How Do I Know When My Script IS Ready to Go?

You’ve done the rewrites. Addressed the notes. You’ve proofread and even ran a grammar check. Think you’re ready to rock? Well… maybe!

 

How many times has this happened to you? You finish your first draft, still glowing from the thrill of creation. Of course you want to share it with everyone! And then a few weeks or months later, those submissions you made come back “pass.” Contests… you don’t even make the QFs.

You pulled the trigger too early. 

But it’s even worse after you’ve done a round or two of notes from friends, your writing group, maybe a contest or coverage service like CI.

Surely the script must be in the zone then, right? You did the notes! Rock n’ roll!

And then the passes start coming in again. Friends reluctantly hint at lingering story problems. That manager you’ve been working sends back a terse “not for us” email.

Could it be that the script STILL isn’t “there”?

Every week we get emails from formerly happy clients, who around the third or fourth draft get a bit surly “Pass? Obviously, the reader must be an amateur or incompetent! Look, there’s a typo on page 3 of the coverage.”

Now all of you kind folks who’ve been reading our blogs or watching our videos for a while know I sound like a broken record on this topic, but that’s because this bears repeating. And repeating. So here it is.

The amount of work and time you put in doesn’t always translate to a “consider” — AKA ready to send out. I have literally been doing this for 35 years, and it still takes me a ridiculous amount of drafts to generate anything decent. Our last movie “To Your Last Death” took 27, in fact, before we got our first consider. Our newest film, currently in pre-production, took around 25 drafts before we locked script, including weekly 2-3-hour development Zoom calls with the producer for over a year. Sure, that also included director, casting, and executive producer notes, but still.

Now if that sounds excessive and crazy–yup! Hopefully it will be easier/faster for you. But not me. Once burned, twice shy. Or in my case, 975 times burned, twice shy. I will never, ever send our a script too early again. That sensation of the door hitting you on the keister on the way out is one we can probably all live without.

So let’s look at a few ways we writers can determine whether or not our material is indeed ready for the bigs–or if it needs to be sent back for rewrite.

Contests. Winning or placing highly in a contest may bolster your ego, but does it really mean the script is solid? “Some (contests) can be helpful,” says Jennie Frisbie from Magnet Management, “but (often) the scripts that they award are not necessarily for the same things that will make a script sell.”

Frisbie feels that a strong showing in a contest means you probably have a decent voice, “but the story itself (may not have) any structure, or it’s not commercial, or it may still be several drafts away.”

Contest validation only carries so much industry weight. The winners may represent the best of the submissions–but that doesn’t necessarily mean they’re pro level yet. Alibi LA manager Jake Wagner says, “People send in queries, like, ‘I made top ten of these five contests,’ which doesn’t mean squat. Maybe it was a bad year for all those contests, you know?” Often, many of those contest winners still need work. “Sometimes they have to pick the best of the worst,” Wagner adds. This is especially true of the smaller contests and festivals, which are generally considered nothing-burgers.

Coverage. There are a lot of script coverage services out there; Wagner feels their analyses can be helpful “if it’s a legitimate coverage service that’s going to tell people straight.” He feels that many coverage companies pull their punches just to keep the client coming back. Still, he notes that he has found some great writers through coverage companies. “If I was living in Michigan and I just got out of college and wrote a script, I would know no one,” he says. “So coverage is the way to go. Submit it to a reputable L.A. coverage service and things can happen out of that, too. Those coverage services always send the hot scripts out.”

A decent coverage service will give you smart script notes at an affordable price. They’ll also often tell you things you don’t necessarily want to hear–like that your script still isn’t in the “consider” zone four drafts later. Look for companies that have been around for a while and have a good reputation and real industry readers.

Friends, Family and Writers Groups. When it comes to your besties and your grandma, yeaaah, just say no. “Get three or four confidential reads from people who aren’t your mom or your sister or your best friend,” says Wagner, “who aren’t just going to tell you how great it is and how great you are.” And unless those friends are in the biz, they’re probably not story-savvy enough to tell the good from the bad (or the ugly.)

