A script is not a diary. A script is a machine.

Script & Coverage (How Hollywood Evaluates Writing)

Most scripts don’t fail because the writer lacks imagination. They fail because the script doesn’t behave like a product: unclear hook, weak engine, inconsistent tone, or expensive chaos. This page explains how scripts are read, what “coverage” means, and the fastest ways to level up.

Coverage First 10 pages Top rejection reasons Structure Format Rewrite loop

Reality note: A great script can still be “not financeable.” But a weak script is never financeable.

1) What “coverage” is (and why it controls your fate)

Coverage is a professional evaluation document written by a reader (often for producers, studios, agencies, or financiers). It compresses a script into actionable judgment: Should we spend time/money on this?

Typical coverage sections

Logline (reader’s version)
Synopsis (often 1–3 pages)
Comments (what works / what breaks)
Ratings (concept / plot / dialogue / characters / tone)
Verdict (PASS / CONSIDER / RECOMMEND)

What the verdict really means

PASS: not worth further time.
CONSIDER: interesting but needs work / buyer fit.
RECOMMEND: strong enough to circulate internally.
“Recommend” doesn’t mean “greenlight.” It means “keep spending attention.”
Goal for emerging filmmakers: Get your script consistently landing at “Consider” with clear notes — then rewrite to force “Recommend.”

2) The first 10 pages (where most scripts die)

Readers are trained to detect “no engine” quickly. If the first 10 pages don’t establish tone, protagonist, problem, and forward motion, the script feels amateur — even if page 60 is brilliant.

Hook: something specific and watchable happens (not vague mood).
Promise: the audience understands what kind of movie this is.
Protagonist: we see a need, flaw, desire, or pressure.
Problem: a clear complication that demands action.
Momentum: scenes cause other scenes (not disconnected sketches).
If your first 10 pages are “setup only,” you’re usually late. Start closer to the trouble.

3) The top reasons scripts get rejected

These are the most common “fast pass” rejection triggers. Fixing them improves your odds immediately.

No clear engine: nothing forces scenes to happen.
Passive protagonist: the lead reacts but doesn’t drive.
Unclear stakes: it doesn’t matter if they win or lose.
Tone drift: comedy becomes thriller becomes drama without control.
Dialogue as explanation: characters narrate the plot instead of fighting for something.
Coincidence: the plot “happens to” the characters too often.
Expensive chaos: the movie reads like $50M but you’re pitching $2M.
Professional move: Decide your budget band early and write within it. “Financeable writing” is a skill.

4) Structure that sells (simple and brutal)

Structure is not a formula. It’s the management of audience attention. Here’s the practical version that works across most commercial films:

  1. Setup (Act 1)

    Define the character, world, and pressure. Then force a decision.

    Engine
    Inciting incident disrupts normal life.
    End of Act 1: a point of no return.

  2. Confrontation (Act 2)

    Escalate consequences. Force choices. Raise cost. Complicate relationships.

    Escalation
    Midpoint: a major shift (victory becomes threat / threat becomes personal).
    “Bad guys close in” phase: no easy exits.

  3. Resolution (Act 3)

    The final test. The central question is answered. The cost is paid.

    Payoff
    Climax forces the protagonist to become who the story demands.
    Ending delivers the promise of the premise (not a random twist).

5) Format and readability (why “clean” wins)

Most readers don’t hate new writers — they hate hard reading. Formatting isn’t about rules. It’s about speed, clarity, and visual control.

Write visually: what can the camera capture?
Control paragraphs: keep action lines tight and scannable.
Don’t direct from the page: avoid excessive camera instructions (unless style demands it).
Dialogue is conflict: people talk to win, not to explain.
Consistency: tone and character behavior remain coherent.
If your script is “well-written” but hard to read, it still loses. Readability is a professional advantage.

6) The rewrite loop (how professionals improve fast)

Rewrite is not polishing words. Rewrite is fixing the machine. Use this loop to avoid endless tinkering.

Draft goal: what is this version trying to prove? (clarity, tone, stakes, engine)
Get notes: from 2–4 people with different strengths (writer, producer brain, audience brain).
Sort notes: “must-fix structure,” “character,” “scene-level,” “polish.”
Make 3 structural changes first. Then rewrite scenes. Then polish.
Re-test the first 10 pages after major changes.
Professional mindset: “Kill your darlings” really means “protect the engine.” If a scene is beautiful but doesn’t push the engine, cut it.

7) Coverage services and “script doctors” (how to avoid getting played)

Getting feedback is normal. Getting exploited is common. Use the scam logic from the Reality Guide: beware anyone who sells certainty or fame.

Good feedback is specific: “This breaks because X, fix by Y.”
Bad feedback is vague: “Great voice, keep going, buy package #3.”
Never pay for “industry access” without proof of real relationships and clear deliverables.
If you’re unsure, read Scams & Red Flags before spending money.