Screenwriting : Coverage - Good vs "Did They Even Read My Screenplay?" Kinda Bad by CaSandra Mathis

I hate it when people rewrite my story. Tell me what I SHOULD do. I don't mind an example on where I should take it, but when they start getting so specific in this story they created probably in 15 minutes, it irks me.

A coverage service is not a gateway into Hollywood. If you’re paying for coverage, it is not a studio that is evaluating your script with the potential to produce, it is merely a service that is giving you a ‘studio like’ response that you may or may not use to determine if your script is ready to send out to the big boys. If you pay for coverage then it is not coverage from a studio. Real coverage from a studio is produced by studio readers and it’s rare that the writer will ever see that coverage and the writer will never have to pay for it either, so your assumption that the reader’s job is to protect their employers from getting bad scripts by weeding out the garbage, is flawed in that there is no employer to protect. They take your money to review your work and write coverage. If they don’t work for themselves then they will be paid piecemeal for each script they write the coverage for so they’re not going to pass on a genre because it would be like saying, “I don’t want that $50 because I don’t know the subject material”, it ain’t gonna happen. They’re also not going to be passing it up the ranks because it’s not that sort of business. If you pay for coverage, and they obviously haven’t read it properly because their comments do not accurately reflect what is happening in your story, then ask for a refund and state your reasons why. You have every right to ask for a refund on poor service. Those coverage services are businesses designed purely to make money out of screenwriters and do not necessarily have any connection to the studios.

Look, here's two essential things you need to know. 1) If somebody likes your story they'll forgive a multitude of sins. 2) If they don't like it they'll nitpick every detail.

Hi Casandra, It's hard to say without reading your script, but if not just one person but two got the same wrong idea about something in your story, that probably means it is not clear enough. You might want to ask people you know to read the script and tell you the story they understood to see what stciks and what doesn't. Don't forget that the story is very clear in your mind but nobody else can read your mind. It's pretty uncommon for a brother to abuse his sister. And brother and father are two words which are quite similar. It's easy for a reader who has ten script to cover this same day to read it wrong... Just rewrite till it makes sense for everybody and you'll be good to go.

Arnaud, while we wait for CaSandra's response, I thought her issue was that she paid for coverage and two readers got the story wrong. It doesn't matter that brother and father are similar words, paying for coverage means that they need to get it right and if they can't then they shouldn't be in business. When you're paying for a service, similar words or unlikely situations is not an excuse.

I agree, when you pay for a service, you'd like it to be performed best. The brother/father confusion is certainly a argument that Casandra can use to get a refound or a re-read. On the other hand, there are two different outcomes every writer should look at when they get their script covered : - is my story compelling? - has my writing served the story? If it seems that 2 readers didn't get a major plot point, I do think it's time to introspect and think of a better way to put thise words on the page. There should be no confusion (even if they seem silly) left in it so that the next coverage will be able to focus primarily on the story.

This culture of blame the writer has to stop. There are a lot of terrible readers out there attempting to objectively critique work which is above them. It's a huge industry problem and we as a collective are partly to blame.

@Arnaud - I wish it were that simple. But, to mistaken father for brother in this case is major because the word "father" is nowhere in the script. Two coverage readers caught that with no problem. No one else who's read my work had a problem catching the connection. I respect that you don't know me, but how fickle and unprofessional would I be to lean on someone for a few oversights? Even a huge one such as that? Trust me, I would not be wasting you guys time if this wasn't a real problem of major concern. There were so many obvious missed points it was ridiculous. One company refunded my money, but got pissed and locked me off their website so that I couldn't even review records for other purchases I'd made. I'd also entered their contest and got no refund for that and if they had any control, I'm pretty sure my entry was tossed out. I was very polite and professional in my email of discontent and pointed out the obvious errors. I'd paid for a read from this company before and was fine when the reader trashed my screenplay, so they knew I was not BS'ing them. I knew there were holes the first time, but I was too close to the material to find the rest. No problem paying someone to do so. But, I fixed the holes they found and found some more. So, I knew when I resubmitted the screenplay certain elements should not have been a factor. Well, this reader couldn't find actual holes, so they pretty much went from the angle that they didn't like anything about my script and trashed it because it wasn't written the way "they" think it should've been written. That's not their job. Then they began to nitpick at things that weren't even there. This and other mistakes showed they hadn't done more than skim over my script and understood none of it. The second company accepted that their reader did a bad job and readily agreed with me. They were willing to give me a second read or a refund. I chose the read and was very pleased. The reader still missed some relevant points, but their synopsis showed they actually read my script. Because of this, their synopsis (which I always like to get because it shows if the reader actually knows the work their critiquing), was pretty much on point as was the rest of the coverage. They also missed the brother thing, even though the script shows that the mother committed suicide because she's lost her "prized son" and blamed the protagonist for his death. Mothers usually don't commit suicide because the father is a pedophile, they get a divorce. But, this reader gave me so many "real things" to look at that will make my project better, what works and what does not, that I wasn't about to fuss about that, or a few other things they'd missed. I'm paying for coverage, not perfection. But, a reader can't cover what they obviously haven't read or obviously don't understand. Sowwy for the long post. Just wanted to clear up some things. :-)

