A Day in the Life of Netflix Features Script Reader Phaedra Benford

Posted on: Oct 17, 2024

Photo Credit: Phaedra Benford

By Jessica Mathis

Phaedra Benford is a Georgia-based Netflix script reader who began her journey when she moved from Bermuda over to the United States in 2019 to attend Full Sail University to obtain a master’s degree in entertainment business. I asked her to shed some light on this mysterious “gatekeeper” position that we all hear so much about in the industry, including what a typical day looks like and what a script needs to get ahead of the pack.

How Phaedra Broke into Script Reading

Phaedra admitted it’s not easy to find openings for reading jobs because most of the work circulates through a union in Los Angeles.  

She started with an unpaid internship for a company called Eclectic Pictures out of LA. They offered extensive training in breaking down scripts and providing coverage. When she had difficulty finding work after the internship, she turned to offering services on the freelance platform Fiverr. 

That resulted in freelance work for companies like Hulu, Universal, Paramount and others. Someone from Netflix wanted help with overflow reading work getting through a ton of projects ranging from graphic novels and books, to other stories to see if they were suitable for film or TV development. 

After seven years of reading, she finally saw a post on LinkedIn for a full-time job and applied. It turned out to be for Netflix.

A Day in the Life of a Netflix Script Reader

Phaedra works in the features department and reads about five scripts per week from a mix of agency submissions, executive requests or projects already approved for production. The executive assistants assign dates to each script in a digital docket, so she knows what scripts to read. Phaedra downloads the script and utilizes note-taking software to help her digest it for the deadline. After lunch, she’ll start a one-page document of concise notes she’s required to provide.

What Kind of Notes Does a Script Reader Provide?  

Phaedra has to let the executives know if the script is a “pass,” “consider” or a “recommend.” She may also mark a project “consider with reservation.” She has to provide the reasoning for her decision, and notate what is or is not working in the script. A “consider with reservation” assignment means the script needs work, but has an interesting premise or character that would land well with the Netflix audience and make it worth the executive’s consideration.

Phaedra has to consider if a script is ready for production or if it’s right for the company. She then reads the script again to build the synopsis she writes for each. The second read allows her to justify her notes or pick up anything she missed. She then imports her notes, synopses and key information into a template in the software they use.

Netflix readers are separated into departments based on genre, meaning they base their notes and assessments on the types of projects the executives want to produce. For example, drama needs to really dig into the character. An action script needs less character background and more high stakes, while youth entertainment is all about the message. Ultimately, the readers look at the following:

  • Is the premise original?
  • Does it have good structure?
  • How is the pacing?
  • Are the first 15 pages on point?
  • How much do I care about the characters?

Phaedra said, “I’m always going to look at character first. Do I care about this person? Am I interested in what they’re doing? And why are you telling me about them?”   

What Makes a Script a “Pass,” “Consider” or “Recommend?” 

There aren’t many hard and fast rules on “pass” or “consider,” but a “recommend” can be described as a script you’d be willing to put your own money on right then. Not only does the script need to be almost production-ready, but the premise, characters, pacing, tone and style all have to align.

“There’s a certain type of wit to the successful Netflix projects that people look for. There’s a certain level of wit and grit, and kind of a dark humor element to it that really makes it stand out,” said Phaedra. “Many people are just trying to hop on trends, and you can kind of tell when it’s being forced. Then you can tell when something is coming across naturally because this story is meant for this audience.”

A big part of the job is just trying to figure out what feels natural, and determining the difference between speaking to the audience, and placating them. Any of the following will usually be a pass:

  • A paint-by-numbers generic storyline
  • A script of patched together tropes
  • Stories that don’t have any stakes
  • Scripts that have nothing of importance going on

Do Readers Throw Out Scripts Over Punctuation?

The biggest defining questions are, “Does it already fit what we’re looking for? And is it worth the time it’s going to take us to develop it into something that works?”

“I will speak truth to the fact that a lot of our job is to look for [plot] holes, because we’re the line of defense before the audience,” Phaedra said. “ Your audience is also going to look for holes. So in a way, yes, we are looking for flaws, not in a way to throw you out, but in a way to help you get better.”

That being said, readers are not going to stop reading and pass over punctuation or a typo. They’re not allowed to stop reading until they’re finished.

“For me and all the readers that I know, I’ve never known anyone to throw something out just because of punctuation or grammar,” said Phaedra. “I’ve seen things that are passed through from major talent agencies that have punctuation and grammar issues and character name errors, etc. If the premise is worth talking about, that’s still something that I might put a “consider with reservations” on. But, I will attack those plot holes. I’m not gonna put my kid gloves on just because I like the project.”

According to Phaedra, “script readers are one of many voices that decide whether a project is greenlit. It’s not just the reader or executive system, and it’s not just one executive. There “are like 42 people” who have to all agree the project is something worth putting money into. 

Where Can a Script Reading Position Lead?

Script reading is an entry-level position, followed by executive assistant. They assist the executives with day-to-day tasks and delegate. Readers know who the executives are, but communicate with their assistants the most. 

The assistants are making sure everything gets done. A promotion from there would be to an associate producer, meaning you’re assigned to and assisting on a specific project to see it through to release. From there, you’re moving into that executive space as a creative director, a producer or executive producer. At that level, you’re the main decision-maker.

When asked for advice for writers, Phaedra said, “Many places only accept submissions from an agent or production company, making it tough for writers. Oftentimes, the first question from producers or reps you ask to read your script is, ‘Have you gotten coverage on it?’”

Phaedra also had advice on getting assistance from readers. “Freelance script readers are a great resource to help to kind of bolster that initial ask from an agent. If that reader really likes your project and sings your praises, that is like peer review you can send to agents,” she said. “A reader will also give you a top sheet with a potential budget, strong logline, synopsis and breakdown. Just make sure you vet the readers and understand their level of expertise.”

She went on to say that any way to make yourself stand out can help. Submit to festivals and gather accolades, utilize networking and LinkedIn to build connections where you aren’t asking for anything, and build a community around you.

Jessica Mathis (AKA Divinity Rose) is an award winning screenwriter/performer/producer from Louisville, Kentucky. She is the CEO of She Dreams Content Development and Production, which focuses on female forward projects in comedy, docustyle and genre entertainment.

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