Script coverage services from Screenplay Readers have helped improve over 17,000 screenplays, shorts, and tv pilots since 1999
You only get one chance to wow an agent or producer with your script. Make it count.
Our script coverage service provides you with of 6-8 pages of expert critical feedback on your screenplay, consisting of specific, actionable suggestions and honest, constructive criticism. So think of it as a “dry run” submission to an agent or producer or film investor that gives you a good idea of how one might react to your script, so you can make it as tight as it can be… before you send it out.
Our script readers have worked with some of the film industry’s biggest studios and creatives
Our script readers have worked in development for major studios and producers like JJ Abrams, Warner Bros., Disney, Universal, CAA, Sundance, ICM, SyFy, Ridley Scott, Curtis Hanson, and more. And our real-world script development experience and our fierce dedication to the screenwriter’s craft are what have made Screenplay Readers the film industry’s #1 choice for script coverage for over 20 years.
Each of our Script Coverages includes:
Our script notes make up the bulk of your coverage, and they're brimming with specific, insightful critique and suggestions on how to improve the work. We write our script analysis as straightforward and as objective as possible because it's not only screenwriters that rely on us for constructive honesty – it's also agents and producers. Our smart clients use that honesty to their advantage. Our dumb ones are eaten by bears.
Script Reader Scoresheet
Our reader numerically scores your script in 22 key categories, such as character, dialogue, plot, theme, conflict, tension, presentation, and more. These numerical scores, like the rest of your coverage, are for your eyes only.
One of 3 possible recommendations: PASS (the screenplay needs a bit more work), CONSIDER (the screenplay still needs some tweaking, but may be considered by an agency or studio), or RECOMMEND. Don’t feel bad if you get a PASS. Since we opened our service in 1999, right around 95% of screenplays have received a PASS, while 4% received a CONSIDER, and only 1% or less received a RECOMMEND.
Your screenplay, summed up in one or two sentences. Because if your logline ends up much longer than that, your screenplay might be too “soft concept” and more difficult to sell, market, or land an agent or manager with. (Or, it might be perfect for Sundance.)
Your story, squeezed down to the essentials. So this section is a sort of bird’s-eye view that helps you see how well a stranger would understand your key plot points and throughlines. Because if a script reader misses an important beat, it’s likely that an agent or producer will too.
The Bechdel Test
An informal "litmus test" of a script's female representation, because more and more "gatekeepers" in Hollywood are factoring in a project's gender diversity when considering it for production.
Our reader's quick take on how well your script incorporates characters from a variety of different backgrounds, perspectives, and life experiences. Because across the board, the film and tv industry is demanding more diversity in what they produce, so we'd be remiss in not including it for our more savvy clients. But don't worry if you think your script might not be all that diverse. Some of the best movies in history weren't either. Diversity/Bechdel scores have zero bearing on your overall critique.
FREE Reader Follow-Up Questions
Our script coverage service allows you to ask follow-up questions of each of your readers, after receiving your coverage. So you can use them to clarify points the reader made in your coverage, or dive deeper into their suggestions for specific fixes, or run an idea or two by them. OR, tell us a joke, or smuggle us some winning lotto numbers.
(And script coverage isn’t all we do…)
How to order:
Add whatever service you like to your cart.
Check out with your credit card, debit card, Paypal, Apple Pay, or Bitcoin.
Upload your screenplay with our easy upload form. Once we’re finished, we email you your script coverage or notes.
Why Screenplay Readers Has Been #1 Since 1999
Years in business
20 (Founded in 1999)
The Runners Up
2 months – 2 years on average
Quality of Readers
A full staff of well-paid, experienced script analysts who are screenwriters themselves. Each is vetted for at least 5 years development, screenplay analysis, and/or film industry experience and must have razor-sharp critical writing chops. (Some of our readers have been with us for over 10 years.) And our readers are all in-house. That is, we don’t farm our work out to a third party, like many services are now doing.
Newbies or even college interns who tend to have little screenwriting and development experience and are happy to work for free or extremely low pay.
