The Screenplay Readers Team

Managing Editor C.E. Tucker (CT) — is a graduate of Chapman University’s screenwriting MFA program and received his bachelor’s degree in computer science from Case Western Reserve University. Clearly, he made a life change, but in reality, he’s always been writing, he just never thought he could make a career out of it. That all changed after a brush with death reorganized his priorities. Several competition wins, produced shorts, and brief acting gigs later, he has no regrets about the decision. In his spare time, he writes essays for his blog and makes epic grilled cheese. Favorite Films & TV series: The Good, The Bad, and the Ugly; Toy Story; Lord of the Rings; Dodgeball; Parks & Recreation; Narcos; Fargo; Better Call Saul; Brooklyn 99; Zodiac. Favorite Genre: Comedy, Epics, and Horror.

Krishna Devine (KD) is a Los Angeles based writer/director/producer and published author with deep roots in film and television. She has worn many “hats” throughout her career including working as an editor on Ava DuVernay’s first film, This Is The Life, exceeding in the roles of both director of distribution operations and acquisitions coordinator at film distribution company Big Air Studios — founded by former Sony Pictures leaders — and consulting on delivery of several films including the WB distributed feature, The Nice Guys (Ryan Gosling & Russell Crowe) on behalf of Silver Pictures. Krishna is a graduate of the Art Institute of Seattle, studied screenwriting via UCLA’s extension courses and has completed comedy-writing programs at both iOWest (RIP) and Upright Citizens Brigade. Krishna is not only a script reader and consultant, she often submits her own writing for coverage and notes, so she knows what it’s like on both sides of the fence. As a long-standing member of the Producer’s Guild of America she keeps her finger on the pulse of current entertainment and industry trends. Favorite Films and TV shows: Alien, Battle Royale, It Follows, Night Crawler, Re-Animator, The Shining, Shaun of the Dead, Old Boy (South Korean version), Atlanta, Breaking Bad, The Wire, The Handmaid’s Tale, Parks and Rec, Fleabag, The Haunting of Hill House. Favorite Genres: Horror, Sci-fi, Dark Comedy, Crime/Thriller, Action/Adventure, and Indies.

Joel Fishbane (JF) is an award-winning author of fiction, non-fiction, theatre, and film. He has a MFA in Creative Writing from the University of British Columbia and his screenplays and plays honored by the BBC International Radio Playwriting Contest, the New York International Screenplay Awards, the Outstanding Screenplay Awards, the Fratti-Newman Political Playwriting Contest, and the Toronto Fringe New Play Contest. His short fiction and non-fiction has been widely published while his novel, The Thunder of Giants is available from St. Martin’s Press. He’s happy reading a wide variety of genres and styles. A grab bag of faves: Promising Young Woman, Hell and High Water, The Band’s Visit, A Very Long Engagement, Pan’s Labyrinth, Children of Men, Back to the Future, Inglorious Basterds, Moneyball, Spotlight, Angels in America, Big Mouth, Bojack Horseman, Watchmen 2019. He’s got a soft spot for all things Mission: Impossible, Shakespeare, and Sherlock Holmes. Favorite genres: Historical, bio-pic, musical, sci-fi / fantasy, screwball comedy, rom-com.

Joe Fordham (FF) studied advanced screenwriting with Sy Gomberg at UCLA. Joe began his career in the U.K. making award-winning short films, which played on BBC TV, Channel 4 TV, BAFTA/LA, and Amazon. He has worked in film editing, animation, visual effects, and creature effects in London and Los Angeles. His published writing includes two decades with Cinefex magazine, freelance journalism, and studio-licensed publishing. His screenplays have been optioned and placed (Nicholl, WriteMovies, Imagine Impact) and genres have spanned science fiction, fantasy, horror, thrillers, comedy, historical and contemporary dramas. Collaborations have included concepts developed from scratch, adaptations, and close attention to detail – a necessity for Deep-Dive script analysis. Joe is a patient listener, with an appreciation for the roots of language. Favorite films & TV: Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, The Shining, The 400 Blows, The Big Lebowski, Rosemary’s Baby, North by Northwest, Alien, Devs, Duel.

Sam Gurney (SG) holds a First Class Honors degree in Film & TV Screenwriting. He has written two independent feature films, while also having experience in script editing, coverage for UK production and distribution companies, and competition reading for BAFTA Rocliffe. Sam is on the selection committee for the BIFA-qualifying Wimbledon International Short Film Festival, with a passion for spotting and nurturing potential in emerging writers. Favorite films: The Godfather, Dr. Strangelove, Die Hard, RoboCop, Mean Girls, The Warriors, Carol, The Witch, Hereditary. Favorite TV shows: Fleabag, The Sopranos, Atlanta, Star Trek: The Next Generation, Peep Show, Adventure Time. Favorite Genres: Action, Comedy, Horror, Crime/Thriller

Brian Hibbert (BH) holds a master’s degree in Screenwriting and currently has several TV and film projects in development with horror directing duo, the Vicious Brothers (Grave Encounters, Extraterrestrial). Past writing projects have starred notable performers such as cult movie icon, James Duval (Doom Generation, Independence Day) and pop star / wonder prodigy, Ryn Weaver (Interscope Records). Favorite Movies: Suspiria, Possession, Akira, Noriko’s Dinner Table, The Doom Generation, Perfect Blue, Repo Man, Blade Runner, The Shining, Mulholland Drive. Favorite Genres: Dark Comedy, Horror, Sci-Fi/Fantasy