@Arnaud - Respectfully, it's not all that uncommon for a brother to abuse his sister, or sisters. Or, even his younger brothers. Being a lover of all things basketball, especially playing (which I still do quite well in my old age :-)), I've had the privilege of conversing with numerous men with whom I developed close enough friendships that they shared some disheartening truths with me. Having been in chat rooms on the Internet since the early 90's I've had numerous men private chat me about the lesser spoke about things in their lives. And, even worse, I have family members who've done and had some hella not nice things done to them. It's comforting to find that not everyone knows this reality, but I know it all too well.

@Cj - I totally agree with you. Blame the writer is the easiest way out. It's true that many creative souls have too thin a skin for the game they're in, but there are plenty of us who're truly looking to get better at this craft we've come to love. There should be some regulation that coverage readers are governed by. Something like a Better Business Bureau for coverage readers, or at least the companies that hire them since most don't give out their names. Stage 32 does give out the names and has real producers, directors, etc... doing the coverage, (people who can actually point you in the right direction). They also offer a few coverage level options at good prices. But, I can't afford $140 per coverage (minimum), per read, even though I'd prefer the second level ($225) for the first one or two drafts as it offers more in-depth coverage, and Premium Studio Coverage ($399) by the 3rd draft so I can actually talk with the reader and get more clarity. I have about 9 projects that I plan to finish in the coming months and with each possibly needing at least 3 - 5 drafts each? Can't do it.

@Pierre - Thanks for that information. Most coverage services claim to only hire readers who are currently working, or have worked, as readers for producers, production companies, studios, etc... and, therefore can help you polish your work so that it's at its best "before" sending it out to the people you hope will buy it, or wasting money by sending bad, or not quite ready scripts to contests, etc... If I could, I'd come to Stage 32 for coverage, classes, webinars, advice (this lounge), everything. I wouldn't go outside for anything except to read my books and visit Good in A Room.com for pointers here and there. Stage 32 has a wealth of knowledge, people who truly give a hoot about total strangers (like you guys helping me now), and actual people within the industry working in the best interest of the writers. It doesn't get any better than this.

Thanks so much to everyone for helping me out. I've gotten a good deal of clarity and I now know how I'll proceed down the road. Your time and consideration is invaluable. God bless!

Hi CaSandra - Sadly, the 'coverage experts' don't have a code of ethics or licensing requirement but frankly, you really need to ask yourself what you are looking for in these services. Are you struggling with dialogue, plot, pacing, theme, marketability etc.? Then do some research and find a consultant that can help you pinpoint ways to strengthen what you need -- IF THAT'S WHAT YOU'RE LOOKING FOR. Coverage as a service is tossed around like Kleenex as tissue. When fact is, studios and production companies have coverage for projects in house, rarely are these the same people that advertise to unproduced writers. In most cases with these services you will get what you pay for. Once you determine what you need out of feedback, reach out on forums like this or in your other networks and see if someone can fill that need. And don't be afraid to offer them something for their time. Even a fast read script (feature length) with minimal notes is a 2-hour dedication of time. For someone who can really help you, time is not free.

