My Script Services

I believe that incisive analysis enhances the writer's perception of their project and helps to close the gap between the story they're trying to tell and the story they're actually telling.  My services below also aid the writer in understanding modern screenwriting standards and industry expectations.


Along with addressing a client’s development objectives, each report focuses on improving a script’s potential by: 1) maximising narrative quality; and 2) strengthening its capacity to compete in its target market.


Payment is through PayPal's secure website.  Invoices for bank transfers are also possible.  Turnaround depends on availability, but is usually within four weeks of receipt.  Your script or production package can be received by email in Final Draft, Word, RTF or PDF.

Script Feedback Report | Coverage

Feedback Report

More detailed than industry-standard coverage, this report speaks to your script’s key strengths and weaknesses, providing feedback with the aim of increasing your story’s ability to compete for its target audience.

Primary narrative elements are given in-depth analysis with solid recommendations, especially useful if writers are having difficulty isolating or resolving interrelating narrative problems. 


The Feedback Report has a minimum length of 4-pages and is priced at €300.

It comprises the following:

  • 1) PREMISE – This section frames the entire analysis with a comprehensive examination of what the story is about dramatically, thematically and what kind of experience it’s offering its target audience. 

  • 2) CHARACTER – An appraisal of your protagonist’s nature and journey.  This involves their primary conflicts, their motivation, flaws, depth, believability, relatability, wants and needs.  Supporting characters and relationships are also considered.


  • 3) STRUCTURE – Detailed comments on the effectiveness of your story’s arrangement (beginning, middle and ending) and whether it is supporting or detracting from the script’s main dramatic and thematic tensions.


  • 4) DIALOGUE – This section primarily addresses the dialogue’s ability to reveal character and aid dramatic tension.   Quality of subtext, exposition, credibility and tone in the characters’ conversations and language are also considered. 


  • 5) PACING An evaluation of how effective and consistent the story is at maintaining audience engagement.  This looks at the story’s rhythm and forward momentum, escalation in the main story tension, areas of suspense and lag.


  • 6) WORLD OF THE STORYThorough analysis of the design and effectiveness of the story world. This takes in the script’s visual language, the story’s setting and time period together with character vocations, cultures and credibility.


  • 7) CONCLUSIONA summary of the commercial and artistic merits of the script’s Premise, how the industry is likely to receive the story and where attention should be placed going forward.  This also contains comments on format and writing style.


Development Notes

This service provides a comprehensive assessment of the script’s primary and secondary story elements in support of an overall plan to strengthen the project’s narrative quality and enhance its distinctive sell, extremely prudent if you are preparing for a strong rewrite or a financing draft.

Narrative issues and priorities outlined by the writer/creative team can also be addressed by this service.

Development Notes has a minimum length of 10-pages is priced at €750.

This service comprises:

  • 1) PREMISE – An overview of how effectively all narrative elements are combining to deliver an emotionally impactful experience that is greater than the sum of its parts.  Areas of emphasis include concept execution and story cohesion.

  • 2) DRAMATIC CONFLICT – This section looks at aspects of the script’s main dramatic conflict (protagonist’s story problem, goal, motivation/stakes and source of antagonism) and how well they are combining to drive the narrative and produce story-long dramatic tension.

  • 3) THEMATIC CONFLICT – An assessment of the story’s main theme and how efficiently it is being explored by way of the characters’ journeys and by the story as a whole.  Emphasis is given to the story’s meaning, which is often expressed through the script’s resolution.

  • 4) MARKET – Whether aimed at a broad or niche audience, the script’s ability to meet its target audience’s expectations in a way that is both familiar and original is addressed here.  How the story measures up against its most applicable competition also features.

  • 5) CHARACTER – A careful examination of principal and supporting characters and how their struggles are facilitating the script’s dramatic and thematic strengths, with constructive suggestions.  Primary aspects considered here include the protagonist’s journey (internal and external conflict and transformation, or near-transformation) and their nature (flaws, motivations, depth, believability and relatability).

  • 6) STRUCTURE – This section evaluates how efficiently the story’s beginning, middle and ending are handling the main conflict’s set-up, confrontation and resolution.  The guiding focus here is on whether the arrangement of character journeys, subplots and main tensions is supporting the story’s dramatic and thematic climaxes.

