Screenwriter

This is for you if

• Your first act is great and your second act is a swamp.
• You have never had honest notes, only polite ones.
• You are writing features or pilots and want Hollywood standards, not hobby feedback.
• You want to know where a reader stops reading.
• You want the pitch as sharp as the script.

What's included

• Script room with versioning, format checking and exports
• Coverage-grade scoring with beat mapping and action plans
• Story bible, character interviews and actor sides
• Timed table reads with emotion and ambience
• Market research sweeps with cited sources
• Fountain, FDX and production PDF exports

Working rhythm. Daily pages plus one structure block a week. Roughly eight hours.

Your rooms

New-age tools in this membership

The process, end to end

1. 01

   Logline and irony

   Character, want, obstacle and the ironic hook that makes it a movie rather than an anecdote.

   Output: A logline under forty words with a stated irony.

2. 02

   Beat the story

   Opening image, catalyst, break into two, midpoint, all is lost, break into three, finale. Every beat on a page number.

   Output: A beat sheet with page targets.

3. 03

   Sequence out

   Eight sequences, each with its own question and answer. This is where second acts stop collapsing.

   Output: Eight sequence cards.

4. 04

   Scene cards

   Every scene: whose scene, what changes, entering late and leaving early.

   Output: A card deck covering the whole script.

5. 05

   Draft in format

   Correct format is not a style choice; it is how the industry reads pace. Sluglines, action, dialogue, no camera directions.

   Output: A correctly formatted draft in Fountain or FDX.

6. 06

   Coverage sweep

   Score it against the real rubric: concept, structure, character, dialogue, format and marketability.

   Output: A coverage-grade report with a ranked fix list.

7. 07

   Table read and cut

   Hear it. Cut everything the actors have to fight. Dialogue that reads well and plays badly is a rewrite.

   Output: A timed read with the dead scenes marked and cut.

8. 08

   Pitch and package

   Logline, comparables, tone, audience and the reason it is this year's film.

   Output: A pitch you can deliver in ninety seconds without notes.

Twelve weeks of structured activity

Definitions you will hear

Logline

One or two sentences: protagonist, want, obstacle, irony. Under forty words.

Coverage

The reader's report on your script — a recommend, consider or pass, with scored categories.

Slugline

The scene heading: INT./EXT., location, time. Its rhythm is how a reader feels pace.

On the nose

Dialogue that says exactly what the character means. Real people almost never do.

Sequence

A block of roughly ten to fifteen pages that asks and answers its own dramatic question.

Midpoint

The centre reversal where the goal, the information or the power changes hands.

Spec script

A script written without being commissioned, to sell or as a sample.

Sides

The extracted pages for one character, used for auditions and reads.

Enter late, leave early

Start a scene as close to the conflict as possible and cut before the wrap-up.

Unfilmable

Prose describing what cannot be shot — thoughts, history, intent. It reads as amateur.

Milestones that count

• A logline under forty words with a stated irony
• A page-targeted beat sheet and eight sequence cards
• A complete draft in correct format
• A coverage-grade report with the fix list worked through
• A timed table read with the dead scenes cut
• A ninety-second pitch delivered without notes