Coverage, Ink. was founded in January, 2002 by Jim Cirile, a multi-produced, WGA-member writer/artist/musician and columnist for Creative Screenwriting magazine. Coverage, Ink. seeks to provide affordable agency and studio-style coverage to all screenwriters.

Tired with spending big bucks on screenplay analysts, many of whom weren't worth it, Jim built up a network of production company and agency readers whom he utilized to hone his own material before sending it out to agents, managers, and production companies. Now you can have the same advantage.

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What is coverage?

Coverage is simply a reader's report. Every script submitted to a feature film studio or agency or production company gets "covered." Readers are the companies' first and best line of defense. The reader's report usually provides a one or two page synopsis of the screenplay, a breakdown of the characters, a page or two of commentary/evaluation, and lastly, a bar graph evaluating your screenplay from Excellent to Poor in the following categories:

Main Characters

Minor Characters

Story

Premise

Visual Elements

Artistically

Commercial Prospects

Title

Finally, your screenplay is rated either "Recommend," "Consider," or "Pass," for both the script itself and for the writer. So in theory, if the script isn't spectacular but the writing is, you may still garner some interest.

The agent, manager, or creative executive then scans these reports and determines which scripts are worth his or her time to read. Sometimes, even if you receive terrible coverage, if there's an element of your screenplay that attracts the exec -- such as, it's in a genre that's hot right now -- your script may get read by a second person anyway. Bad coverage is not necessarily the death knell every time...just most times.

By the way, hardly anyone ever gets a "Recommend." When a reader tags a script "Recommend," they're basically sounding the alarm bells and telling everyone to drop what they're doing and Read This Script Now! The reader is also sticking his or her neck on the chopping block, because if the exec does not agree with the reader's assessment, and resents the time spent reading the script, then the reader may not be taken seriously in the future or worse, could be out of a job.

So, bear in mind that there are actually three levels of "Consider" -- Strong, Moderate (AKA a "straight-up consider",) and Consider With Reservations. These allow the reader to express their enthusiasm, or lack thereof, for the material, while still remaining safely in the consider category.

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How does Coverage, Ink. work?

It couldn't be easier. You simply submit your script online or mail a copy of your script to us with the completed release form. (click the SUBMIT IT! tab above). You can pay by credit card, check or money order. We will then fax, e-mail or snail mail (at your preference) the detailed script coverage back to you within 2 weeks of the date of receipt. Include a SASE (or $10 postage per script) if you want your script returned.

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Why choose coverage over a professional script analyst?

You don't necessarily have to choose one or the other. If you have the money, we say you should do both. There are plenty of great analysts out there (but a few stinkers, too, ) and the more knowledgeable feedback you get on your script the better off you'll be. CI also offers a full range of services from standard coverage all the way up to CI Pro analyses and full-blown consultations from Popular Films.

That said, the advantages of a professional script reader over an analyst are as follows:

Our readers are all actually working in the industry. They are currently employed by, or read on a freelance basis, for production companies with studio deals, large indies, and medium to large-sized agencies. Thus they not only have read thousands of scripts, but they can assess your script not only based on quality but on marketability. We try to give you guidance to not only improve your script but also help improve your odds of a sale based on market trends both historic and current.

Our readers are all tested and verified by Coverage, Ink. We ONLY use readers who have college degrees and large production company or well-respected agency experience. Then before we let them review anyone's script, we send them a test script to evaluate. We grade their knowledge of structure, formatting, proofreading, myth, character development, film history and their ability to clearly articulate their thoughts in report format. We stand behind all of our readers. You have no such quality control with an analyst, as they are mostly one-man bands.

Our standard and CI Pro analyses are a lot cheaper than any analyst, and our clients tell us constantly that the clear and concise coverage format is much more helpful to them than a long phone call or 8 pages of meandering notes. We tell you clearly and concisely what we think works and what doesn't, and give you suggestions on how to rethink problem areas of your script.

