It's difficult to objectively judge our own work. So we pass the script around or pay for coverage or both. Not a bad thing, but newbies often do that prematurely, without the rewriting they need to make the script as good as they can make it before they send it out. We're too close to it to see what more we should be doing.
This is the first in a series of posts on being your own reader, providing your own coverage.
This first article comprises excerpts from a checklist that SpecScout uses, both on the scripts sent out by agents that The Scoggins Report references, as well as those submitted for paid coverage. Check your script against this list and see if it measures up.
The information below is as it appeared on the Spec Scout site on Oct. 1, 2014.
How Does the Spec Scout Score Work?
The Spec Scout Score is a single number on a 100 point scale that represents the quality of a screenplay based on the ratings of multiple individual readers in multiple individual categories. The higher the score, the better the screenplay.
To come up with the score, at least three readers provide an overall rating on the familiar "Pass / Consider / Recommend" spectrum as well as numerical scores for ten individual attributes discussed below. Our algorithm calculates the readers scores into a single number on a 1-to-100 scale.
Character
The protagonist's development is central to a script's success, and the main character(s) undergo the most analysis at Spec Scout. Readers need to understand the protagonist's emotional motivation and desires before they can invest in his/her journey, and nearly every scene should present information that's relevant in some way to the protagonist's arc.
Questions We Consider in Character
• Is the protagonist clearly identified? Or if it's a two-hander, are both? If it's an ensemble piece, consider each of the below questions for each primary character.
• Does she/he have a clear back‐story?
• Does she/he have a clear goal or "want"? Does she/he take an active approach to her/his goal?
• Does she/he have a clear weakness, fear, vulnerability or internal need that is unique from his/her goal? Are there moments where the protagonist is particularly vulnerable or giving that allow us to empathize with or relate to her/him?
• Does she/he ultimately undergo a change (learn a lesson, address a weakness) that ultimately completes her/his arc?
• Does every supporting character play a valuable role in challenging, stimulating or aiding the protagonist along their journey and/or growth?
• Do the supporting characters effectively fulfill traditional or archetypical roles (e.g., Attractor / Ally / Mentor / Messenger / Antagonist / etc.)? If there is an antagonist, does she/he provide an appropriate foil to our protagonist in terms of values, strengths, motivations or ideology?
• Are supporting characters colorful and well‐differentiated from each other and from the protagonist?
• Is the number of characters appropriate for the narrative or are there so many that the focal point becomes confusing?
• Are characters developed in the following ways? Physically/Self: The character has an appearance, physical attributes, manner, etc. Mentally/Psychologically: The character has personality, drive, dreams, goals, etc. Socially/Sociologically: The character interacts with the world, with his or her home life or friends, with his or her job or co-workers, etc.
GOOD
• The screenplay establishes empathy, a connection between the Protagonist and the audience, during his or her initial introduction no more than 10 pages into the script.
• Something is in jeopardy. Within the first 20 pages, the Protagonist has an easily established dramatic want or goal and the audience wants the Protagonist to succeed in accomplishing it.
• The Protagonist takes direct action against internal and external conflict consistently throughout the script in order to reach his or her goal, thus driving the plot.
• The Protagonist has a clear emotional need that is realized by the end of the script.
• The Protagonist makes choices instead of just reacting to things that happen to him or her.
• The Antagonist and supporting characters do not overshadow the Protagonist. While other characters may have their own moments to shine, the story consistently revolves around the Protagonist. The supporting characters’ actions always affect the Protagonist, even if only illuminating him/her by by contrast.
• The supporting characters are developed and are not simply plot devices. They seem as real as the Protagonist and have their own goals and purposes, no matter how small.
• Due to opposing forces in pursuing a goal, the principal characters transform and have easily discernible arcs. They learn lessons and grow as people. The arcs and characters are believable throughout.
Conflict
We think of "conflict" as the engine that drives the story, and as such, the central conflict should be universal and permeate the entire narrative. There should also be minor conflicts, which further complicate the Protagonist's struggle. Even minor characters and antagonists generally have conflicts, goals, and dilemmas that often counteract or support the protagonist. less»
Questions We Consider in Conflict
• Is the main conflict sufficient to sustain the story and keep the protagonist challenged throughout?
• Define the main conflict. Remind us what is at stake.
• Does the conflict relate to the human condition? Can at least a group of people, if not large audiences, agree and relate because they often struggle with some of the same internal or external conflicts addressed?
• Are the stakes clearly established early on? Are they believable to the conflict?
