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Services starting at $100

Key Features of ScriptXpert:

What is ScriptXpert?

ScriptXpert is a script coverage service that helps you develop your script from a rough draft into a polished screenplay or gives you feedback on a script you are ready to send out to the industry. Our advisors are experienced readers who know what agents, managers and producers look for in a script. Get feedback on your screenplay from a name you trust: Final Draft, Inc.
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Personalized development at your pace.

ScriptXpert is more than a coverage service. You can schedule personalized Phone Consultations with your advisor to discuss your coverage, strategize about rewrites, or even help develop a new idea. You can work with the same advisor over the course of several drafts at significant savings.
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New to Screenwriting?

ScriptXpert can help you even if this is your first script or you are working on an early draft of your screenplay. Our advisors can guide you through the rewriting process with Extended Coverage which includes extensive revision notes. Combine Extended Coverage with a Phone Consultation for hands-on assistance from a professional reader.
You're a beginning writer and have just written your first script.


ScriptXpert Features

ScriptXpert General Information

Why have a ScriptXpert advisor cover your script?

Even professional screenwriters value outside opinions about their script. ScriptXpert helps you develop your script from a rough draft or outline into a polished screenplay ready to be submitted to producers, agents, and managers. ScriptXpert advisors may help you answer these questions:

  • Does your script have a strong plot?
  • Are the characters dynamic and real-to-life?
  • Is the story tight and marketable?

We’ll put you in touch with a ScriptXpert advisor – an industry insider – who will hear your ideas, read your script, and and guide you through every step of the process. Read bios and learn about our ScriptXpert advisors.

What our fans say:

“Who can I thank for such a lovely piece of coverage?… Your coverage is exactly what I needed to hear after several months of bad news. The coverage is honest, constructive and insightful. Now I know how to make it better, and some paths I might take to get it out there! So sincerely, thank you. This has literally made my month." - Matt Snyman
“Thank you so much for your great feedback! This was my very first attempt at it and I have a lot to learn. I am going to work on improving it per your great suggestions and comments and will consider submitting it again if I can get it to the point where it feels like the obstacles have all been overcome. I just wanted to let you know your instruction is helping me immensely, and this investment in improving my writing was worth every penny!” - Ann Greitzer
"I love this reader's take. And am thrilled that they see the potential. Their notes really helped and it would be fun to talk to them one day… Having the reader see the progress with this rewrite is very gratifying. I'll take the new notes to heart!! Until the next one," - John Debney

Our ScriptXpert Services and Prices

When you purchase a ScriptXpert package, you receive the exact same industry coverage and notes that working readers provide to the production companies and agencies they work for. Typical turnaround time is approximately two weeks.

Advice Before You Write

You've got a great idea for a script but don't know how or where to start.

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You’ve spent months writing trying to complete your first draft only to find out that your idea is passé or your approach is unfocused. Discuss your idea over the phone with a ScriptXpert advisor before you write. Your ScriptXpert advisor will help you work out character arcs, second-act issues, and weak plot points so that when you sit down to write, you know exactly where you are going with your story.

For this service, all you need to do is provide a one or two-sentence story concept or logline, and a synopsis of one to two pages, double-spaced or simply pitch your idea to your advisor over the phone, and receive an MP3 of your conversation for future reference.

30 Minute Consultation - $100
60 Minute Consultation - $175

Basic and Extended Coverage

You think your script is ready to send out, but you want a second opinion from a trusted source.

You’ve finally completed your script. Your mom and friends have all read it, but now you want professional feedback. Our Basic Coverage service puts you in touch with a ScriptXpert advisor who will help you identify problem areas in your script.

Basic Coverage - $180

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Basic Coverage includes an industry standard one-page grade score sheet that evaluates the major elements of your screenplay on a grading scale of Excellent, Good, Fair or Poor. In addition, your ScriptXpert advisor will provide you with two to three pages of notes about why an industry reader would or would not recommend your screenplay to agents, managers and producers. To complete the process, your ScriptXpert advisor will offer suggestions and solutions for the areas in your script that need improvement.

