Screenwriting : An analysis of 12,309 feature film script reports by Roberto Marsicano

Loved this! Just shared the link on LinkedIn, https://www.linkedin.com/in/jrohara-write/

I like the "how long since last save to submit" as I'm considering entering my first contest. Looks like I should wait a few more months, or spend another week on a draft. Interesting report. I wonder how writers who paid for the "feedback option" for the contest felt that it added to their understanding of why their script moved up/didn't.

I am/have been one of those 'dreaded readers' and I pretty much agree with the conclusions in the article.

Thanks for shaing this. Most useful!

I really like how it can be broken down by genre. With Screencraft offering so many different competitions focused on specific genres, that is probably easier to get good data than for other ones. Thanks for sharing!

I wish I could get one of these on TV pilots/episodes.

Barry John Terblanche I agree. I would think it would give you a direction to move forward instead of just a flat rejection.

Many thanks for sharing, I will check that out. Currently awaiting some feedback from The Blacklist with baited breath...

Hi Noel Thompson. I paid for feedback in one competition I entered. Two scripts. Glowing feedback. Not a single word of criticism for either. Neither placed, of course. Had to chuckle, really. But that experience wouldn't deter me from paying for feedback in future, if I can afford it at the time of entry.

I'm proud to know that some of scripts have been moved on by readers. Where it lands no one knows, but I know it's moved on.

John Austin, that has happened to me twice, lol. It's all so subjective. What can you do? Yeah, you chuckle and, in my case, sometimes re-evaluate that competition. With many competitions, you have to wait until after the winners are announced to receive your feedback. I'm not interested in waiting that long. My script has probably changed quite a bit by that time since I normally enter by the early entry deadline. (BlueCat sends free feedback within weeks, which is great.) I'm always tweaking...

Barry John Terblanche Thanks for the pep talk, I'll keep that in mind! Constructive feedback is good for growth, and if the feedback is great, it is a boost. A no-lose situation ;-)

This is awesome! Now I can answer to people who say my historical script does not have enough conflict. In your analysis, conflict is least important in the historical genre but VOICE is most important. Voice is not dialogue. What is it exactly?

Pattana, I've always understood voice to be similar to style. The ability to bring characters, situations, settings, etc. to life through the words on the page so that the reader can 'see' the movie playing out as they read it.

Voice is personal and unique to the writer - Sorkin, for example, uses sparse, and to-the-point action lines to let his quickfire back-and-forth dialogue do most of the work. Shane Black often adopts a conversational style, even addressing the reader directly, such as his description of Riggs in the Lethal Weapon script, or where he describes a house as the one he's gonna buy when his script sells.

Voice develops naturally - it's a product of a writer's own unique experience, interests, worldview, attitude. A strong Voice demonstrates passion and causes others to feel that same passion when they read it.