A great screenplay may not be rejected on the basis of a few typos or bad formatting, but it’s always best to avoid anything that can make you look unprofessional.
I go through your screenplay, line-by-line with a fine-toothed comb and magnifying glass to find and edit any grammatical/spelling typos and errors, making sure your screenplay is up to industry standard.
I also make sure your script is professionally formatted, as great programs Final Draft or Movie Magic still can’t tell you if your montage is reading properly on the page.
You can send in a screenplay up to 120 pages in length. (For scripts over 120, please contact me first letting us know your page count).
And if you want a Shorts, TV script, or Treatment proofread please contact me with their page count.
A Line Edit service involves editing your dialogue and action description, to make sure your screenplay is clean and reads as fast as possible. Think of it like your screenplay needs to lose some weight, and once I’m done it’s a lean, mean, screenplay machine!
I go through your screenplay line-by-line, actually editing your dialogue and description directly on the page using the original text file (preferably in Final Draft).
NOTE: this is not a script polish or a rewrite of your existing work, just an edit of the dialogue and description on the page to make them as tight and readable as possible.
Press the button below to order the service.
Sticky Notes service involves making extensive scene-by-scene comments directly onto the page of your PDF screenplay. This is done using Adobe Acrobats note feature and will give you a better insight into what is working and what is not.
Feedback is given not only on how/if individual scenes are working, but also on the concept, story, structure, characters, dialogue, and scene as a whole. I will also make comments on your writing style formatting and errors where applicable. See image below for an example:
This service differs from a Line Edit in that story, character, scene, edit suggestions are made, but with no dialogue or description edits actually done. These are ON THE PAGE notes only.
You can send in a screenplay up to 120 pages in length. (For scripts over that, please contact me first to let me know your count, though a few extra pages isn’t a big deal).
Order below if you’re ready:
5 pages of extensive feedback on your script and suggestions on how to improve its story, structure, characters, formatting and dialogue which get your screenplay in the best possible shape it can be. Think of me like a trainer, but for screenplays.
Coverage can be provided either with a minimum of five pages of notes or on-page sticky notes (PDF only). Read more about that here.
My script analysis gets right to the core of what’s working in your screenplay and, most importantly, how I can help you fix what’s not working. If you’re all in and ready to go, you can order by clicking the lovely button below this post.
Now the coverage part can vary depending on how deep down the rabbit hole you want to go. On average I write a minimum of 5 pages of notes. Any more than that we could work something out. Note that coverage can also be sometimes called analysis or story editing, just to not cause any confusion.
Read an example of my coverage on my portfolio page.
I still consider myself an amateur, so don’t think this is coming from some place of superiority. But I’ve helped lots of screenwriters with less writing experience than me and I see a lot of the same mistakes crop up time and time again.
So seeing that lists rule, here’s my personal list of the top ten mistakes made by amateur screenwriters (in no particular order, other than # 1):
1). Bad Formatting
I put this very first because it’s the one I see the most and it’s SO important to have proper formatting if you’re going to submit to a production company or a contest. My most popular screenwriting service is editing/formatting fixes for a reason. No reader worth their salt will bother going past the first 5 pages if the formatting is crap. With the availability of free screenwriting programs such as Trelby or Celtx, there’s really no excuse. I’ve used both of the aforementioned programs and prefer Trelby for it’s simplicity and compatibility with the industry standard Final Draft.
2). Writing For A Big Budget
Hey I’m not telling you to NOT write that 200 page, 500 million blockbuster with Will Smith and Brad Pitt fighting off aliens from the planet Oprah. But the odds of that being sold over a small, 90-page, indie-minded script that could be made for under a million are slimmer than Eminem circa 1999. As a new screenwriter, doesn’t it make more sense to write something with few characters and locations thus making it more appealing to a production company? Exactly. I mean it worked out for that guy that wrote a little film about dogs and a reservoir ( 😛 ). So there’s no need to create more roadblocks than there already are to your screenwriting success.