Extended Coverage - $270

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Our Extended Coverage service includes our Basic Coverage offerings and more! With our Extended Coverage, your ScriptXpert advisor will deliver all of the above plus in-depth notes and suggestions regarding story and plot, structure, characters, action, dialogue and writing. Your advisor will also address weakness in general writing style, formatting, plot points, dialogue, and general appeal, and will propose specific suggestions for rewriting problem areas or fixing plot issues, helping you in your efforts to turn your story into an award-winning or produceable screenplay.

If (or when) your script receives a recommend grade, your ScriptXpert advisor’s notes will focus on how to polish the script and maximize its chances of success for when we send it to agents, managers or producers.

Click here to see a sample coverage report.

Go Deeper Into Your Story with these
Coverage Add-Ons:

Phone Consultation

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Although both Basic and Extended Coverage give you extensive feedback on how to make your script market-ready, a Phone Consultation add-on gives you the opportunity to ask more questions of the reader, explore what-if scenarios, and discuss rewriting strategies. A Phone Consultation allows you to truly have a partner in the rewrite process, and the free MP3 of your conversation makes referring back to your consultation session a breeze.

Development Packages give significant discounts on notes and phone consultations, giving you the freedom to work with your reader more often. Make the most of your coverage, add a Phone Consultation today.

30 Minute Consultation With Your Coverage Service - $75

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Prepared Logline

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A carefully crafted story concept (sometimes called a "logline" or written "pitch") is an essential sales tool for your screenplay. Yet, many screenwriters struggle to boil their script down to one or two "perfect" sentences that, when plugged into a query letter, will entice film industry pros to request the screenplay. Often, writers are tempted to give too much information, or fret over how to capture the essence of their story in a concise and compelling fashion. Stop worrying, and leave it to the experts! Let the screenplay marketing gurus at ScriptXpert, with their decades of experience in what makes Hollywood script buyers respond, write your story concept for you: in a few powerful, concise lines constructed to appeal to agents, film executives, and managers.

Logline With Your Coverage Service - $75

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Prepared Synopsis

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A synopsis is part of the standard coverage process and consists of a one- to two-page overview of the plot and characters of a submitted script. Buyers use the synopsis to get an idea of what and whom the script is about. However, summarizing your script into a short synopsis can be a difficult task, and screenwriters are often asked to provide a synopsis of a script before the entire screenplay is submitted. ScriptXpert provides a synopsis service as an add-on option with its Basic and Extended Coverage Packages to help you craft a document that captures your concept in an engaging and exciting manner.

Synopsis With Your Coverage Service - $150

Click here to see a sample Prepared Synopsis

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Formatting Check

Your script is ready to go but you want someone to make sure it’s formatted correctly.

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You have worked on your screenplay for a long time, and you may have a great plot and amazing characters, but if it is not formatted correctly your script won’t get read. First impressions count, and you will want to make the best first impression possible.

Our Formatting Check service will connect you to a ScriptXpert advisor who will provide you with notes on the pages that require attention or have errors that must be addressed throughout the script. Our thorough Formatting Check will make sure your script looks the part and is up to industry standards.

Prices are based on scripts with a basic grasp of industry standard formatting. Scripts with an excessive number of errors may require additional charges to complete the work. You will be notified prior to incurring any additional charges.

Scripts submitted as a Final Draft document will be corrected using Final Draft revision mode. Scripts submitted as PDFs will require Adobe Reader to view corrections.

Formatting Check - $130

Click here to see a sample Formatting Check

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Grammar and Proofreading Check

Your script is polished, and you want someone to cross the T’s and dot the I’s.

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Grammar isn't always on your mind when creativity is flowing, but you have to have your best foot forward when you send your script to valued industry contacts. Let our ScriptXpert advisors review your script with fresh eyes and a fine-toothed comb to find those pesky grammatical errors that will distract from the presentation of your script.

Prices are based on scripts with a basic grasp of sentence structure and punctuation. Scripts with an excessive number of errors may require additional charges to complete the work. You will be notified prior to incurring any additional charges.

Scripts submitted as a Final Draft document will be corrected using Final Draft revision mode. Scripts submitted as PDFs will require Adobe Reader to view corrections.