Quality of Coverage
Actionable notes, constructive suggestions, and honest critique
Thin on details and suggestions but big on offering vague screenwriting advice lifted directly from books
$130 for features, $85 for works under 40 pages
$60 – $490 and up
Ask follow-up questions of your reader?
~ 24-72 hours (Rush service available too!)
From 72 hours to 4 weeks
Yes. Check out the names, pictures, and biographies of our script readers, including their favorite films and genres.
No. Oddly, you’re not told who’s reading your script or given any details about that reader’s qualifications or experience. We think that should be a given.
Improving your script by giving it a coverage “dry run” so you can fix weak spots and have a better chance of selling it or landing an agent or manager.
Promising to put your script in front of their “bigwig Hollywood contacts” if it “scores high enough,” and/or selling you other silly things like webinars and tired e-courses taught by people you’ve never heard of.
We do script feedback for screenwriters. That’s it. No script contests. No Hollywood b.s. No false promises.
We just read scripts and provide suggestions on how to improve them. That’s it. Because we don’t do black lists or brown lists or purple lists or ridiculous, arbitrary “Film Industry Scores” and we don’t try to bait you into buying cheeseball training courses or webinars, or entice you into entering script contests or anything else that nobody in the actual film industry pays attention to or cares about.
[THE HARD TRUTH: If you’ve won the Nicholl or Austin, it’s possible that producers, reps, and showrunners may be impressed. But any other script contest? Not so much.]
Who Uses Our Script Coverage Service
Screenwriters who use our script coverage to improve their scripts prior to sending to one of the few legitimate script contests (e.g. Nicholl Fellowship & Austin) which several of our clients have been accepted to as finalists and quarter-finalists)
Screenwriters who are about to send their screenplays to agents, name talent, or producers and who rely on our readers to provide improvements, as well as point out critical “soft spots”
Major producers who send us screenplays to cover find out if they’re worth pursuing, either because their own staff is overwhelmed or because they need to get feedback from outside the “echo chamber”
Agents and managers who get coverage on a script or two when looking for that hot new writer or project, and who may not have the time to add another “weekend read” to the pile
Screenwriters and television writers who need fast, hard-hitting feedback before pitching at major studios and production companies
Producers who use our script coverage to help determine which films to finance or to give their script that “one last look” prior to sending it out to name talent when putting together a package
Writers groups and screenwriting festivals who hire us to screen entries and/or judge their finalists
Two Questions We’re Asked All The Time…
Q: “How qualified are the script readers reading my screenplay?”
A: The script readers on our payroll come from all sorts of film industry backgrounds: development, production, post-production – you name it. And each reader is brought aboard the Screenplay Readers team only if they have 5+ years of comprehensive experience and a track record of helping improve screenplays. Their writing style and critical “voice” is vetted for several key traits: fastidiousness, mastery of syntax, grammar, and vocabulary, and the ability to synthesize solutions and suggestions. So as a result, only 1 out of every 300 people who apply are ever invited to join our team. Feel free to check out our reader roster for their photos, bios, and favorite genres and films.
Q: “What if I don’t agree with the script coverage?”
We’re writers too, so we know what it feels like to receive criticism on our work, and believe me, it’s not always fun. But it’s our view that without consistent, critical feedback on our screenwriting, from a variety of sources, we don’t get very far as screenwriters. So use our script notes and coverage to guide your next draft (or producers, use it to nudge that screenwriter you’re working with) or cherry pick the notes you think will help your project the most.
… and Two Big Script Coverage Myths We Regularly Debunk:
Myth #1: “A screenwriter must get script coverage in order to get her script sold or represented”
You absolutely do not need any script coverage service to get your script sold or represented. But in our opinion, without honest feedback, from any source, screenwriters would never get better at their craft and producers would spend their careers taking on bad projects that can’t seem to find an audience.
Myth #2: “You need a script coverage service in order to improve your script”
Nope. But every writer does need feedback of some sort. We encourage prospective clients to get as much free feedback as possible before working with us. So if you’re here and you haven’t already tried getting free feedback from writers groups or colleagues, do that first and then come back to us! That said, if you’ve exhausted all those free alternatives, or don’t have access to them, our readers can help.