Screenplay Reader Net
TONS OF QUESTIONS ANSWERED.
Here is some common things asked. If you have something missing, don't hesitate to email.
WHO IS MY READER?
The owner of Screenplay Reader Net, Jeff J. Blix, yours truly, is your reader. I'm a current script analysis with Coverfly. I first got started writing screenplay Coverages for Kevin Pike, who worked in the special effects department on Jaws, Back to the Future and also Return of the Jedi. I've been an agented writer and written more then 20 screenplays and a Scriptapalooza Finalist.
ARE MY SCREENPLAYS SAFE?
I have oodles of scripts on my computer. The only thing I'm looking for is to read it, and submit notes.
I WANT TO GET A NEW READER, CAN I GET ONE?
Currently, there is only one reader. Though, looking to expand in the future.
WHAT DO ALL THE SCORING CATEGORIES IN COVERAGES MEAN?
PREMISE – There are unoriginal script ideas all over Tinseltown. Another carbon copy of something that was done a million times before. This category will help you determine if you script is A) marketable, B) original, and c) engaging to enough to read.
PLOT – Having a compelling plot of ups and downs and twist and turns, and or even a Twilight Zone twist, is key to good screenwriting. Another area, does your screenplay: follow script beats. (Example: Page 30 is the end of Act 1)
VOICE: This is a vastly underrated and overlooked area. Is you writing style engaging for the reader? Having a strong vocabulary, a strong visual mind for sharp images, and strong command of lean-but-compelling description is essential.
CHARACTERS – There are tons of memorable Hollywood characters. One of the important attributes to look for: a strong character arc, is the character unique, and does the character have psychological complexity?
DIALOGUE – From Coen Brothers to Quentin Tarantino, whip smart dialogue can make or break a script. Fun Fact: a lot of literary agents skim description and just read the dialogue. If you sleep on this area, your script will be a turn off.
SETTING - There are a million scripts set in New York and L.A. But what about a script set in Antarctica? Or how about the beaches of Ammochostos? A unique setting can really make a writer’s voice stand out from the stockpile of scripts.
CASTING POTENTIAL - A great away to get your script sold, other than having a compelling script, masterfully written, is to have a couple of characters that really give actor’s a juicy role. A character who’s personal journey is just as compelling as the plot.
OVERALL SCORE - This is the final number when put it all together. It isn’t any mathematical formula, it’s just the reader's summarization of how close it is to a stand out script or a back to the drawing board script.
ARE YOU PART OF COVERFLY?
Screenplay Reader Net is not affiliated with Coverfly. However, I do coverages for them almost daily.
WHAT IF I DON’T LIKE MY COVERAGE?
All sales are final. When getting feedback it's important to accept information you my not be like, take that information, and improve your craft. Through the years, some of the more critical coverages I've received helped me improve as a screenwriter the most. Coverages that shower with praise are harder to improve from, but yes, do feel better. However, when I'm writing coverages, I like to give a pretty even balance of positive/negative write up. Nobody wants to read 6 pages of being trashed. I won't write that.
WHAT GENRES DO YOU SPECIALIZE IN?
I've given coverage to writers of every genre. From romance, to sci-fi to historical stories. I'm also a writer of just about every genre. However, if there is one genre that interest me the most: it's probably thrillers and sci-fi. Twilight Zone type. However, I do like to read something that is wildly unexpected, for instance I read a 'war romance' set in 1944 about the Japanese occupation of China, and I immensely enjoyed reading it.