Proofreading - $130

Click here to see a sample Grammar and Proofreading Check

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Rush Service

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Rush service guarantees that you will receive your script within one week to 10 days (depending on volume at that time). Standard turnaround time is approximately two weeks. Rush service is dependent on readers' availability.

Discounts do not apply. Option is not available from December 20 through January 1.

Rush Service - $100

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*Prices are based on screenplays that are formatted to industry standard. Scripts must be submitted in 12 point Courier type with proper margins. Digital submissions must be in Final Draft (FDR, FDX, or FDS) or Adobe Acrobat (PDF) format.

Our ScriptXpert Advisors

Your ScriptXpert advisor is an industry veteran and insider who will customize script coverage to whatever stage of development your screenplay is in. Consult with your ScriptXpert advisor as early as the initial outline and develop a marketable logline and story treatment or wait until you’ve finished your script. Your ScriptXpert advisor will give you complete script coverage and notes for your plot, scenes, structure, characters, action, dialogue, or writing style.

Greta Garbo

EDUCATION: Has a BFA in Film from New York University, as well as formal training in writing for musical theater from the San Francisco School of Dramatic Arts. She has a strong background in film history, especially movies from the Golden Age of Hollywood.

SCRIPT READING EXPERIENCE: Using an honesty-with-tact approach to evaluating scripts, this analyst has nearly 30 years of experience reading for film studios (Warner Bros., New Line Cinema, etc.), major film agencies … and screenwriters like you. She is also one of an elite corps of judges for the Big Break screenwriting contest. Over the years, she has evaluated thousands of scripts in every genre, with particular expertise in films based on history or true-life stories, material for family audiences or teens, double-identity comedies, musicals, and adaptations of books or plays.

RELATED EXPERIENCE: Ms. Garbo is a frequent and popular guest speaker at NYU, coaching writers on their pitches and how to get their screenplays to movie stars. She taught screenwriting for Cunard aboard the Queen Mary 2, and seminars for Script Magazine about what story analysts look for in a screenplay. She is also author of six published books, including three young-adult novels for Simon & Schuster, with one in development as a movie with Al Pacino attached to star, as reported in Variety. Ms. Garbo has sold many articles about the craft of screenwriting to Script Magazine and The Writer. Her success as a writer is well-known, but she takes even greater pride in the reported success of her ScriptXpert clients.


EDUCATION: Earned a BFA in Film & Television Production from New York University and attended the American Film Institute as a graduate fellow in screenwriting.

SCRIPT READING EXPERIENCE: Twelve years of experience as a reader and story analyst for studios (including Columbia Pictures and Paramount Pictures), production companies (including Castle Rock Entertainment), and individual and independent producers. Has read for a number of screenwriting contests, including Open Door, KASA, and Big Break and has discovered winning entries on several occasions. As a script consultant, works with producers and screenwriters (produced and aspiring) to revise and improve their screenplays.

RELATED EXPERIENCE: Has written 10 produced teleplays and several yet-to-be-produced screenplays (including three on assignment). Has authored articles on screenwriting and filmmaking and a number of cinema-related books.


EDUCATION: Graduated with a Bachelor’s Degree in Film from Columbia College in Chicago.

SCRIPT READING EXPERIENCE: For seven years, Yossarian was a senior vice president of development at a management/production company, where he signed writers, and developed and marketed scripts, books and TV series. He has worked on feature projects with Fox 2000 and Universal. Yossarian left the company in 2009 to start his own management/production company.

RELATED EXPERIENCE: Yossarian has judged and written feedback for the PAGE Awards and the Final Draft, Inc. Big Break Contest. He served on the panel that chose the winners for this year’s Big Break Contest, all of whom garnered representation shortly after their win. He has written a series of articles for Script Magazine and is a screenwriter with several of scripts that have directors and financing.


EDUCATION: University studies in languages and creative writing in both the United States and abroad.

SCRIPT READING EXPERIENCE: Over 20 years of experience as a reader and story analyst for independent producers, several literary agents, and studios (among them Walt Disney Studios, ABC, and Stephen Cannell Productions), as well as an assistant to and script editor for an Emmy®-Award winning screenwriter. Have also read and picked many winning screenplays for Script Magazine’s once-held quarterly contests, for the Big Break Contest, and for Disney/ABC TV Fellowship program since it’s inception in 1990.

