Unsolicited manuscripts submitted by aspiring authors, screenwriters, or playwrights to producers, production companies, publishing companies, or successful agents are referred to as a slush pile. Anyone in a position to move a manuscript into development or into the hands of someone who can green-light it is likely to have a stack of manuscripts waiting to be read.
Slush piles abound at talent agencies such as the Creative Artists Agency (CAA), William Morris Agency (WMA), and Creative Management Inc. (CMI), which each year receive hundreds of thousands of unsolicited scripts. Story departments in large talent agencies like these typically oversee the initial promotion of promising story ideas. The chances of finding a truly good script among the throngs of poorly written submissions are slim because the slush pile is unsolicited. The idea being that most people with talent have an agent and are not forced to send unsolicited manuscripts (right or wrong).
Because reading through scripts takes time, the job of first reader is frequently assigned to underlings or interns. The first reader scans the entire script and then writes coverage on the strengths and weaknesses of the script. If a self-addressed stamped envelope is enclosed, the script is graded and either escalated up the ladder to more experienced staff or returned to sender with a rejection slip. A script that is well received will be read by a number of people before being sent to the head of the story department, who will make the final decision on whether to send it on or not. An editor’s assistant(s) serves in the same capacity as first readers in the publishing industry.
Unsolicited scripts may be read by independent agents looking for new writing talent or projects for clients, but it is more common for agents to use readers to pre-screen unsolicited manuscripts. This could be the receptionist, office assistant, or another member of the team who has some free time.
The going gets tougher for those few scripts that rise above the slush pile and progress up the chain. Many story department heads, agents, directors, producers, and others in positions to promote a script will not waste time reading a manuscript if the first three to ten pages do not pique their interest. While the first reader may be told to read the entire script, only the best scripts will advance to the final deciders. Even if the author is fortunate enough to get this far, the script will almost certainly require several rewrites. Rewrites can be requested from the original author or handled by a professional writer.
Making your script an excellent piece of work, tightly plotted with full, believable characters in a setting that walks off the page and builds itself around the reader, is the best way to make it stand out from a slush pile of poorly written submissions. For a screenplay, teleplay, or stage play, format the manuscript according to industry standards; or, if submitting to a publisher, follow their guidelines. Demonstrate professionalism by demonstrating that you can follow instructions and will be easy to work with. The adage goes, “The cream always rises to the top.” A good script can rise to the top of any slush pile, despite the odds.