I didn't say that a brother couldn't assault his sister, just that it's (thankfully so) rather more uncommon than (unthankfully so) the dad being fhe aggressor... As of the coverage industry : if you feel strongly about them all, and again, you have way more experience down that road than me, why give them any credit in the first place and sending them your script? As i said, it's hard to know if the notes you've been given have missed your script entirely without reading your script. I certainly hope you'll find better coverage professional who will get your script. Take care Casandra and good luck on your 9 next projects !

Laurie's comment about getting what you pay for is the point I was alluding to by saying we are partly the problem.

Excellent points, Laurie. As a newbie you're told all sorts of things. Mainly, that at some point in your project you're going to need professional coverage in order to polish your work so you don't look like an amateur, send out shoddy work, and consistently get rejected when trying to get industry persons to request your work. It's mandatory that you have some idea of what they're looking for so you'll know what to send out. Most screenwriters are not equipped to help me polish my screenplay for marketing to the industry. That would be like paying the blind to lead the blind. Yes, they can offer valuable feedback from a writer's perspective, but not from an industry insider (which is what coverage services claim to hire). I'm networking my hiney off to find screenwriters looking to exchange feedback, but it's not proving to be an easy task which is probably why coverage services get over so easily. LOL Thanks so much for your input.

Arnaud - I understand what you are and were saying. I'm certainly not arguing with you. I appreciate your input from start to finish. I was just pointing out the disheartening truth that brother's being the abuser is a lot more common than many people know, or would like to think. A lot more common. Thanks for the well wishes. I hope the best for you also.

And that's why we'd all be happy to see your movie made so that it would raise enough awareness to the subject/dynamic of these tragic abuses. You sure have the burning passion to tell the story, I can tell. And that's a very good sign

Happens every once in a while. I had a script go to a producer who passed because he didn't do dramas, he was looking for an action script. It was an action script. I had my lawyer ask for the coverage and by some miracle they gave him a copy. The script opens with a couple having an argument about their relationship, then on page 7 the guy walks out and his shot dead on the street. Rest of the script is protag tracking down the killers and getting revenge. The reader obviously never got to page 7 because the synopsis in the coverage made up a story about the couple's relationship problems and their impending divorce. WTF???? Problem is: you can't argue with the coverage, you just have to shake it off. But here's the thing: even bad coverage is good coverage. I realized that the opening scene was taking way too long and boring the reader so much that they didn't keep reading the script. I cut that scene down to 1 page, and the script is much better now. Sometimes when readers get things wrong it indicates that it wasn't clear enough on the page, or wasn't made to matter to the reader on an emotional level. It shows you the weakness in the script because they didn't care when they read it or was vaguely written. Yeah, it's still bad coverage, but you can still use it to improve the script.

@William - Totally hear you. Sorry you had to go through that, but I'm glad you found some good in it. If I hadn't had anyone else read my work, I'd feel it was too confusing too. But, not only had I had others read it, I'd gone over it numerous times to ensure certain elements were not missed. By the time I was done, my eleven year old grandson could follow it. Why couldn't these two coverage readers? Because they didn't read it.. They missed so much it became obvious. They pretty much skimmed over it which is not what I paid for. So, requesting a refund, or new reader was warranted. I'm tired of people getting over on me. How much money, life, time is one expected to lose before they have the right to stand up and say "I'm not taking any more losses?" I'm at that point. I can deal with a few mistakes, but a downright scammer? Not having it.

I've gotten coverage, good, bad, and middling. I'd say do script exchanges and reads with people on the forum first. It's cheaper, you both get better at writing, and when you've run completely out of road, then it might be time to get the coverage. Because even good coverage can be vague, opinion based, and completely unhelpful at times. Might as well have the script honed as possible before you pay for something.

Outsourced coverage readers don't pass part way in. They're paid to read the whole script.

CJ is right and for the most part they have learned to set aside personal preferences.

Shane - You're so right about script exchanges and doing them before seeking coverage is a smart approach. But I'm having the hardest time finding people to exchange with. Maybe some are concerned about their ideas being stolen, maybe some don't want to take the time to read other people's scripts, or... ??? Heck, I don't know. I just know I'm willing to put in whatever time I can to help a fellow screenwriter. I have my own projects to work and wouldn't think about trying to take someone else's idea. I honestly think I'm darn good at coming up with my own. But, I respect that this could be a factor to some. Either way, I'll keep looking for people to exchange with. But, if I don't find people, with deadlines and contests, etc. coming up, I'm back to relying on coverage. Ughhhh.