You can resubmit to us whenever you like, as often as you like, requesting another reader or the same one. Resubmissions are $10 off.

CI also features top-shelf script consultations with Popular Films and analyst-level service called CI Pro. Popular is a working Hollywood production company who are setting up projects all over town. They'll pore over your script and give you a lengthy 1-on-1 telephone or live consultation. Click HERE for more info on Popular. CI Pro gives you a thorough shakedown of your script, as in-depth as most analysts, and at a better price. Click HERE for more info on CI Pro.

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Why is it important to get feedback before submitting my script to any companies?

Two reasons. Number one: you only get one chance at that particular company. Your script needs to be the best it can possibly be. Readers are generally overworked and jaded, and are often just looking for a reason to skim. Once they find that reason, you're done. And that coverage will remain on file at that company to haunt you forever.

I personally got shot down at Disney when a production company submitted one of my scripts to them, only to find bad coverage (from a much earlier draft) on file from years before. This tainted the project in everyone's minds, and we were essentially D.O.A.

The second reason has to do with TRACKING. Tracking is the process by which production companies keep track of material entering the marketplace. If your script is sent out in any significant way -- e.g., by an agent or manager -- once it's received by a production company, the title and writers are tracked by professional trackers, who have their own little network and tracking boards.

In short, if just one major studio passes on your script, it's entirely possible that negative feedback about your script could hit the boards, and you could be dead all over town, before anyone at any other company even reads it. Scary but true!

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About Readers

Who are your readers?

The very nature of their jobs demands anonymity. We cannot divulge who our readers are, but they are degreed, working industry professionals with strong development skills and thousands of scripts and coverage reports under their belts. They have worked for big production companies with studio deals and indies alike, and for several of the 3-letter agencies. Oh, and two of our freelance readers also read for, ahem, our more expensive competitors...

And don't worry, with Coverage, Ink. your work will remain anonymous. Coverage, Ink. will never expose your script to anyone.

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If the reader likes my script, what happens then?

Clap yourself on the back and go get 'em, tiger. Unlike some services, Coverage, Ink. makes no bogus claims that we will "shop your material" or "introduce you to our industry contacts." We simply tell you whether or not, in the reader's expert opinion, your material's got a shot, and if it doesn't, we offer suggestions of how to get you back on track. Getting out there and shopping it is up to you.

We believe that our some of our competitors are using a "carrot and stick" approach by offering you prizes and tales of industry access. While this certainly sounds tantalizing, here's the reality: very, very few scripts get the "Strong Considers" or "Recommends" required to merit an industry referral, and the ones that do have generally been developed through multiple drafts with an agent, manager, producer, script analyst or coverage service.

“The problem I have with some coverage services is that I think they're giving people the idea they're offering something other than development help, such as industry access, which generally isn't the case.”

–Julian Thuan, UTA

So be careful about selecting a coverage service based on any dangling carrot. To get your script to the point where it rocks the house, you've got to do the work, and often that means many, many revisions. The myth that someone can crank out a script in 3 weeks and go out and sell it for $1 million is just that--a myth. The rest of us have to swallow our egos and write draft after draft, honing, editing and revising until our PASSES transform into RECOMMENDS.

That said, if you get good coverage from us, in addition to the invaluable development help, remember that it can also be a powerful marketing tool. We have no objections to you using our coverage for self-promotion. Mentioning that you received a "Consider" from Coverage, Ink. in a query letter is a VERY good idea. It's validation, and will certainly improve your ability to get your script read.

Many of our clients do just that. We frequently get calls from producers doing their due diligence, checking to see if the coverage quoted in the query letters they get is accurate. We have had several clients find representation and get projects optioned based on sending out queries and enclosing excerpts from their positive coverage. (Of course, the trick is to get coverage good enough to merit industry attention, generally a "consider" or better.)

A word of warning: do not embellish or misrepresent your coverage.