• Does the conflict directly relate to what we know about the character?
• Does the conflict escalate as we get closer to the climax?
• Does the main source of conflict change at multiple points throughout the story or stay consistent?
• Do the subplots also have conflict?
• Is there both external conflict (events) and internal conflict (feelings)?
• Does the conflict progress as the pages pile on, or are there times when the wheels seem to spin in place or stop spinning altogether?
• In addition to the conflict that threatens the characters from the outside, does conflict arise among characters or do they always agree on everything?
• Is everything addressed in the climax?
GOOD
• Universal conflict is built directly into the premise and can be related to by all viewers on a primal level, independent of time period or culture.
• The obstacle the Protagonist must overcome provides him or her with a sufficient challenge.
• There is sufficient internal and external conflict to keep the major characters under duress.
• The conflict causes the reader to experience tension, anticipation, and suspense.
• The reader experiences pleasure when the tension caused by the conflict is released.
• The script features multiple levels of conflict.
• The level of conflict builds over time.
• The main conflict is experienced directly by the Protagonist.
Craft
In this section, readers assess the writing itself, as a whole. In addition to general wordsmithery, this is where readers may examine the effectiveness of action description, character descriptions, any overuse of camera direction, "unfilmables," and any cases of grammatical errors, typos, or improper formatting.
Questions We Consider in Craft
The craft section answers two primary questions:
1. Does the writer's use of the English language help or hurt the story being told? Does word choice and sentence structure create vivid pictures of the imaginary world?
2. Is the script formatted according to industry standard conventions?
We also consider the following:
• Are there spelling and grammatical issues? Are sentences grammatically correct? Is there effective sentence structure and clear syntax? Are there typos and spelling errors? Are words misused? (Minor issues, like the omission of commas, may not be an issue.)
• Is the writing clear, concise, and descriptive? Or is the writing confusing, long‐winded, and insufficient in its detail?
• Is vivid description used to introduce principal characters, create memorable visuals, and clearly establish placement of characters geographically? Is descriptive language used to generate atmosphere, convey imagery, and detail interesting or exciting movements and actions? In general, is the quality of writing masterful, impressive, and elevated?
• Is there unnecessary or inappropriate detail? Are camera angles used excessively? Is there actor direction or an excessive amount of line‐readings/parentheticals in dialogue? Are there musical cues or suggestions of song choice? (Minimal use of camera angles can be okay, so long as its not distracting or excessive.)
• Is proper formatting being used? Are the characters capitalized when introduced with ages? Do the margins appear appropriate? Is the script written in screenwriting software or, if not, is Courier 12pt font being used? Are slug lines used accordingly? Are action/description paragraphs under seven lines?
• Can everything written in description be shown on screen? Or does the action description contain too many "unfilmables" or omniscient information (e.g. thoughts, state of mind, etc.)? (Minimal use of omniscient information is used by professional writers and can be okay, so long as its not distracting, lazy, or unaware.)
• The script is properly formatted as an industry standard screenplay.
• The script falls into the 88–125 page length without feeling crammed or drawn-out. Scenes are not obviously cut or added to fit within this page length.
• Action paragraphs are grammatically well written, composed of 3–4 lines, allowing the eyes to flow easily across the page. Sentence fragments are acceptable.
• The action/description never tells the director how to film.
• The script only contains visuals that can be shown on screen. The action paragraphs should not be written like a novel describing emotion and internal feeling.
• Parentheticals are used sparingly, only in cases where tone would not be obvious (Ex: sarcasm or sotto) or to show a character's movement from one thought to the next (Ex: off his or her look or beat) within the dialogue.
• There is a clear tone that is consistent throughout and never wavers or changes without precedent.
• The story makes logical sense but is not predictable.
• The script contains few or no typos. Any errors are minor and easy to fix.
• The screenplay is easy to follow and does not require multiple reads to understand; yet it creates the desire for multiple reads in order to enjoy it again and study details.
• Written in industry standard font (i.e., 12 Point Courier New).
• Whenever a speaking character is introduced, the name of that character is written in all capital letters.
• Character names for lines of dialogue are always written in all caps.
• Appropriate abbreviations—such as INT. for Interior and EXT. for Exterior—are always properly used.
• Slug lines (scene headings) are consistent—the same setting isn’t referred to by five different names. They are also as short as possible without losing content, and are never longer than one line. In many situations, it is okay to leave out the time of day or Int./Ext.