John, if someone requested your script, I truly believe they're going to hire a reputable coverage reader to go over it. You're in the best position possible because you're not shooting into the wind and taking chances with your money in hopes of getting the professional coverage you're paying for. Your script is being directed to a coverage service from an already interested source who trusts that service to do a good job. I pray you the best and hope you get a consideration if not a recommendation.

It's a bloody battle, to be certain...fraught with hidden traps and minefields. And yet we persevere...we pursue...we endure. You are the captain of your pirate ship in these waters. Naysayers and shade-throwers are all around you. Spies and assassins abound. Real biz. No-one is your true friend but you. Take what you can from each skirmish, win or lose. Spent your last dime to move an inch forward? You are one inch closer to being undefeatable!

John, you're so humble it's honorable. At least you've got some credits and a request. You're doing the damned thing. Everybody starts somewhere. I just think you're off to a good start. Who knows? By the end of the year we could be reading your testimonial about how this really cool "schlump who came in off the internet" sold this killer script with only a few minor credits and bypassed other writers who thought they were the sure nuff shiznit just because they'd done a bit more. I get it. There's lots more waiting down the road and a lot more work to put in. Still, as a green as all get out newbie, I can't wait 'til I can say I've got some credits and someone requested my script.

Feel free to send me something, I'm always willing to take a look and give some notes.

God Bless you, Shane. I'm more than happy to return the favor anytime. Just let me know. We can join networks and exchange emails. Thanks so much!

You've raised some interesting questions CaSandra! I've received notes from 3 different people on my sci/fi horror script. One from a pro coverage reader, a director and producer(not working together). The director loved it as did the producer. The notes from the reader were harsh and confusing and questions asked by him or her were quite clearly answered in the script had he or she cared to read it. But really where does one turn to find answers? There is no coverage readers guild, no coverage readers school! There is no way to rate one against another without spending a lot of money. As writers we all know that sometimes we are too close to our babies and stuck in our own minds. It's a very good thing to have someone objectively look at your script and point things out that our own minds don't even register anymore. It's a bad thing when the people we seek out to do just that - do a half assed job. I'm not saying all readers are half assed however since we are discussing this in the lounge - there must be something to it.

Chris, isn't it a shame that the industry execs, people who can actually make a difference in your career, loved your work and the so-called gate-keeping, coverage reader, who did a shoddy job could've kept you from getting to them had you not had other means of connecting? I'm so grateful to have come upon Stage 32. It's the ONLY source that gives writers direct access to industry execs (with feedback YAAAAAY!) and the opportunity to gain knowledge, get help, and get better. This is a godsend. I was at my wits end. Literally. I had no one to read my script, so I fell prey to the coverage readers. It's great when you find a good one, but hell when you don't. It's a waste of time and money and causes you to miss deadlines and opportunities like the better contests, submitting to the industry, etc. But, I'm determined to forge ahead. Nothing's going to stop me. I truly believe I'm a worthy writer with some darn good concepts who simply needs a bit of polishing. I pray the best to you, all of our fellow writers, and to me. :-)

The good news is that a script isn't going to get covered at only one production company (unless it stinks so bad it becomes the joke they tell each other) so one piece of bad coverage never sinks a script. It does show you what a bad reader thought, and often that's helpful for making the script better. You should always be improving your script. But if the script lands in the hands of a producer who loves it or a director who loves it, bad coverage won't get in the way. They love it, they'll find a way to make it.

William, Thanks to Stage 32 and you guys, I understand that now. But, I'm such a green ass newbie, I was led to believe that if I didn't get a recommend, or consider from a coverage reader (through a paid for coverage service) my script was too flawed to send out to industry execs. I know better now, so I'm taking the right approach. I realize my script will more than likely still go through a gatekeeper at some point, but I know better than to live or die by these coverage services. So, thanks to everyone for helping me overcome that nightmarish hurdle!

I'm just commenting to save this to my wall. This rant is wonderful, and once I get through all the comments, likely stocked full of advice!