RELATED EXPERIENCE: Published author of a comedy/fantasy novel.


EDUCATION: Has attended seven colleges with at least seven majors, ending up with a (surprise!) degree in medicine from a foreign university. Has an eclectic background in the sciences, photography, philosophy, and various languages. Attended writing classes led by author/screenwriter Alan Watt.

SCRIPT READING EXPERIENCE: Has 14 years of experience as a story analyst for production companies that include HBO Films, Miramax and DreamWorks, and for agencies CAA and UTA. Has read for the Final Draft, Inc. Big BreakContest and Creative Screenwriting’s Expo screenwriting contest. Also works as a script consultant with producers and screenwriters. Currently the in-house story analyst for Alan Watt’s online screenwriting course “The Ninety Day Screenplay.”

RELATED EXPERIENCE: Has written four feature-length screenplays, several short film scripts, and numerous short stories. Has authored a book for writers on what production-company readers look for in spec screenplays.


EDUCATION: Graduated with a Bachelor’s Degree in Psychology/English from Hunter College.

SCRIPT READING EXPERIENCE: A judge for two major screenwriting contests (PAGE and AAA). Longtime reader for Circle of Confusion.

RELATED EXPERIENCE: Professional screenwriter and vested member of the WGA. Sold specs and pitches and has done numerous assignment and rewrite work for Warner, Sony, MGM, Mandalay, Maverick, Middlefork, Dark Castle and Silver Pictures. Currently working on his first comic book script.


EDUCATION: Bachelor’s Degree in Radio/TV/Film from Northwestern University, Certificate from UCLA’s graduate level Professional Program in Screenwriting.

SCRIPT READING EXPERIENCE: Ten years as a freelance consultant and reader for production companies, coverage services, and individuals. Clients have included New Regency, Senator Ent., ScriptShark, Coverage Ink, A-List Screenwriting. Screenwriting contest coordination and/or judging for contests such as Slamdance, Writers on the Storm, AAA Screenplay Contest, Screenwriting Expo. CS Open, Champion Screenwriting Competition, and the Kairos Screenwriting Competition.

RELATED EXPERIENCE: Has won several screenwriting awards, recently wrote and produced an award-winning short film. Her first feature, an indie horror movie, is available on Netflix. Current projects includes several indie films with producers attached, and endless piles of film and TV spec writing for her manager. In her spare time, she often teaches a TV pilot class in the New York Film Academy's producing program.


EDUCATION: Holds a BA in Journalism from the University of Massachusetts and a MFA in Screenwriting from Loyola Marymount University.

SCRIPT READING EXPERIENCE: Has over eight years experience as a story analyst for ICM (International Creative Management), Phoenix Pictures, Hollywood Studios International and writes personalized coverage for aspiring writers. Has also judged a number of screenwriting contests including the Cyberspace Open and Writers on the Storm.

RELATED EXPERIENCE: Has worked as a journalist and written and developed projects for both film and television.

Zooey Glass

EDUCATION: B.F.A. from New York University - Tisch School of the Arts

SCRIPT READING EXPERIENCE: Ten years of experience for studios (United Artists and Paramount) as well as production companies in LA and New York. She is also a reader/judge for Final Draft Inc.'s Big Break and PAGE International Screenwriting Awards, and has also contributed to a book on screenwriting.

RELATED EXPERIENCE: She has optioned a script to ABC, wrote for a cable show, was in the Disney Writer's Fellowship, and has sold a pitch. Her short films have screened around the world, and one was nominated for a Director's Guild Award.


EDUCATION: Graduated, magna cum laude and Phi Beta Kappa, with a Bachelor’s Degree in Literature, which included literary studies abroad.

SCRIPT READING EXPERIENCE: Worked for over a decade as a freelance project analyst and story analyst (including for Participant Productions, Casey Silver Productions and Creative Artists Agency). As a project analyst, analyzed successive screenplay drafts of feature film development projects and made revision suggestions to prepare these projects for greenlight. Also performed initial story research, including for a feature film produced by Disney. Read for a few well-respected screenwriting contests and discovered finalists on several occasions, including a script that was recently produced with a well-known lead cast.