Dialogue
Though film is a visual medium, dialogue provides crucial textural reality and plays an important role in connecting the audience to the on-screen characters. less»
Questions We Consider in Dialogue
• Is dialogue used to differentiate and strengthen each character's individuality? Do all the characters sound real and appropriate for their location, time period or background?
• What are the unique personalities as expressed through their dialogue? Does each principal character have a distinct disposition, ethos, or point of view as expressed in dialogue? Are there twangs, brogues, jargon, sayings, manners of speech, or demeanors that are used to make characters uniquely memorable?
• Is each character’s voice consistent throughout the story?
• Is dialogue on‐the‐nose and platitudinal? Do characters state the obvious or openly state their feelings? Do they say everything they're thinking or describe things as they happen? Do they provide more information than is realistic for the situation? Do characters speak economically or is dialogue overwritten?
• OR is dialogue nuanced? Does it contain subtext? Are there layers of meaning within the lines? Could characters be saying one thing and thinking, planning, or meaning something different? Are characters' speech patterns affected by circumstances in each scene?
GOOD
• Principal characters have distinct speech patterns and don't sound alike. If you were to take a line of dialogue and cover up the speaker's name, you would have a good chance of discerning the speaker’s identity.
• Dialogue adds to the characters and story without explaining what's going on or telling what's happened or is about to happen. No on-the-nose dialogue.
• The characters always use subtext, never overtly stating what they mean or feel. Such states should be obvious to the audience based on the strength of the plot.
• The dialogue is believable, with character interactions occurring at appropriate moments.
• The dialogue flows, with each interaction leading logically into the other. No lines seem out of place.
• The dialogue consistently and accurately reflects the character's personality.
• The dialogue reflects the time period and subculture in which the story takes place.
• The dialogue is memorable. The audience will recall specific lines and tell their friends about them.
• The dialogue has a certain beat and uses alliteration and assonance to make conversations sound great, even to a viewer who speaks a different language.
• The action and dialogue balance each other out into a smooth, coherent read without stalling the screenplay.
• The dialogue is not expository. In many scripts, especially ones with complex stories, it is easy to let the characters get lost in long, uninteresting explanations of major story points. This is neither interesting nor dramatic.
• There is not unnecessary narration. Voice-overs are used only to “brighten the picture,” not to present plot points. If voice-overs are taken out, the audience would still be able to tell what’s going on. On occasion, voice-overs can be used to blend one scene to the next. These types of voice-overs save the audience from unnecessary scenes rather than repeating or announcing information.
LOGIC
A good story can be grounded in the principles that govern our reality or it can establish an entirely new set of rules to which the characters and events adhere. In this section, our readers assess how consistently the script applies its own rules and whether there are any gaping plot holes. less»
It doesn’t matter if “the world” or “mythology” is fantastical or reality-based, so long as the screenplay follows its own logic. That means all questions posed are addressed, strange or fantastical phenomena are explained, and characters aren’t two places at once, nor do they act on information they don’t have. If anything is unclear or contradictory, it’s worth mentioning in the Logic section. Successful movies often have holes in logic or coincidences, but the movies that stand the test of time tend not to.
Questions We Consider in Logic
• Were there any plot holes?
• Did points lack clarity?
• Are there any unanswered questions?
• Any inconsistencies or lack of continuity?
• Any contradictions of information stated earlier?
• Any false or made‐up logic?
• For scripts with Fantasy, Science Fiction or Supernatural elements, does the "world logic" or scientific logic make sense? Are the established rules followed consistently or broken without reasoning? Do the rules of the world make sense together or contradict each other? Are there aspects of the plot that still seem impossible because of partial or incomplete explanation? Any completely unbelievable moments, conclusions, or events not supported within the world?
Originality
No screenplay is completely original, obviously, but every script should feel fresh and contribute something original to its genre. "Formulaic" need not mean "clichéd." Even if a concept has been done 100 times before, it may be done again as long as the idea is richly presented and there's a reason for the perspective.
Questions We Consider in Originality
In addition to the premise, our readers also consider the individual scenes, characters and structure.
• Is the premise original? Is the combination of characters and settings inherently novel or interesting? Does the script pose any interesting questions? Does the script contribute any new perspectives or share a unique world, situation, life, culture, or science?
• Does the script make any fresh contributions to its genre? If not entirely original, does the script present a unique perspective or "take" on a commonly explored theme, plot, or character type? Is the premise a unique merging of ideas? Are there any events which are unique to the genre?
• Are themes, plots, and characters reminiscent of previously made films? If so, which elements are derivative? From which films do they borrow? What original contributions are made? How does this script differentiate itself from similar films? Are events in the story predictable?