All of the above said, we have also in the past helped a very small handful of clients get representation. But again, this is very, very rare.

So WHEN and ONLY WHEN your script is ready to rock, then you should enter it in our contest (www.writerstorm.com) and other reputable industry contests (go to www.moviebytes.com for a complete rundown.) Get those queries fired up and call everyone you know who’s somehow connected to the biz. Schedule a call with us to discuss your marketing strategy and pick our brains. Remember: once your script is good enough, people will find YOU.

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What guarantee do I have that your reader will like my script?

None. That's exactly the point. Wouldn't you rather find out if something's not working BEFORE you send the script to any agents, managers, or creative execs? Coverage, Ink. offers only a professional reader's opinion.

But, that opinion is based on years of industry experience and strong knowledge of what the market is looking for. Unlike many agencies and prodcos, we do not let interns or college kids read your scripts -- only seasoned, smart folks with no axes to grind. If something's amiss in your script, our very smart and savvy readers will point out the key problem areas.

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What if the reader only likes dramas and I send my wacky comedy, will they hate it?

Coverage, Ink. now offers GENRE MATCH. On your order form, simply fill in the script’s genre in the Genre Match box. We will then make best effort to place your script with someone with similar tastes.

FYI, Readers are trained to have an eye on what the market will be interested in, not to defer to their own personal tastes. Therefore, they are supposed to be able to recognize a good piece of material, regardless of their preferences.

However, it’s also good to know your wacky comedy will be read by someone with a sense of humor, or your historical drama would be read by someone who doesn’t hate historical dramas!

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Does Jim Cirile ever personally read the scripts?

Yes! Creative Screenwriting columnist and Coverage, Ink. founder Jim Cirile will indeed personally read your script if you request that option (pending availability.) Jim's fee is $359 for in-depth coverage, which INCLUDES free mark-up/script editing. If you'd like Jim to evaluate your script, please e-mail info@coverageink.com to confirm availability.

In addition to over a decade and a half as a professional screenwriter, Jim has been a script reader for several production companies and is the Head Judge and Contest Coordinator for the annual CS Open Writing Tournament at the Los Angeles Screenwriting Expo. He's evaluated thousands of scripts. As a columnist for Creative Screenwriting magazine, Jim interviews a panel of top literary agents about industry trends and has his finger on the pulse of the industry.

Jim hails from the UCLA Professional Program in Screenwriting, and applies that technique to his analysis along with a healthy helping of myth and gentle guidance. You'll get a greater depth of helpful, in-depth feedback with an analysis from Jim (generally 6-8 pages of comments) along with a frank assessment of your script's marketability.

For a sample click HERE.

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Can I consult with Coverage, Ink. by phone?

Absolutely. We are happy to talk with you about your project. Whether you're just kicking around story ideas and want a sounding board, or you have a completed outline or a finished script, talking to us on the phone makes sense. We'll help you find the most marketable ideas and alert you to areas where you may be going off track or getting stuck.

The give and take in these conversations is creatively stimulating and quite fun, too. And any ideas bandied about in these talks are yours to keep and use as you desire.

So whether you're trying to figure out which of your six ideas you should write next or are trying to solve some logic or structure issues in a finished script, you can take advantage of this very useful and fun service. The hourly rate to talk to one of our team is $45.

Please note that we must also charge for reading time (which obviously varies depending on the material, but figure about 1/2 hour for a 10-page outline and about 2 to 3 hours for a script). However we can generally work something out for any situation.

We'll give you an estimate upon submission of the material. To make an appointment, please call us at 323-702-2989 or e-mail info@coverageink.com.

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Coverage Costs

How much will your coverage cost me?

Please click on the above SERVICE FEES tab for a detailed pricing explanation.

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How can you guys be so inexpensive?

Simple: we have a lower mark-up than all the other coverage services. Coverage, Ink. was never intended to generate significant income. That’s not what we’re about.

