Some other options to consider looking at before a script reading include:
- Proofreading: Grammar, spelling, misused words - pointing out errors that you can then change (Bad grammar can make reading out loud difficult and sound stiff)
- Proofreading Plus: As above, but going through and making the actual changes
- Copy-Editing: Correcting the use of English language and expression – making suggestions for a better flow
- Proof-Editing: A combination of the all above (most popular)
- Basic Script Coverage: Addressing your concepts, strengths/weaknesses in script content (plot, structure, dialogue, form etc.) and more (basic level is not as in-depth as a full script consultancy and is therefore less expensive than a full service, but bolts onto any of these other options to give you feedback on the points mentioned above)
- Script Doctoring: Making actual re-draft suggestions, above and beyond purely correcting procedures. (This is a far more creative input.)
- Screenplay to Radio Play Adaptations: This will point out areas that will need to be changed from the original visual incarnation of the script that you can then amend, or we can do it for you.
Please click on the custom package and ask for a quote if you require any of these additional services to tighten up the script before your table read.
FAQ
Only 4 actors? Actors will cover several parts – but if you need more, or wish to have a specific style narrator, we can accommodate that too, but there will be an additional small fee to source them. Click on Custom Package to get a quote to include more actors.
Will it be edited? Not in the fixed cost package, but you'll get the recordings to do what you want with them. Editing is a lengthy process that tightens up the timings, takes out any noises, coughs etc. We then add EQ and sound processing for each individual actor's voice and it's then mixed and mastered to even out the sound and give it more clarity. It can even include adding SFX, Foley and music for a more radio-play-style recording. (Useful as an audio showcase piece for pitching or as part of a transmedia campaign!) Click on Custom Package to get a quote to include editing and mixing.
Will my script recording have SFX, Foley and music? Not in the fixed-cost package. As with editing, this is a hugely time-consuming process to source or create the right sound effects etc. and music for your script. Click on Custom Package to get a quote to include SFX, Foley and music
What if I don't want the scene headers and action lines read out? No problem, we will do your table read without it! Just make sure it works, because it sounds like you may want it to sound more like a radio script recording, which is fine, as long as the scenes and actions all speak for themselves as this is usually accommodated with some specially adapted dialogue and/or SFX and Foley.
How good can the quality be with an online recording? If you have no desire to consider going further with the script than the table read, we will most likely record via Zoom, as most people are very familiar with it and it's a simple set up. But Zoom recordings, whilst being perfectly good enough for you to hear your script read aloud and get a great idea of all the strengths and weaknesses for a table read, aren't high quality enough for a professional-sounding audio play. So if you think you might want to take the recording up to the next level, you need to go for a custom option. But don't be concerned, this starts at just £50 more and is recorded on higher quality wavs, on more professional audio recording sites! For this, Click on Custom Package.
I've seen this kind of service for less, why is yours more expensive? The main reason is the time we spend sourcing actors. We specifically cast for your characters, whereas some table read organisers will have a small group of actors they call on for all their table reads in order to keep costs down, which is fine, but if you're passionate about your script and want to hear your characters actually sound like they do in your head, that is what we try and achieve with bespoke casting. But it takes time to find them.
If money is tight and you're not that fussed about voicing and acting abilities, you can always get a bunch of mates to read it. That will still get it read out aloud.
TESTIMONIALS
From Barbara Vonau - Screenwriter of “Clap!”
I met Adrienne Aiken when I needed to arrange table read for my Masters Project (a 30-minute TV comedy pilot), which I did in conjunction with Raindance Film School/De Montfort University Leicester in February 2020.
Adrienne was prompt to reply and a very effective communicator throughout. She always kept me abreast of any issues regarding putting the advent out to the actors, selecting finding a suitable actor for each role, gathering other information and setting up the actual table read with recordings.
Her approach was thoroughly professional, always transparent and her attention to detail helped to avoid any unnecessary costs and time delays. Her recordings were of very good quality and thoroughly suitable for referencing for my MP project in my MA report.
Her organisational skills and industry knowledge helped me to get the most appropriate table read and recordings for my specific purposes.
From Ian Cox - Screenwriter of “Playing Woodstock”
We first met at the London Screenwriters Festival and discussed the screenplay I was working on. Adrienne’s company became involved and worked with me on screenplay development to the point where it was ready to be prepared for a recorded table read. Her professional, imaginative and enthusiastic input really helped me and it was clear that she “got it” in terms of the heart of the story.
The preparation for the table read entailed careful selection of actors and venue. We worked together on this, but I very much relied on Adrienne’s experience and understanding of what was needed.
The day of the read went extremely well with Adrienne’s affable but assertive style ensuring that we got what was needed. The recording is now being edited by Adrienne with great suggestions about changes and improvements. We are working towards a completed recording that can be used to pitch the screenplay. Adrienne has been central to the ongoing progression of this project. Without her, I would probably have given up but now we are moving to a piece of work capable of being used or adapted for screen, radio or even stage.
I would recommend Adrienne and her company and will certainly use her on my next project.