As for writing groups, Wagner says thumbs-up. “They are a good way to get instant feedback,” he notes. “They’re also good because people set personal goals and deadlines, and you’ve got this group of peers all kind of like one mind, all wanting to achieve the same goal.”

How do you find a writers group? Try looking on screenwriting forums on Reddit or Facebook or Go Into the Story, or even better, take an evening writing class at your local college, and after the class is over, put one together yourself from the coolest, smartest classmates.

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With a fair amount of elbow grease, you’ll eventually get to the point where your script is legitimately good. But how do you know this for sure? A couple indicators:

• Consistent considers. When a tough-as-nails coverage service with real-world analysis like CI gives you a consider — or even better, you get several of them — it’s time to start formulating your marketing plan.
• Contest wins/placements. If you’re regularly making finalist level or above from well-regarded, top tier contests, that’s a great sign you’re either there or maybe just a draft or two away.
• Friends volunteer to help you. When you’ve got the goods, people want to be part of it. No one will volunteer to help promote a script they don’t think is there, even if they tell you they looove it. But when they say, “Hey, let me send this to a few people?” Then you you’ve got something. However, Frisbie cautions, “When people are coming back to you saying, ‘I think you should think about this, this, this and this,’ in a nice way, then I don’t think (the script is) quite there yet. Then you should listen to that and continue to work on it.”

Industry Acquaintances. When you are confident you’ve got the goods, there are a couple ways to get your script out there. Query letters, video pitches using services like Stage 32 or Roadmap Writers, high scores on Blklst.com–these can all help, but they’re also a long shot. Best bet? Slipping your script to your industry assistant fans. You do have fans who are assistants, right?

“That’s always the best way,” says Wagner. “If an assistant likes it, they’ll start circulating it within the industry and to their boss, because they get kudos for finding a good script. I always ask the assistants, have you read anything good lately? Assistants read a lot of scripts and they know if something is good or not nine times out of ten.”

The best part of sending your script to an assistant is that they are forgivable reads. “If they pass on your script, who cares?” says Wagner. “Those aren’t the hands you want to get into eventually anyway. It’s just a way to move it up the ladder. So if they don’t like it, it’s no harm, no foul.”

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So until industry acquaintances volunteer to help you, or you get consistent considers from a reputable coverage company, roll up your sleeves and get polishin’. The version that gets set up may be only one draft away. Good luck!

FAQs

How do I know when my screenplay is truly ready to share or submit?

Your script is ready when you get multiple votes from trusted coverage services or place as a finalist in respected contests. Another strong sign is when industry friends volunteer to share your script with their contacts. If people are still giving you notes about story problems, you need to keep working on it before sending it out widely.

How many drafts does a script usually need before it’s considered finished?

Most professional scripts need many more drafts than you’d expect. Even experienced writers often go through 20 to 30 drafts before their work is truly ready. Don’t rush after your third or fourth draft. The time and effort you put in doesn’t automatically mean the script is done. Keep revising until you get the clear signals that it’s ready.

What are the signs that my script still needs more work or revisions?

Getting passes from managers or not placing well in contests means your script needs more work. When friends politely point out story issues or coverage services give you a pass, listen to that feedback. Just because you’ve addressed notes once doesn’t mean the script is finished. Keep refining until the positive responses start coming consistently.

Do contest placements mean my script is ready for agents or managers?

Contest wins show you probably have a good writing voice, but the story might lack structure or commercial appeal. Smaller contests especially don’t carry much weight in the industry. Making top ten in several contests doesn’t guarantee your script is professional level yet. Use contest feedback as one tool, but don’t treat it as the final answer on readiness.

How long does it normally take to finalize a professional-quality screenplay?

Every script is different, so there’s no set timeline. Some projects take a year or more with constant revisions. Professional films often go through 20 plus drafts over many months, including notes from multiple people. Don’t compare your process to others. Focus on getting the script right rather than rushing to meet an arbitrary deadline.

Should I get professional script coverage before sending my screenplay out?

Getting coverage from a reputable service is a smart move before you start submitting. Choose companies that have been around for years and use real industry readers who give honest feedback. Avoid services that only tell you what you want to hear. Good coverage will point out problems you might have missed and help you determine if the script is truly ready or needs another draft.