And yes, we know there are some individual readers out there who do in fact charge less than us, but these are one-man-bands who may or may not have any real professional industry experience.

All of our readers are tested and certified by us, and each must have a college degree (2 of our readers have Masters’ in screenwriting) and a minimum of 1-year of experience in development or doing story editing or analysis for a large production company with a studio deal or a well-known agency.

We make sure they know their stuff before we let them loose on your script by testing them extensively ahead of time. We stand behind the opinions of all of our readers-these guys are smart, and they are right.

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What types of payment to you accept?

We use PayPal for our online billing. You can pay by credit card or directly from your bank account. Just click the SUBMIT IT! tab above. After you complete the online form, you will receive a confirmation e-mail from us along with a PayPal invoice. If you don't have a PayPal account, don't worry--it's easy, it's fast and it's free. PayPal is owned by eBay and is a proven safe and reliable way to pay over the internet.

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I'm a returning CI client. Can I get a discount?

Absolutely! Just indicate you're a returning client on your order form and we'll give you 10 bucks off your order. Cool, huh? That applies to resubmissions of the same script or to new scripts.

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I've seen other services advertising super cheap discount coverage.

Read the fine print. You get what you pay for.

Often those deals provide no synopsis (meaning the reader blazes through your script once, not carefully reading it twice like we do, and thus can miss A LOT) and 1-2 pages of bare-bones analysis as opposed to 3-5 pages of detailed, incisive, thought-provoking commentary like we offer.

CI offers the best quality and price around, period. Our coverage reports are generally a lot more in-depth than many of our competitors.

If you feel you've gotten better service or price from ANY other legitimate script analysis company, we want to know about it! Contact us at info@coverageink.com.

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Coverage Process

How can I get a sample of your coverage?

Just click on the above SAMPLES tab. If you'd like to see samples from a specific genre not posted, just e-mail us at info@coverageink.com and we'll gladly send it along.

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Great, where do I send my script?

SUBMITTING ON-LINE:

Click the SUBMIT IT! tab to begin the release/order form process. After you fill out, click SUBMIT. We will then e-mail you a PayPal invoice along with a confirmation of receipt and your analysis delivery date. We accept on-line script submissions in the following formats:

• .FDR (Final Draft),
• .RTF (Rich Text Format),
• .DOC (Word) or
• .PDF (Adobe).

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What if I need my coverage ASAP?

Tack on an extra $59 rush fee and we'll get the coverage back to you 2 business days after date of receipt. NOTE: Please e-mail us in advance at info@coverageink.com to confirm reader availability.

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How detailed is your standard analysis?

Our standard coverage reports tend to be VERY detailed. The synopsis is usually 1-3 pages (again, this is to ensure the reader knows your script inside and out before evaluating it and doesn't gloss over any of the details.) Then the actual analysis is generally 3-5 pages long, single spaced.

It hits every major area of the screenplay: structure, character development, stakes, dialogue, plot logic, pacing, grammar, style and overall storytelling ability, and much more. Most importantly, we try to offer creative solutions for the problems we find, and don't just say, "this doesn't work."

As our clients will tell you, our "standard" analysis is actually more in line with what many other services offer as their "expanded" or "development" coverage. With us, it's the same 129 bucks flat.

For an additional $59, you can choose to have your script edited/marked up. This is a great way to see exactly what's going on in the reader's mind as he's reading the script, as his thoughts will be reflected in the margin notes. So if you start to lose the reader, you'll see exactly where and why-invaluable!

We'll also catch typos, formatting problems, grammatical mistakes, and most importantly, cross out scenes that run long and even suggest alternative dialogue or scene restructuring as needed-all right there on your script.

We have some coverage samples posted here. If you'd like more recent samples, or samples from a specific genre, just give us a call or send us an e-mail.

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Why do you include a detailed synopsis in the coverage? I know what my script is about.

