All our readers have years of experience working for studios, production companies, agents, managers and contests. These readers are the gatekeepers of the industry and you will need to impress them with your writing to get to the decision makers. Click here to learn more about our readers.
The readers will provide 2-3 pages of detailed notes about the strengths and weaknesses of your screenplay, how to improve it, and potential ideas to fix key problems. All scripts are evaluated on the basis of six key criteria, including concept, characters, structure, marketability, tone, and craft. All scripts will be given an overall grade of Pass, Consider, or Recommend.
We offer the script analysis service for both feature film scripts and television scripts. We also offer proofreading, that comes without any analysis.
We offer a three reader bundle pack with a deep discount. You’ll save $100 with feature scripts and $88 with teleplays. That’s three reads of your feature screenplay for less than $67 and less than $55 per teleplay! You’re welcome to mix and match this offer with your different scripts. You can send one script to three different readers or you can send three different scripts to the same (or different) readers. It’s up to you. You’re not going to find high quality notes like this at this price anywhere.
Turnaround time is usually around one week, sometimes more but usually less.
Once you place your order we will email you with further directions and you will choose the reader(s) who you think is right for your project.
Example Notes: If you would like to see some actual example notes you can find them here: Example 1, Example 2. The example notes are from two different readers on the same horror screenplay. In addition, I recorded a conversation between myself and the screenwriter after he received the notes. Click here to view our conversation.
Bonus: If you get a grade of “Recommend” from one of our readers you will receive a free producer’s email/fax blast, ($159 value) a service that has helped numerous writers sell and option screenplays as well as get paid writing assignments.
Studio Reader Screenplay Analysis (Feature Film)
3 Pack – Studio Reader Screenplay Analysis (Feature Film)
Studio Reader Teleplay Analysis (Television)
3 Pack – Studio Reader Teleplay Analysis (Television)
Studio Reader Proofreading Service
3 Pack – Studio Reader Proofreading Service
Studio Reader Treatment / Outline Analysis
Do you have a 5 or 10 page treatment for your screenplay or teleplay? Our professional readers will evaluate your project.
Studio Reader Writes Your Log Line And Synopsis
Do you need us to write a log line and synopsis for your project? Our professional studio readers can do that for you.
Edward W. – I’ve worked for a number of screenwriting contests as a reader, including the Academy’s Nicholl Fellowship, Final Draft Big Break, WGA Diversity Program, and Bluecat. I’ve also been a reader for a number of major production companies before graduating to development executive status. I’m a fan of storytelling in general, but particularly high-concept action, sci-fi, and horror. Movies like DIE HARD, ALIENS, and the original NIGHTMARE ON ELM STREET are not only great movies, but great scripts as well. But I’m also a huge fan of BREAKFAST AT TIFFANY’S, so go figure. Available for features, shorts, television, synopsis writing, treatments.
Bobby K. – I have served as a script consultant and development intern for three production companies based in Los Angeles. I still maintain an online consultant presence for one of these companies, and I provide them with needed coverage from time to time. Scripts and films that speak to me always require a strong central protagonist, but tend to operate through the utilization of an ensemble cast. At the moment, I am enthralled by scripts that adapt a historical slant or are driven by dialogue. My favorite films in the past year were Birdman and Nightcrawler. Available for features, shorts, television, synopsis writing, treatments.
Kate Niemuller – I have been writing screenplays of varying formats and genres for the past seven years. With this experience, I launched myself into the field of script reading. I have been doing that on professional basis for the past three years. I am interested in compelling dramas, sci-fi’s, fantasy, and quirky comedies. Films that challenge the norm, raising thought provoking questions, unique characters, and interesting concepts. Available for features, shorts, television, synopsis writing, treatments.