D. M. Le (DL) has worked as a reader for the talent and literary agencies ICM and Media Talent Group. She has an MFA in Screenwriting and teaches screenwriting and film analysis. Favorite films/shows: Spirited Away, The Royal Tenenbaums, Pan’s Labyrinth, The Lives of Others, Amelie, Eternal Sunshine of the Spotless Mind, Mad Men, Daredevil, Black Mirror, The IT Crowd. Favorite genres: fantasy, dark comedy, character drama

Terri Zinner (TZ) Terri is an award-winning independent producer and a produced film writer. She has worked on several feature films and a documentary as a writer, producer, consultant, casting assistant, and production manager. Terri is also the former Senior Vice President of Development for a major literary and talent management company that helped writers develop and prepare their scripts for the marketplace. She has been in story development for over 20 years working with various producers and production companies. She was voted as one of the top screenplay consultants. She has read for other coverage companies and contests. She teaches classes on screenplay coverage and been an invited guest speaker for several screenwriting conferences and organizations. She has provided notes and consultation on the following produced or pre-production films: American Sniper, Albert Nobbs, Kill Your Darlings, Break the Stage, the Brass Teapot, They Might Be Kennedys, Ten Thousand Saints, The Howling: Reborn, Bed & Breakfast, What Maisie Knew, Louder Than Words, Monster Party, and many more. She enjoys reading thrillers, especially psychological thrillers, horror, dramas, and arthouse scripts. Some of her favorites films and TV shows are Fargo, Jaws, The King’s Speech, A Civil Action, Ordinary People, Psycho, Rosemary’s Baby, Hush, Bird Box, anything Alfred Hitchcock, To Die For, Annie Hall, Father of the Bride, and Baby Boom. Terri likes nothing more than helping writers develop their craft.

If you’re interested in working as a script reader for Screenplay Readers, please visit our script reader job page.

Our Mission and Philosophy

The Screenplay Readers mission is to provide constructive, detailed, and insightful script critique and feedback designed to help new and established screenwriters and producers improve their material both commercially and artistically. At Screenplay Readers, we believe that good script coverage must possess four essential qualities:

1) Script coverage must be honest, even if it’s not what the writer wants to hear

We believe that without honesty — constructive and no-punches-pulled honesty — the most problematic flaws about a script can’t be pointed out. In service of that honesty, we not only give our script readers permission to be as critical as possible, we also make sure our clients always know who’s reading their screenplay, unlike nearly all other script services. Clients are free to visit this page at any time to see our script readers’ faces, names, and bios.

2) Script coverage must have actionable suggestions (AKA all killer, no filler)

We believe that without insightful, specific, actionable suggestions on how to improve the script, the feedback is of little or no use to our clients. In service of that belief and that dedication, we make it a point to never write fluff, self-help, or lean on motivational or inspirational tropes when critiquing our clients’ work, nor claim to be “script doctors” or “script gurus,” who tend to be more interested in getting you to buy into their no-name script contests or other shady services that promise to “boost your Hollywood career.”

3) Script coverage turnaround must be quick

We’re writers too, so we know that if it takes too long to receive coverage or notes, not only is a writer’s precious time lost, but also creative energy and momentum. We make sure our work is not only high quality and professional, but that you get your notes back as quickly as possible.

4) A script coverage service must keep its customers’ data 100% private

Keeping your script, your ideas, and your data 100% secure and private is crucial. That’s why our readers and staff are vetted thoroughly and contractually bound to maintain your intellectual property and data privacy at all times. We don’t scrape your personal info or sell your data (or give it away or share it) with anyone. Period. Any material and personal info you send us as part of your service stays secure and private and 100% yours. As it should.

Just a few of our clients…

Various studio logos - Warner Bros, Hulu, Paramount, etc.

1492 Pictures (Chris Columbus), Bad Robot (JJ Abrams), Biograph, Blue Cat, Buzzfeed, CAA, Creative Artists Agency (CAA), Deuce Three (Curtis Hanson), Dimension, Disney, Downtown LA Film Festival, Film Independent, Final Draft, Fox Studios Bonafide Productions, Graham-Rozenweig Films, Heroes and Villains Entertainment, Hulu, Innovative Artists Agency, International Creative Management (ICM), Lifetime, London Screenwriter’s Festival, Mark Gordon Company, Mashable, MGM, Miramax, Nasser Entertainment, New Line, Page International Screenwriting Awards, Paramount, Red Rover Films, Red Varden Studios, Robert Evans Company, Roger Corman, Samuel Goldwyn Company, Silver Lake Film Festival, Silver Pictures, Slamdance, Source Code, Spec Scout, Steve Guttenberg, Sundance, SyFy, The Firm, The Gersh Agency, Touchstone Television, Tribeca Film Festival, Universal, Vin Di Bona Productions, Walden Media, Warner Bros. Studios, William Morris, Winkler Films, Yari Film Group.

We support working writers and filmmakers

Screenplay Readers is proud to support the Writers Guild of America and its brotherhood and sisterhood of union writers, leadership, and staff working to keep the art and industry of screen and television writing vibrant and strong. We also wholeheartedly support SAG-AFTRA, IATSE, the Teamsters, and the effort to keep film jobs in Los Angeles and California by organizations such as FilmLA.

Check out our list of friends and recommended screenwriting resources here.

Screenplay Readers