Here in Hollywood - folks tend to read the first two pages to see if it has some funny or compelling stuff. Then they jump ahead to page 25 - The inciting incident that shows the protagonist jumping into Act II. If they don't find it within a page of there, they'll often set it down or throw it out. They'll check the Midpoint (55-60) see if it looks like the protagonist is riding high on what he thought was his easily won victory. Around page 85 they'll want to see the hero in the mud of defeat, looking for the power to continue. If they've found all these things, they might actually read the last five pages to see if the hero has CHANGED. To see if they're doing things they never thought possible of themselves based on who their character was at the beginning. THEN and only then will a busy reader or low-level producer go back and read all the creative stuff you spent so much time dreaming up to fill the space between all these points. Really depressing to hear as a writer, but pretty accurate as far as I've found. The most helpful thing I've learned, is to write your scenes like little skits or sketches - each with its own problem or question. Have each one almost get resolved but then present another problem or question that leads to the next scene. Save relief, fulfillment, and satisfaction till the very end. (or DON'T, if you're thinking of a sequel.)