RELATED EXPERIENCE: First published as a teenager while writing movie reviews for a major newspaper and won honorable mention in a respected short fiction prize contest while in college. Wrote, directed and produced an internationally co-produced short film, which screened as an official selection at major festivals, including the Hamptons International Film Festival, and other venues.


EDUCATION: Received Master of Fine Arts degree in Screenwriting from Boston University, B.A. in Film from Evergreen State College.

SCRIPT READING EXPERIENCE: 12 years experience working in Hollywood as an assistant, writer, freelance reader, and story analyst. Worked in the scripted-series department at ABC and wrote coverage for The Donners Company, Kopelson Entertainment, and AEI. Contest judge for PAGE Awards and Gimme Credit International Screenplay Competition.

RELATED EXPERIENCE: Writes movie marketing and publicity materials for the Academy of Motion Picture Arts and Sciences, Universal, Disney, Relativity Media, Lionsgate and other industry clients as freelance copywriter for boutique agency The In-House Writer. Editor of the LOGLINE e-zine and The Insiders’ Guide to Screenwriting. Three of his screenplays have been optioned and he is a four-time Nicholl Fellowship semifinalist.

Carbon Yoda

EDUCATION: Carbon Yoda spent 6 years as a Theater, English, and History Major at Southern Oregon University in Ashland, Oregon, the home of Oregon Shakespeare Festival AKA America's First Shakespeare Festival.

SCRIPT READING EXPERIENCE: For the past 3 years Carbon Yoda has worked as a reader and writer of coverage for one of Hollywood's veteran producers, a producer with a 40-year career responsible for a couple Best Picture winners, a producer accredited with over 50 movies.

Carbon Yoda also reads for another major producer who made one of the most iconic hits of the 1980s. Additionally, Carbon Yoda freelances as a script reader and coverage writer for a literary manager, an agent, and three separate production companies.

RELATED EXPERIENCE: Carbon Yoda is a writer in his own right, having just gotten his first script optioned. Two of his plays have been published, and dozens of his short stories have seen publication throughout literary journals in the U.S. and the U.K. He's also got a book of short stories coming out this year, and he's released five spoken word albums with various musicians.

Also in the U.K., Carbon Yoda spent several years performing his stories in the underground London literary scene, which led him to gigs on BBC radio, a show with the London Sinfonietta, and appearances at the Edinburgh Fringe Festival, the Hay Festival of Literature and the Arts, and the Latitude Festival.

While living in Chicago, a dozen of Carbon Yoda's one-act and full-length plays were produced at various theaters, and he worked as a dramaturg for one of Chicago's oldest and most prestigious theater companies.

Industry Access

If your script receives a recommend from one of our readers, your logline and contact information are e-mailed to a list of interested agents and producers (with your permission).

Some participating production companies and agencies include:

Circle Confusion: Los Angeles and New York-based production/management company behind several hit movies such as The Matrix, Mr. and Mrs. Smith, Letters from Iwo Jima, and V For Vendetta. Currently producing the AMC horror show The Walking Dead.

ICM: Large international agency that represents clients in several entertainment fields such as feature film, television, concerts and theatre. Has represented executive producers and helped to package hit television shows such as The Big Bang Theory, Grey’s Anatomy, Modern Family, and House.

New Regency: High-profile production company focusing on synergy between the different company divisions. Distributes its films through Twentieth Century Fox and its television content through HBO. Has produced many high-ranking films such as Fight Club, JFK, Free Willy, Man on Fire, and Daredevil.

Samuel Goldwyn Films: Major, independently owned feature film company. Focuses on independent films and documentaries. Company behind Super Size Me.

Spike TV: Popular television channel that distributes several movies that fit their “television for men” tagline.

Underground Film and Management: Production and management company that has produced Remember Me, All about Steve, License to Wed, and The Invention of Lying.

William Morris-Endeavor: Large diverse entertainment agency. Has offices in New York, Beverly Hills, Nashville, London, Miami Beach, and Shanghai. Represents clients from all entertainment styles. Currently representing creators, producers and writers of scripted shows such as South Park, American Dad!, The L Word, and The Office.

