Coverage & Proofreading

COV_PROOF.jpg
COV_PROOF.jpg

Coverage & Proofreading

from 250.00

Coverage & Proofreading is a combo platter that plays out over time. First, we give you full script coverage. You take those notes, give the screenplay another pass and then send us the new version. At this point, our editor reads your script, correcting grammar, spelling and punctuation.

The coverage workflow moves like this:

  • You send us the Final Draft file, MS Word file or PDF file
  • We read it, think about what we've read (this step is important) and then type up our pages of notes.
  • We deliver the notes to you in PDF format
  • You look over the notes. We invite you to ask any questions you have about our feedback and answer them as clearly and completely as we can over the course of two or more e-mail exchanges.

When you're ready for proofreading, that process goes like this:

  • You send us the Final Draft file, MS Word file (no PDFs)
  • We fix the grammar, spelling and punctuation
  • We deliver your script in Final Draft, Word or PDF format.
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Coverage Includes

LOGLINE: We cook up a punchy, concise log-line, something that summarises the world of the film, the characters and their central conflict.

ONE-SHEET: A 1-2 page summary of the film that goes into more granular detail on the characters, plot, dialog, mood, et cetera than the logline, without going into needless detail. (Hint: If the story can't be summarised into less than two pages, it might be lacking focus.)

THE ID PASS: Our immediate thoughts as we're reading. If there's a line of dialog that jumps out as particularly clever (or clunky), we jot a note down indicating the page number and why we reacted to it. In this section, you will find us at our most unfiltered, reacting as we experience the story, for better or for worse. We also make best-guesses as to where the script is headed. (Hint: if we're too accurate, your screenplay might be overly formulaic. If we're way off base, you've either got a twist that would make Hitchcock jealous or your first act isn't properly setting the story up.)

THE EGO PASS: Once we've let our unfiltered id respond to the script, we carefully consider the core elements of the story (characters, plot, dialog, mood, et cetera) and try to suggest ways they can be improved.

GRADE: We give the script a letter grade based on a collection of quantified metrics. What are those metrics, you ask? Let's all say it together, shall we: characters, plot, dialog, mood, et cetera.

RECOMMENDATION: We derive our recommendation from that grade. The scale breaks down as follows: Recommend (A+ to B-), Consider (C+ to D-) or Pass (D- or below, see me after class).