The logline and synopsis are actually for your benefit. They force the reader to go over your script a second time in order to summarize it in detail. Many times readers pick up things on the second go-through they've missed the first time. It takes a good chunk of extra time to do this. Some companies do NOT do this, and others include short, glossed-over or even sometimes wildly inaccurate synopses!

Our process ensures the writer that the script is fresh in the reader's mind, and that the reader thoroughly understands and digests the material before they analyze it.

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Do you do coverage on TV sitcom or one-hour drama specs?

Yes, the cost is $99 for sitcoms and $119 for a one-hour drama.

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Other Concerns

What if my script needs a lot of work?

You'll be off to a running start on the rewrite if you can look at the coverage objectively and then apply the suggestions to your script. Don’t take it personally! Sometimes the hardest part is being able to put your ego aside, and to learn to listen to constructive criticism.

Rest assured, we're all on the same side -- we want your script to be the best it can be. And when you've completed another pass on the script, you can always resubmit it to us for additional feedback.

The best way to approach the coverage is to make an ACTION PLAN. Read over the coverage several times over a period of days until you thoroughly understand the numerous points contained therein. Then when you’re ready to tackle it, open up the coverage in your word processor. Beneath each note, jot some ideas on how to solve the problem. This may take some thought and will often require new scenes or rethinking your structure.

If you're stumped, discuss with friends or writing partner. But you'll soon have your action plan, a to-do list of changes you need to make. Then just sit down and start working through them one by one. But remember: don't just crank out a new draft in 3 days and send it back to us.

Every time that happens, we find that the writer has addressed perhaps the minor issues but has often ignored many of the larger problems in the script. These changes need to be carefully considered and executed.

Hey, we're writers, too. We know how exactly painful it can be to have your material dissected. There's nothing quite like that awful feeling of realizing that your entire Act 2 just isn't working, etc. But you need to remember that rewriting is part of the process. Working writers in Hollywood have to rewrite their material all the time.

And even though criticism can be a hard pill to swallow, the sooner you swallow it, the sooner you'll be on your way to becoming a better writer. No, it's not easy. But all of us here at Coverage, Ink. are in the same boat with you.

If you feel you need mentoring or really in-depth analysis, we work closely with several excellent analysts, and we would be happy to refer you to one of them. All are all top-rated by Creative Screenwriting Magazine.

For more, click here to read our free Coverage Survival Guide!

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I'm worried I can't handle the feedback!

Let's be honest: nobody wants to hear criticism. It's tough to take. You've labored for months, maybe years on a script, and now somebody is picking it to pieces. It's enough to depress even the most steely of us.

Well, we know all about this firsthand. We're writers, too. We know what it's like to be on the receiving end of the coverage report. So the first thing you need to know is that no one here is out to insult you.

Unlike studio and agency coverage, which can often be outright scathing-just pointing out all the reasons no one should read the script-we here at CI we try to give the writer CONSTRUCTIVE criticism, to provide balanced and FAIR analysis.

We try to mention what works, along with what needs work. Now that doesn't mean we pull our punches. If areas of your script are not up to snuff, we will tell you.

But we try to not be insulting or condescending about it. That's not what we're about. Sometimes I think many script readers just mercilessly slam writers to prop up their own egos and make themselves feel better, at the writer's expense. Those guys do not last long here at CI.

So while yeah, occasionally you might feel a bit like a truck ran over you when you get the analysis and realize just how much work you likely have to do-our goal is to make you feel INSPIRED enough to take on the challenge.

We'll help you through the process, and even give you suggestions about how to develop an action plan to implement the notes afterwards. Feel free to call us at 323-702-2989 anytime and ask for help.

For more, click here to read our free Coverage Survival Guide!

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I have some questions about script formatting.

Don't we all! Fortunately there's Coverage, Ink's Spec Format Guide.
Click HERE for more info!

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I'm concerned that someone might plagiarize my material.