As well as:


“You have no idea how much I appreciate your candid, in-depth and professional analysis. It's so hard to have a friend read something without the emotional filters getting in the way. I feel much more confident in the direction I need to take now. After getting your report, my only regret is going cheap and getting just the basic coverage. I have a lot of work ahead of me but I will be back and next time I will request you by name. You are truly amazing at what you do!” - Mary Markovinovic
“Please pass along my gratitude to the reader. They did a truly fantastic job, worth every penny. The breakdown was detailed and more than fair. I'll be acting on every single item, and more. I fully expected a "pass" on the script, but for a middle draft, the critique is invaluable. I like the service very much and look forward to sending more stuff along. If my budget allows, I might send the script back for another pass. You guys are great! Very professional.”  - Patrick Hatten
“This service is a breath of fresh air. In trying to adapt our book, Beverly Hills Confidential into a series for TV, we were able to get spot on feedback and direction. Our first draft didn't get a glowing review, but we got some much-needed professional advice, honesty, and most of all: direction. Ready for take two!”  - Barbara Schroeder
“Who can I thank for such a lovely piece of coverage?… Your coverage is exactly what I needed to hear after several months of bad news. The coverage is honest, constructive and insightful. Now I know how to make it better, and some paths I might take to get it out there! So sincerely, thank you. This has literally made my month.”  - Matt Snyman
“Thank you so much for your great feedback! This was my very first attempt at it and I have a lot to learn. I am going to work on improving it per your great suggestions and comments and will consider submitting it again if I can get it to the point where it feels like the obstacles have all been overcome. I just wanted to let you know your instruction is helping me immensely, and this investment in improving my writing was worth every penny!” - Ann Greitzer
“I love this reader's take. And am thrilled that they see the potential. Their notes really helped and it would be fun to talk to them one day… Having the reader see the progress with this rewrite is very gratifying. I'll take the new notes to heart!! Until the next one,” - John Debney
“I read [my] coverage and I want to say thanks! This is my first screenplay and all of your comments make total sense and are immensely valuable to me. They will assist me in upping the quality for sure. I couldn't be happier with this feedback! Well worth the money. I will be using you guys again.” - Jason Bedunah


How to Craft an Effective Logline

A logline is a one-sentence description of your story concept.

The purpose of a logline is to present the essence of your screenplay in a clear, entertaining way that hooks the reader and makes him/her want to read more. When constructing a logline, it is helpful to keep the following points in mind:

  1. The logline really should be only one sentence long. Many writers – some who find it hard to boil their ideas down into a single line and others who perhaps think that the one sentence notion is just a loose guideline – stretch them to two, three, and sometimes even more lines. The problem is that a multi-sentence logline is not a logline; it is a synopsis. While the point of a synopsis is to convey the structure and key elements of a story, a logline is simply meant to communicate the overall premise of your piece, so don’t weigh it down with lots of plot and/or character details.

    Here is an example for a poorly crafted logline for The Godfather:

    Don Vito Corleone is a powerful Mafia head with three sons. The youngest son, Michael, a decorated World War II veteran, wants nothing to do with the family business, but when Vito is wounded in an assassination attempt, Michael comes to his rescue and guns down the men responsible for the attack on his father. After spending some time in Sicily, where he learns the history of the Mafia and suffers a terrible personal loss when his wife is killed, Michael returns home, takes his father’s place, and settles all scores by wiping out all of the family’s enemies on a single day.

    Here is a much better example:

    The idealistic son of a Mafia Don is drawn into the mob and ultimately assumes his father’s role as the head of the family’s nefarious business.

  2. The wording of your logline should be simple, direct, and to the point – whenever possible, avoid elaborate sentence structure and flowery verbiage.

    Here is an example of an excessively worded logline for Jaws:

    When a giant great white shark begins attacking and killing swimmers in the waters off of a small New England summer resort community just before the all-important Fourth of July weekend, the town’s police chief joins forces with a scientist and a grizzled old fisherman with a hatred of sharks and the trio set sail in a rickety old boat to hunt and kill the monster.

    Here is a simpler, more effective alternative:

    A cop, a scientist, and a fisherman attempt to kill the giant great white shark that has been attacking bathers in the waters off of a small summer resort town.