GOOD
• While the core concept may be thought of as a combination of two films (e.g., The Godfather meets Terminator), it has a unique hook—something we have not seen before.
• The core concept is something that has been seen before (e.g., prison break or zombie invasion) but done better here.
• Core concepts that generally don't go together are made to work in this instance, such as science fiction and western.
• The script flips a genre in a fresh way, such as a female Superman or a male Mary Poppins.
• Established conventions are followed yet something new is added, or a standard convention is twisted in a new way.
• Both the premise as a whole and individual sequences offer something new.
• New characters are brought into roles not thought of before.
Pacing
Like the logic category, our readers assess each script's pacing on its own terms. Regardless of whether a story moves quickly or slowly, a well-paced screenplay times its major events so that there is a fair balance of tension and release.
Questions We Consider in Pacing
• Do parts of the script drag, and if so, where and why?
• Does every scene organically lead out of the previous one and into the following?
• Are there scenes that do not drive the story, or extended periods where nothing happens? Are scenes simply too long?
• Are scenes the appropriate length for their purpose? Is an appropriate amount of time spent on each conflict/storyline? Are some scenes too long or too short? Do characters spend too much with non‐critical storylines? Did certain moments feel rushed?
• Is there a proper balance between action and dialogue?
• Mystery vs. Discovery: Is there enough mystery maintained at all times ‐ either about what happened in the past or what is happening in the moment ‐ to keep the reader invested? Is information learned later that addresses elements that were previously unknown? Are there questions introduced that are later answered?
• Tension vs. Release: Tension should exist story‐wide as well as on a scene‐by‐scene basis. In each scene, does the character want something that she/he is not getting? Is the tension balanced periodically with moments of release (e.g., comedic relief, change in circumstances, success)?
• Causality: Does each scene depend on the scene that came before it? Is the connective logic that links scenes "this because this," or merely "this, then this?" Was each event properly supported by previous development such that it made sense when it happened?
• Other Types of Tension: Is anticipation or worry created about what could happen in the future (suspense)? Are there moments where we know things the protagonist doesn't (Dramatic irony)? Do events occur which were unexpected or shocking (surprise)? Were those surprises still supported by the reality of prior development, or were they un‐founded or forced?
GOOD
• Everything is timed perfectly, with events staggered so that just enough time passes for tension to build, but not so much time that the story drags while waiting for the next major event to occur.
• The story is fascinating throughout, with the audience always wanting to know what happens next.
• Every character is on screen for just the right amount of time, appearing with just the right amount of frequency and for just the right duration.
• The most important events in the lives of the characters appear on screen.
Premise
In this section, our readers assess the major characters and events with a focus on evaluating the central concept of the screenplay itself, as opposed to the execution of the idea. In the coverage, the readers summarize the core concept and opine as to its potential for providing conflict and growth, not its commercial viability. less»
Questions We Consider in Premise
• Can the underlying core concept be discerned and summarized quickly?
• Is the core concept an inherently interesting idea? Are tension and conflict built into the premise? Does it make a good pitch?
• Is the premise explored to its full potential?
•Does the core concept provide a rich foundation for interesting plot progression and character decisions?
• Are there any themes that stem from the premise? Is there a message? Does the script establish any valuable themes or messages that provide additional layers of meaning? Does the script issue any kind of commentary, have a thesis, or present a "moral of the story?" Is there thematic cohesion (i.e., is the theme introduced and revisited through examples, whether textual or subtextual)? Are there deeper levels of meaning, symbolism, or overarching allegory? Does the script prove a point or highlight any underlying truths about the situation or condition?
• Does the script deliver on the expectations the premise creates?
• Is the “world” or mythology clear and consistent, and does it help to enrich situations and relationships throughout? Is there a good match between the core concept and the world or setting?
GOOD
• The core concept - the underlying theme, characters, conflict, goals and setting that sum up the premise - can be discerned and concisely summarized in an engaging logline.
• Every scene revolves almost exclusively around the core concept. While there are additional subplots, they work to either counterpoint or reflect the central premise or characters.
• Universal conflict is built directly into the premise and is relatable by all viewers on a primal level, independent of time period or culture.
• It is an inherently compelling idea that builds a strong foundation for tense or interesting situations and decisions.
• It is a unique and engaging idea for a movie.
Structure
We think of good structure as a plot that presents one coherent and complete story. In other words, does the beginning lead into a middle that leads to a satisfying conclusion? In addition to the story's overall construction, our readers also assess the screenplay's deeper, internal structural elements.
