Script critique

with Matthew Arkin

A writer working on a screenplay or teleplay faces many challenges:

  • How much action should you describe?
  • How can you make my dialogue more natural and realistic?
  • How does dramatic story structure work in your intended format?

Screenplays and teleplays are frameworks for visual stories that can only be completed in collaboration with many other artists, and every contributor brings their own contributions to the finished product.

A well-written script not only presents a great story, but also gives a clear blueprint to the director, technical and design teams, and the actors, but a poorly written script can hide an otherwise compelling story and forfeit your chances of seeing your project succeed.

If you’d like help honing your script into a sharp, clear, concise document that allows others to bring your vision to the screen or stage, please request a consultation through the form below.

Components of a script critique

  1. Full critical read of your script
  2. One-hour phone consultation to discuss in detail your use of dialogue, act and story structure, character development, and description of action

 

Script critique with Matthew Arkin

About Matthew Arkin

Matthew Arkin is a writer, actor, director, professor, and erstwhile attorney who brings a lifetime of storytelling expertise to  his role as Head Story Editor for My Two Cents Editing. He has been immersed in the exploration of character, plot, and motivation since he began acting professionally at the age of eight. He holds a BA with honors in English from Wesleyan University and a JD from Fordham Law School. Matthew has taught at the world-renowned HB Studio in New York City, and the Actors Studio in Los Angeles. He currently directs the Acting Intensive Program at South Coast Repertory’s Theatre Conservatory in Costa Mesa, California, and is an adjunct professor at Chapman University’s Dodge College of Film and Media Arts, where he teaches visual storytelling and film production.

Matthew’s Broadway credits include Neil Simon’s The Sunshine Boys with Jack Klugman and Tony Randall, Mr. Simon’s Laughter on the 23rd Floor, and Manhattan Theater Club’s Losing Louie. Other New York credits include originating the role of Gabe in Donald Margulies’ Pulitzer Prize winning Dinner with Friends (Drama Desk nomination, Drama League Honoree), Manhattan Theatre Club’s Moonlight and Magnolias, and Richard Dresser’s Rounding Third. Regional theater includes Our Mother’s Brief Affair at South Coast Rep., Surf Report at La Jolla Playhouse, The Scene at Hartford Stage Company, Around the World in 80 Days at the Cape Playhouse, Rounding Third at Chicago’s Northlight Theatre, Talley’s Folly at The Bay Street Theatre, Guys and Dolls at Seattle’s 5th Avenue Theater, and Sight Unseen at The George Street Playhouse.

His film credits include indies Margot at the Wedding, Second Best, Raising Flagg, The Curse, and Bittersweet Place, as well as Death to Smoochy, Liar, Liar, North, An Unmarried Woman, and Chu Chu and the Philly Flash. Matthew appeared in recurring roles in Get Shorty,as Dr. Thompkins on the hit FX drama Rescue Me and as Legal Aid Attorney Paul Bernard on A&E’s 100 Centre Street. Other television credits include Hawaii 5-0NCIS, Aquarius, Harry’s Law, Switched at Birth, Medium, Third Watch, Hack, The Education of Max Bickford, Ed, Law and Order, Law and Order: Criminal Intent, Law and Order: SVU, Kojak, and All My Children.

One of Matthew’s greatest joys has been working on the development of new plays by excellent playwrights both established (Donald Margulies, Richard Greenberg, Theresa Rebeck, Samuel D. Hunter) and newly emerging (Barbara Dana, Steven Drukman, and Michael Hollinger). His novel, the suspense/thriller In the Country of the Blind, has garnered considerable praise.

Through My Two Cents Editing, Matthew collaborates with developing novelists and screenwriters to craft engaging stories and compelling characters. To request a consultation, please send Matthew a message through the form below.

“Story is a powerful force for healing wounds in the individual and divisions in society. When we meet on the level of Story, we enter a community of understanding.”

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