Screenplay Proofreading And Story Notes

Professional editing service plus story comments for one low price

 

Clients also receive a free copy of my new screenwriting career guidance book, Be That One In A Hundred (choose digital or paperback) — See below.

Eliminate Mistakes And Improve Your Screenplay With Both
Proofreading And Story Notes Before You Submit

  

“So why do I need these script notes
and professional proofreading?”

To give yourself the competitive edge over those who don’t use this service.

Producers, agents, and screenplay contest executives all say that many of the screenplays they see are flawed in ways which are basic to the industry, but which seem to be invisible to their writers.

My notes will identify those flaws and help you address them.

Industry insiders also say that proofreading mistakes (grammatical errors, typos, spelling mistakes, and basic formatting errors) are among the worst mistakes you can make in a screenplay — and the most common.

I’ll catch and fix those errors and give you notes about them.

Screenplay Proofreading Details

 

   Read Client Testimonials 

 

Need convincing? Click this link  to read a sampling of industry comments on typos, spelling and grammar mistakes, and basic formatting errors I received in survey responses.

The comments above and on that page are typical. They illustrate this ironclad, non-negotiable Rule #1 about submitting screenplays to production companies or contests:

To them, you’re an amateur and your screenplay is unworthy of
  their time if it is full of spelling, grammar, and basic formatting errors.

Yes, that is harsh. I am sorry to have to say it. But it’s the way the industry is.

I’m not trying to offend you. Just the opposite: With 100,000+ spec screenplays hitting Hollywood and the British film and TV industry every year, I’m here to help you beat the odds.

 

Let Me Help You Submit The Perfect Screenplay

I can fix your grammar, spelling, clarity, and basic formatting mistakes for you.

I will proofread your screenplay for grammar, spelling, and clarity for some of the lowest rates in the industry:

● Feature screenplay: $1.99/page with notes;
● Teleplay: same $1.99/page with notes;
● Rewrite your synopsis: $30 per 300-word page.
● Rewrite your query letter/email: $30
● Write a query letter and query email from scratch: $49 with screenplay proofread, otherwise $65.
● Evaluate your logline: FREE with screenplay proofread, otherwise $25.
● Write three suggested loglines for you from scratch: $19 with screenplay proofread, otherwise $49.

 

Rush Work:

● 50% surcharge for a 48-hour turnaround.
● Next-day delivery (“Drop everything and read my screenplay ahead of your rush work!”) – 100% surcharge.

But do plan ahead and save money: order at least several days in advance.

 

What You Will Receive For $1.99 Per Page:

A thorough and professional proofreading job. I will find and correct (or give you notes to correct, such as “saying vs. showing” errors):
— Typographical errors
— Spelling errors
— Grammatical errors
— Punctuation errors
— Capitalization errors
— Verb tense errors
— Sentence structure and clarity problems
— Basic formatting mistakes
— Cramming in too many words**
— “Saying” when you need to show, and…

 

The “Plus” Part: Several Pages Of Notes

For only $1.99 per page, you will also receive several pages of story notes and notes on proofreading issues. These notes will include:

A brief overall view of the quality of your story.
A gentle list of any story problems and issues I see.
How well your script performs on eight vital story and script elements.
How well your story matches the classic screenplay structure of a famous screenwriting guru.
How well your screenplay “romances the reader,” using a 14-point checklist, distilled from more than 5,000 feedback comments by screenwriting contest judges I hired back when I ran screenplay contests.

Plus a few pages of Proofreading Notes as needed…

In the Proofreading Notes, I comment on proofreading issues which arise more than once in your screenplay. These notes may include, but are not limited to, issues of grammar, spelling, sentence structure or lack thereof, formatting, and basic screenwriting how-to.

For example, if your scene descriptions include significant instances of failing to tell the story visually (often called violations of the “show, don’t say” or “show, don’t tell” rule), these will be mentioned and discussed.

This service — both proofreading and notes — will cost you only $1.99 per correctly formatted page.

Free copy of my new screenwriting career book, Be That One In A Hundred
(on sale for $9.99 digital, $12.99 paperback), with your use of this service

When you pay for my notes and service, I’ll send to you your choice of a link to a digital copy or a mailed paperback copy of my new book for screenwriters:

This book is about a subject which was given scant attention until now: the career-killing mistakes aspiring screenwriters make, how to avoid them, and most important, how you can stand out as the writer producers will want on their team.

It reveals what the industry sees as the worst mistakes, in both the content of screenplays and behavior, which lead to screenwriting career failure.  It’s full of valuable tips and tricks to help you succeed, as told by industry insiders.

Most of the information in this book comes from surveys of and interviews with industry people and surveys of aspiring screenwriters.

It covers a wide range of both “mistakes” (in the eyes of the industry) and tips and tricks in these general categories:
● Grammar, spelling, and formatting
● Stories that bore or annoy producers
● Manners and diplomacy
● Receiving criticism and notes
● Attitudes toward unpaid rewrites
● Copyright vs. WGA registration
● Whose ego is getting in the way — yours or theirs?
● Failing to sufficiently (and diplomatically) market yourself and your work
● What to realistically expect from screenwriting contests, pitchfests, agents, and producers.

This book, citing producers’ and other industry insiders’ own responses to interviews and surveys, answers these and other questions:

“Is querying a complete waste of time?”
See chapter 8.

“I won a pretty big contest, but nobody called me. Why? And now what?”
See chapters 8 and 12.

“Why are movie producers looking for nothing but fluff, franchises, and movies based on comic strips?”
The good news is that you are misinformed. See chapter 10.

 

“Are screenwriting contests just a money-making ripoff?”
See chapter 12.

“They asked me to send them my script and then I heard nothing back. What is that all about? And what do I do now?”
See chapters 8 and 10.

“Are pitchfests a waste of time?”
See chapters 8 and 13.

“My screenplay is written. Now, how do I get an agent?”
Let me answer that one right here:  At this stage, you probably can’t.  Read about your other options and opportunities in chapters 8, 10, 11, and 13.