Questions We Consider in Structure
•Is there a beginning, middle, and end that flow smoothly from one to the next? Does the narrative form one coherent whole?
• Regardless of the framework the screenwriter has chosen, do the existing structural beats function effectively (Pre‐Existing Life, Call to Action, Act One Decision, Midpoint, Climax, Resolution, Test of Character Change etc.)? Do these beats appear at the proper times, in the order that is most effective? Or do certain beats seem to happen prematurely, without prior development, while others seem to happen too late?
• Are there any other notable structural devices? Do they function effectively? (e.g. Flashbacks, Flashforwards, Cutaways, Non‐Linear Timeline, Plot Twists, Frame Story, Talking Heads, Montage, Dream Sequence, Voiceovers, Reversals, Contingencies, Vignette Structure, Ensemble Structure, Deus Ex Machina, "Ticking Clocks" etc)
• Does every scene move the story forward in terms of the plot progression, character arc, or both? Or are there scenes that could be removed and go unnoticed? Are there scenes that could be removed and their absence would not affect the logic of the narrative?
• Are there discernible sub‐plots? What are they? Are they intrinsically related and relevant to the "throughline" or do they advance an overarching theme?
• Do story details that are "planted" in the beginning "pay off" later on by aiding a resolution, demonstrating a comparison, servicing a joke, or reminding us of an important truth?
• In general, are the most important moments shown and not told? Are scenes with the highest tension showcased? Or do key moments happen off screen?
.• Is there an "engine" worth mentioning that drives the plot forward? (competition, task that needs to be completed, time constraint, performance, key event, test, battle etc). If so, does it function effectively to anchor the relevance of each event leading up to it?
THREE ACT STRUCTURE
There are many different approaches a writer may take to structuring a screenplay. Some work in acts, others prefer sequences or steps, and still others use more experimental frameworks like vignettes, multiple storylines, or non-linear progression. The most commonly used structural framework is the Three-Act Structure, but our readers are trained not to score alternative frameworks poorly just because they're unconventional.
Regardless of the path a writer chooses, the most important thing in terms of the story's structure is that the Protagonist(s)' struggle is constant throughout and that the stakes are continually raised. It's important that the beginning engages the reader's interest and leads to a middle that feels related to what came before it, which in turn resolves in a conclusion that connects with what came before.
SUBPLOTS
A good script should also contain subplots, a series of integral parts that help maintain a story's structure. Good subplots are identifiable and interesting enough to hold up on their own. Every scene that is unrelated to the main plot should be part of a subplot.
• Do these sequences have their own beginning, middle, and end?
• Do the subplots have obstacles and reversals?
• Do the subplots add or detract from the main plot?
• How do the subplots relate to the main goal and are they intertwined with the main plot or characters?
• Is there a point and ultimate payoff for the subplot? Are they resolved in a satisfactory manner?
GOOD
• The Screenplay easily fits into a classic structure as outlined by Christopher Vogler, Syd Field, Blake Snyder, Robert Mckee, Joseph Campbell and so on.
Note: There are plenty of examples of movies that don't exactly conform to the above frameworks. Our rubric cites plenty of counter-examples, such as "Psycho," which broke conventions by switching the protagonist in the second act, and "Crash," which told a series of generally unconnected stories that were connected by theme. If a screenplay has a unique structure that does not conform to convention, it can still receive a high score in this category.
Tone
Like logic and pacing, what our readers look for in the tone section is consistency within the world established by the script itself. The easy way to think of this topic might be, "If it's a comedy, is it funny? If it's horror, is it scary?" We also look for tonal elements that are obviously out of place with the rest of the piece, tempered by an assessment of the writer's intention. less»
Questions We Consider in Tone
• Is the tone effective within its genre? If it's a Comedy, is it funny? If it's a Drama, did you feel for the characters and does it tease out salient questions about relationships and our humanity? If it's a thriller, is it suspenseful and does it contain twists and turns?
• Is the tone consistent throughout, or does it seem to change from one sequence to the next or shift from beginning to end? Are there scenes that felt jarring, unnatural, or dissonant? Does it start off as a comedy and end up a murder mystery, etc.?
• Is the tone appropriate for the genre within the context of the writer's intention? For example, are there gratuitous sex scenes in a Family/Adventure, or there a series of gruesome murders in an otherwise a Broad Comedy?
Many grammatical rules being broken here. But they're all done on purpose. The clarity of the scene is not lessened due to the grammatical violations.