Screenplay Reader Net
TONS OF QUESTIONS ANSWERED.
WHO IS MY READER?
The owner of Screenplay Reader Net, Jeff J. Blix, yours truly, is your reader. I'm a former WeScreenplay script analysis (8X21L) 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, Page Award Semi-Finalist and a Big Break Quarter-Finalist.
ARE MY SCREENPLAYS SAFE?
I have hundreds of scripts on my computer. The only thing I'm looking for is to read it, and submit notes and help the writer take their script to the next level.
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 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.
"Excellent points! Absolutely helped me to spot the strengths as well as the needed improvements in a genre I'm not very strong in. This will aid me greatly."
- ANDREW D.
ARE YOU PART OF COVERFLY?
Screenplay Reader Net is not affiliated with Coverfly. However, I used to do coverages for them almost daily for 2 years.
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)
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 The 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. That would be if it is a Pass, Consider or the highly elusive Recommended (a near gem perfect screenplay). More info on this on the "Samples" page.
Google Reviews from screenwriters
Nicholl Quarter Finalist
All around fantastic service. Quick turn around and insight, actionable feedback!
Jeff gives excellent coverage. Concise, detailed, helpful and with insight and attention to industry standards.
Excellent points! Absolutely helped me to spot the strengths as well as the needed improvements in a genre I'm not very strong in. This will aid me greatly.
Professional, Honest, Accurate, Informative
Complimentary, helpful and actionable. Highly recommend.