3). Not Asking For Feedback
In order to know you’re on the “write” track (see what I did there?) you need to get feedback on your writing. Whether it’s your mom or a professional service of some sort it helps to get notes to know what’s working and what’s not when it’s time to tackle the dreaded re-write. Just be sure to wait until you’re finished a first draft before you start shelling out the bling if you decide to go the pro service route. Which leads me to my next point…
4). Asking For Feedback Too Soon
You’d be surprised how many writers have contacted me with messages like “I just wrote the first 5 pages of my script can you give me notes?” As much as I’d like to take some poor sap’s money I have this annoying little thing called a conscience. So I usually reply telling them to at least write a first draft before paying someone for notes.
5). Not Learning The Craft
It amazes me how so many new writers just start writing a screenplay without knowing anything about it. While I admire their gumption (finally found a reason to use that word!) they should at least do some research before writing FADE IN. When I finally made the decision a few years ago to take screenwriting seriously, I went online and read articles, joined forums, listened to podcasts and eventually took the writing program at Vancouver Film School. And it turned out I already knew a lot just from things I learned on my own. While some of my fellow classmates hadn’t even read a screenplay before! I’m not saying you need to go into debt like I did to learn the craft, but a least read a couple screenplays before you start.
6). Unoriginal Stories
Coming up with new and original screenplay ideas is hard these days. It seems like everything’s been done. And it’s not like Hollywood is bursting with new ideas either. But that doesn’t mean you should be lazy with your story. You just have to take something that’s already been done and put a new spin on it, like what Evan Daugherty did with Snow White And The Huntsman. Sure the movie didn’t turn out to change the face of cinema, but it did result in Daugherty’s scoring a 3.2 million payday. It could also be worth your time to check out public domain stories that could be adapted for the big (or small) screen.
7). Cliched & On-The-Nose Dialog
There’s no way around it: your dialog has to be exceptional to make any kind of impression these days. So it’s surprising to still be reading scripts with bland and cliched dialog. Here’s a tip: say it out loud after you write it. If it sounds bad, it’s ’cause it is. Or better yet, get some friends together for a table read. And check out Scott Meyers from Go Into The Story’s awesome “Definitive List Of Cliched Dialog” post. It’s a great read. And if you’re unsure what on-the-nose dialog is, then you’re probably guilty of it.
8). Thinking Their Script Is The Best Thing Since Sliced Bread
Okay maybe your “Chinatown” meets “The Matrix” screenplay will start a balls-out bidding war, or maybe it’s a pile of crap. It’s hard to not toot your own horn when it comes to your own writing, I’m totally guilty of it myself. But I can’t tell you how many times I’ve seen people post on a forum saying their script is so amazing and “there’s no way this won’t sell” only to read it to see they can’t even format properly (Can you tell I’m a formatting Nazi?). Being objective about your own work ain’t easy, which is why getting feedback is so important.
9). Breaking The Rules & Not Following Structure
This kind of goes back to point #5, but structure is it’s own beast. I’m not a fan of rules myself but structure was the BIGGEST thing I learned in film school that completely changed (and drastically improved) my writing. The basic three-act structure of a screenplay isn’t hard to learn; it’s a tried and true method to writing one for a reason. Sure you might hear other writers say that adhering too strictly to it is “ruining screenwriting” and blah, blah, but you must learn the rules before you can break them.
10). More Interested In Selling Than Writing
The number one question I see asked by amateurs on forums and groups is “How do I sell my screenplay?” And I can bet more than half of these people haven’t even started writing a thing, yet they’re already asking how they can make money off it. It’s like they think screenwriting is some get rich quick scheme where you simply write it, sell it, then BOOM, you’re a millionaire. This is the wrong attitude right out of the gate. Yes, screenwriting is absolutely a business, but if money is your ultimate goal then you’ve already set yourself up for a huge disappointment.
Here’s hoping I haven’t totally crushed your dreams.