How Your Script Is Evaluated

So your script is getting analyzed right now. I’m gonna explain the procedures we take at scriptmatix, how it’s different and why it’s more effective than anything else out there. 

To give context, let’s take a look at the field of analysis or – what many call – coverage. Ur script goes typically gets read – to what degree is unknown – by someone who is unpaid or paid unlivable wages and was likely just brought through the revolving door or readers with no guidance or oversight, and this persons typically provides somewhat of a “stream of consciousness” review. Sometimes those reviews are categorized by character, plot, dialogue, etc. and the reader will typically give you some type of euphemistic review and have positive things to say and maybe some criticisms that are vague like, “Joe could’ve used some more character development.” 

The fundamental issue we observe about this legacy method is that readers respond to scripts from the standpoint of “I like it” or “I didn’t like it.” – hence that pass, consider, recommend procedure of approval. From our experience, this is an inconsistent way of observing material simply because it lacks a salient interpretation of the stories constituent elements. 

What we do is in Scriptmatix is in stark contrast. On the analyst level, we pay livable wages, we don’t outsource but hire real professionals in the industry located in the US. We train them for hundreds of hours, and correspond with them daily. In fact, it’s actually pretty difficult to get a job as an analyst with us as it requires a level of acumen. 

On the script level, the way we evaluate is in stark contrast as well. After a script is read, our analysis is orchestrated through our Scriptmatix THOUGHT MODELS.

When an analyst or developer is in training with us, they are introduced to our vernacular and process, which is biproduct of some very rigorous academic research. We created a series of concepts that not only help our analysts identify physical plot function, but more importantly Emotional Plot function. If you haven’t seen the video on “how we experience cinema” it’s a good time to check it out. In a nutshell, an audience experiences the transformation of psyche. It’s why we watch. Not because characters go from one location to the next, but because those actions represent a psychological shift. 

So while our vernacular introduces various concepts – some that have been known for centuries – what you’ll find is that most are fresh and unique to Scriptmatix such as worldview, crisis dynamics, psychological states, amongst many others. Our thought models and software take our analysts through a procedure and allows them to identify how scripts are operating practically and from the abstract. 

When you receive any analysis, what you’ll notice that while we partition analysis based on plot sections (setup, catalyst, 2a, 2b, etc), and within each plot section will be an assortment of concepts. 

It’s our findings – and the data is very clear – that a writer’s ability to be clear regarding these various concepts is focal to the script’s success. But we don’t just leave it there. 

Our analysts and development staff ALWAYS provide salient suggestions to help you executive these concepts with greater lucidity, which – if you can – will increase your scores and bring you closer to the coveted score threshold of 70. 

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