That's not what we're about. Coverage, Ink. has no interest in pilfering your ideas, and frankly, our readers read so many scripts that if they were dishonest, they'd have been weeded out pretty quickly.

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Writers on the Storm contest

How do I enter your Writers on the Storm contest?

Entry is FREE and automatic with any Coverage, Ink. order while the contest is running (April 21st, 2008 through July 27th, 2008) Scripts that receive a 'Consider With Reservations' or better for script during the contest period advance to the quarterfinal round (roughly top 10%.)

On our coverage reports, at the end of the comments is a single word summary for both script and for writer -- from PASS to RECOMMEND. The gradings are: Pass, Consider With Reservations, Consider, Strong Consider and Recommend. The vast majority of submissions are passes. That doesn't necessarily mean we don't like the script or elements of it; we just think it's not there yet. That's what the whole coverage process is all about - helping you develop that script to make it into a 'Consider.' Again, you need to receive a Consider With Reservations or better FOR SCRIPT (not for writer) to advance to the quarterfinal round.

If you do not wish to submit your script to Coverage, Ink. for analysis but still want to enter the contest, the entry fee is $40, and you may enter online at www.writerstorm.com. The grand prize this year is $10,000!

If you enter the contest by submitting your script to CI for analysis, and you receive a 'consider with reservations' or better, congratulations! You automatically advance to the quarterfinals.

BUT: You will then have a choice to make. You can either "let it ride" -- in which case your script advances to the quarterfinals as is (free!) -- or, you may elect to polish the script based on the notes and then resubmit it to us before the contest end date (either to CI again for coverage, OR directly to Writers on the Storm at www.writerstorm.com.) If you elect to do that, you will theoretically better your chances. However, if you do, you will need to pay the $40 contest entry fee, as the script will be read and evaluated again. No other contest gives you this 'do-over' feature! In the past we have had folks submit several drafts to CI for analysis right up to the contest end date, bettering their scores every time! (Smart.)

For more information, a complete list of contest rules, prizes and winners, or to enter the contest directly without submitting your script to us for analysis, please visit the contest website at www.writerstorm.com.

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How do I advance in the contest?

Any script submitted to Coverage, Ink that garners CONSIDER WITH RESERVATIONS or better (for script) automatically advances to Round 2 (quarterfinals), which is roughly the top 10% of submissions. From there, the contest judges will read the script again and determine who moves up to the Semifinals, then the Finals (top ten), and finally the winner.

So if you receive a script analysis back from us that's a CONSIDER WITH RESERVATIONS or better before July 27th, 2008, congratulations--you've got a shot at the big money and awesome prizes!

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What prizes are being offered?

Over $22,000 cash and prizes! Writers on the Storm is presented by Coverage, Ink. and Writers Boot Camp. In addition to a $10,000 cash grand prize from CI, Writers Boot Camp is offering $4,500 in Creative Cash towards any coursework or training program. Writers Boot Camp is the industry leader in screenwriting education, and their list of alumni who have gone on to a successful writing career is staggering. With campuses in LA and NY and their top courses online, you have no excuse not to kick your writing into high gear with WBC. Tell 'em Coverage, Ink sent ya!

We have over 140 participating agents, managers and production companies who have agreed to review the winning scripts and/or loglines. On top of that, our prize packages feature some of the top names in the biz who will help you bring your "A" game: David S. Freeman's Beyond Structure, Blake Snyder's Save the Cat!, Creative Screenwriting, Scriptblaster, trackingB.com, inkTip, Jim Mercurio's Killer Screenwriting, The Writers Store, Starbucks, Great American Pitchfest, Alameda Writers Group, Screenwriters Initial Draft Pad and more!

For complete information, please visit the contest web site: www.writerstorm.com.

And remember, you can either submit directly to the contest from there (online or via mail), or you can submit your script to CI for analysis (contest entry is included.) Either way will get you entered!

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