More thoughts from D.C. Mar, longtime script reader and story analyst in a series of posts that began on Monday here.

* If you had to rank in importance these three elements – great story concept, strong characters, distinctive writing style – which is the most important and why?

This is a tough one to answer since I’ve seen scripts bought that are strong in one or the other. There are always exceptions and no hard and fast rule. But I will say that theoretically, especially with regards to the studio contracted companies or producers staking their future on box office hits, the concept is probably the most important of the three. It’s possible for a poorly executed script with thin characters but great concept to be bought over a solidly executed script with an okay or not so great concept. In coverage, a script with exceptional concept but bad execution would rate:

Project: Consider with reservations (or “consider” if the concept is that good)

Writer: Pass

A script with great characters and solid execution all around but unexciting concept rates as follows:

Project: Pass

Writer: Consider

In comments, I would rave about the writing, what kind of projects (owned by the company or in general) this writer would be a great match for and suggest that the writer be tracked.

So all is not lost if the writing is great.

Having said this however, I would seemingly contradict myself by saying that great characters often make all the difference between a “pass” or “consider.”

In my experience, the scripts I give “considers” to almost always have GREAT or memorable characters to go along with a great concept. I often find that excellent characters are what make the difference between a concept that is familiar and one given a fresh slant. Often it is the characterization that elevates a run-of-the-mill script to a great one and the element that tips the scale from a “pass” to a “consider.”

A great distinctive writing style could also get you favorable coverage even if concept isn’t great or characters aren’t exceptional because Hollywood loves finding new writers with that fresh, new and unique voice. Even though their script may not get picked up, the writer gets buzz, which translates to meetings and sometimes even writing assignments.

The ideal, however, is a script that has all three elements working in tandem. These are the scripts that get readers excited and raving about the script in their coverage. These are the scripts that a reader happily rates a “consider” for both project and writer.

A reader hardly ever gives a script a Recommend. First, very few scripts that come across the desk are that great and second, readers are reticent to put their professional credibility on the line. Much safer to write glowing remarks in the assessment and offer a Consider.

What’s your take-away from this latest Dispatch from the Front Line?