  3. Your logline needs to clearly express your specific concept, so don’t be too generic (“A giant shark kills people in Massachusetts”) or too opaque (“When the town fathers of Amity put commerce ahead of safety, toothy retribution soon arrives in the form of a pair of prehistoric jaws”).

  4. A logline should describe your premise, not the formula behind the premise, so for Air Force One you should write something like: “The President of the United States fights back against the terrorists who hijack his plane and threaten his family” rather than “My script is a cross between The West Wing and Die Hard.”

  5. A logline should describe the story, not the theme, so for Gone with the Wind you should write something like “Scarlet O’Hara fights to save her family’s land and legacy in the midst of the Civil War” rather than “As long as we stay connected to our roots, the human spirit can never be defeated.”

    by Ray Morton

What if I do not agree with coverage?

ScriptXpert guarantees that you will receive coverage from a professional reader who has at least 5 years of industry experience. However, we cannot guarantee that you will agree with the reader's opinion of your script. One of the benefits of receiving industry-level coverage is to see exactly what a reader will submit to a producer or development executive when your script comes across his/her desk.

When should I send my screenplay to you for review?

You can use ScriptXpert at any time. In fact, we offer an Advice Before You Write service that you can use to flesh out outlines or plot summaries before you even begin writing the script. A draft of a screenplay needing major work on plot and character will receive low marks on coverage but will benefit from the reader's expertise and advise on how to make the next draft better. Adding a phone consultation to your order can help your further work out any issues the script may have and determine how best to fix them. If you're ready to market your script, ScriptXpert will pinpoint possible pitfalls in your script or presentation from the reader's POV and help prepare you to make an excellent first impression.

What is coverage?

Coverage consists of a one-page "grade sheet" evaluating your script on its key components. An additional three to four pages detail the strengths and weaknesses of the script and explain why the reader recommends that the buyer pass or purchase the script. Often the first page of notes is a synopsis of the storyline. In this case, we will use that page for notes about the script since you, the writer, are already familiar with the story. (A synopsis service is available). Buyers (agents, producers, networks and studios) use this coverage to determine whether or not to pursue the material in question. Very often the buyer never sees the script unless the reader says "recommend."

Who will be reading my screenplay?
Final Draft has carefully selected industry readers with a minimum of five years experience providing coverage for a major producer or agent. All readers are required to provide sample coverage and are chosen based upon their professionalism, promptness, industry references, and ability to provide excellent coverage of a script. We have readers with experience in virtually every genre, and your screenplay will be sent to a reader with knowledge of the market for your genre.
How is ScriptXpert different from a consultant?

A consultant's job is to give you in-depth notes on your characters, plot and pacing and help you write a better screenplay over the course of several drafts. These services are often time-consuming and costly but are personalized.

ScriptXpert can perform much the same service through subsequent drafts of the same script sent to the same reader, along with phone consultations, at a reasonable price. The feedback is in the form of coverage as opposed to other formats consultants may have developed. Our Development Packages offer packages of coverage and consultations at an even great savings than our standard services. The decision on which service to use should be based on which approach is best suited to the way you write.

What if my script receives a grade of "recommend"?

If your script comes back from our readers with a grade of "recommend" we'll contact you and ask if you would like us to forward your logline and contact information to a list of agents or producers who have standing orders to see recommended scripts. Once we've forwarded the script and provided you with the appropriate contact information, all further correspondence and proceedings must be conducted between you and the company or individual considering your script. Although we screen the companies to whom we offer scripts, we do not expressly recommend these companies nor are we involved in any subsequent proceedings or business dealings.

What is Rush Service?

Typical turnaround for a ScriptXpert coverage is two weeks, but when you need your coverage faster ScriptXpert will be there to meet your needs. For an additional fee of $100, your script will be returned within one week.

Do you prefer digital or printed scripts?

We're environmentally-conscious and strongly prefer digital scripts. We accept Final Draft (.FDX, .FDR or .FDS) or Adobe Acrobat (.PDF) files.

Can I send you my script online?

Yes. Click HERE for our simple online submission form and HERE for more information on how to proceed.