reading is done, ask what everyone thinks. Start with the actors. They will be the most vocal. They’ve just invested a lot of time in the characters, and believe me, they will have a few things to say about the script. Before long, your audience will jump in too.
When everyone goes home, play the video and make notes. Remember, don’t take anything personally and don’t listen to every change suggested. Do what feels right for your characters and their story. I’d recommend a new reading after each draft of the script.
If you’ve used this technique, how did it work for you?
Good luck and Write on,
Melissa
(edit note here: Adam Laupus, one of my reader from Google + suggested using a moderator. Here’s his comment: I will say there should be a moderator or at least some one who can lead the discussion deeper than “I liked this and hated that” or ” I didn’t get it.” Also it helps the playwright just be an observer on the effect of his writing without feeling tempted to answer audience questions. Great idea Adam. See, feedback works!)
ps – to make sure you’re ready for that reading, let your script rest in a dresser drawer before you do a final rewrite. After that, schedule your reading.
pps – should you give the actors the script ahead of time? I’ve known people who do and people who don’t. If it’s a short, you can have the actors read through it two or three times. If it’s a feature, you might want to give it to the actors ahead of time, so they’re familiar with the dialog and don’t stumble over their lines. That could distract from real issues in the script.
ppps – that’s a photo of Daved Wilkins and Amber Layne who star in my feature film, Finley Wade. http://finleywade.tv
The last line of ADR, for my feature Finley Wade, was recorded at Waterworks Studio a couple of days ago. I wasn’t there. There was no need. I’m hearing impaired, so whenever sound is involved, I turn to my sound engineer, Jim Waters. I’m also a crappy photographer and a terrible graphic artist so, while I know exactly what the poster for my film will look like, I’m not making it myself. I’m turning to my experts. Accepting your own limitations is important is you want to create a really great product. 