Mart F. – Veteran producer of theatrical trailers for studio releases, skilled in breaking down screenplays and series to identify and align premise, tonality and emotional experience with primary target audience. Script editor, reader and provider of screenplay and teleplay coverage for the Austin Film Festival’s screenplay competition and year-round development program, Scriptapalooza, Screenplaycoverage.com and major talent agencies. My main passion is historical fiction and the weaving of actual events within a fictional narrative to create the appearance of reality. Films/series in this genre would include TITANIC, SAVING PRIVATE RYAN, SCHINDLER’S LIST, CHINA BEACH, GLADIATOR and THE PLAYERS. I am equally comfortable with drama and comedy, both epic and indy in scale. Available for features, shorts, television, synopsis writing, treatments.
Anna K. – I’ve worked as a script editor, reader and writer and have over a decade of experience reading thousands of scripts across different formats (feature length films, teleplays, web series, shorts, manuscripts and plays). I have judged multiple contests like BlueCat Screenplay Competition, Austin Film Festival and the Tracking Board. I also read for production companies based out of New York. I love all genres. Give me all the stories! Available for features, shorts, television, synopsis writing, treatments.
Arthur T. – I have been reading and analyzing scripts for studios, agencies and individuals for over two decades. Companies include Silver Pictures, John Calley Productions, CAA, the Gage Group, Pfeffer Film, Alexander-Enright, and FilmColony. I am an indie film buff at heart and have a soft spot for historical pieces, dark comedies, and all things Coenesque. Available for features, shorts, synopsis writing, treatments.
AB Heppe – I work as a professional reader in various parts of entertainment, including private production companies, large studios, and major international screenwriting competitions. I know what is out there, what works, what doesn’t, and how to make the most of a story. I’m a lover of any great story. My favorite scripts and movies are those that take the fantastical and make it relatable. Joss Wedon, you are my hero. Yet any script that has heart, inspires, and uplifts the human spirit in some way, well… that’s why storytelling is beautiful. Available for features, shorts, television, synopsis writing, treatments.
James P. – Since 2007 I have provided professional coverage, editing and rewrite services for an L.A. literary agency, film producers, screenwriting contests, film festivals and private clients. I was educated at UCLA and NY Film Academy, and I taught screenwriting three years at a community college. My favorite film genres are historical, spiritual, drama, dramedy, suspense, adventure, comedy, romcom (no porn or graphic violence, please). Available for features, shorts, television, synopsis writing, treatments.
Should you pay a script consultant to read and review your screenplay?
Getting feedback on your scripts is an essential part of improving as a writer. It really is mandatory. However, that doesn’t mean you have to pay a script consultant.
If you read my blog you’ll know I’m a big proponent of moving to Los Angeles if you’re serious about screenwriting. One of the reasons to live in L.A. is that you’ll run into people everywhere you go who are either in the industry or trying to get into the industry and you’ll become friends with many of them. These friends become a great resource and might be able to evaluate your screenplays for you.
Since moving to Los Angeles I’ve meet many actors, writers, directors and producers. I now have several good friends who I send my scripts to and can get competent notes from them. I will often give them my opinion on their projects as well so the relationship is reciprocal. I trust their opinions and they know me well enough to know that I want the truth. In addition, I’m currently in a writers group. I present material and get feedback from other writers and in return the other writers present their material and get feedback from me. If you don’t live in L.A. these sorts of connections are much more difficult to find.
So if you know people in the industry that’s my first recommendation: get notes on your script from them before going out and spending money on script consultants.
However, if you don’t have friends in the industry your mom, wife, and friends will NOT suffice in getting reliable, professional script notes and you should seriously consider paying a professional to give you feedback on your screenplay.
Whether you choose to use our script consultant service or another one, there are some things to consider when hiring a script consultant.
Research the actual person who will be reading your screenplay and make sure they have real, verifiable credits.
Many screenplay analysis services don’t tell you exactly who will be reading your screenplay. In many cases the actual readers are recent college graduates and have no real experience in the industry. Usually these recent graduates majored in film studies, so they may (or may not) be good at giving notes. Usually these services tend to be on the lower end in terms of price. So if price is a major concern, this might be an option. But in general, while these folks may be well meaning, I’m not sure how much value their notes really have since they themselves have never really done anything in the industry.