  • 7) DIALOGUE – A comprehensive assessment of the dialogue’s ability to reveal character, create tension and imply theme.  This section also considers how the script’s dialogue supports character credibility, reinforces the story world, sustains tone, conveys subtext and disguises exposition.

  • 8) PACING – An assessment of how well the story is maintaining audience engagement throughout the telling.  While this section focuses on the main dramatic tension, it also considers secondary dramatic questions, moments of suspense and how to address notable lag.

  • 9) WORLD OF THE STORY – Detailed comments on the authenticity of the story world.  This examination considers the script’s visual language, the presence or absence of good research, the story’s setting, time period, character vocations and cultures.

  • 10) WRITING THE PAGE – An evaluation of the overall quality of the writing.  Emphasis is given to areas of the script that are markedly vivid or muddled, while also highlighting errors such as: format, grammar, punctuation and passive verbs.

  • 11) CONCLUSION – A summation of the project’s current strengths, weakness and its calculable potential.  This section constructively outlines specific aspects of the story that are in need of development and the foremost narrative issues that need resolving along with recommendations to be considered in preparation for a more robust draft.

Script Development Notes | Coverage
Advanced Script Development Notes | Script Editing

Advanced Development Notes

Designed for more focused writers and producers, this service requires an initial read fee (€100) and submission of the creative team’s development goals (one page).  If I am able to help and we all agree on the script’s developmental needs then we may continue.


With the aim of maximising narrative quality and enhancing the script’s ability to compete, scientific scrutiny is applied to minor, moderate and major strengths and weaknesses within macro and micro story elements.

Advanced Development Notes has a minimum length of 20-pages and is priced at €2500.

This service can comprise:

  • 1)  MEETING#1 – Conference with writer or creative team to discuss: the project’s present obstacles; the purpose of the next draft (e.g. is it for financing/production?); the option to split this service over two drafts; and the script’s development timeline (e.g. determining the number of drafts; establishing deadlines; agreeing what is achievable within our time-frame).

  • 2)  PREMISE – Examination of the project’s current strengths, weakness and its ability to compete in its target market.  This section provides an overview of the script’s commercial and artistic merits with an emphasis on how its narrative quality and its distinctive sell can be enhanced.  This often underscores key dramatic and thematic issues for troubleshooting.

  • 3)  GENRE and MARKET – An evaluation of the particular experience which the script is offering to its target audience.  This looks at the project’s international reach, the familiar and original aspects of the narrative and story pattern.  Tone, mix of genre and likely budget also feature here.

  • 4)  DRAMATIC CONFLICT – This section comprehensively breaks down and analyses key elements of the story’s primary dramatic conflict (e.g. goal, stakes, source of antagonism, motivation, obstacles).  The aim is to improve the tension being generated by the script’s combination of these components.  Secondary sources of drama are also assessed.

  • 5)  THEMATIC CONFLICT – A detailed examination of the story’s main themes, its unspoken debates and what the story’s resolution expresses thematically.  This applies to all stories irrespective of genre or story pattern.  The abstract ideas or moral issues implied by the characters’ journeys and the narrative as a whole are considered in determining the script’s meaning or point (e.g. is too timid, preachy or ambiguous?).

  • 6)  STRUCTURE – A comprehensive assessment of the story’s arrangement and its effectiveness in supporting the script’s dramatic and thematic punches.  This involves: the tensions of macro elements (story and act) and micro elements (sequence and scene); the escalation in stakes and character motivations; the interconnecting of subplots; the structure of the protagonist’s inner journey; and the arcs of secondary characters.

  • 7)  CHARACTER – A detailed analysis of principal and supporting characters with an emphasis on character nature and journey (inner and/or outer).  Main characters’ wants, needs, flaws, relatability, motivations, depth and believability are assessed with regard to how well they are facilitating the dramatic and thematic strengths of the script.  This also extends to one-string characters.

  • 8)  CHARACTER DYNAMICS – This section evaluates the major character relationships and how efficiently they are: generating conflict; increasing pressure on characters; revealing character nature; and supporting the story’s forward momentum.  This often includes a look at the overall cast design.

  • 9)  DIALOGUE – Assesses the dialogue’s efficiency in revealing character, creating tension, implying theme, supporting credibility, reinforcing the story world and sustaining tone.  This section also evaluates the structure and pace of key exchanges, the characters’ choices of language, levels of subtext and exposition throughout.


  • 10)  PACING – A detailed consideration of the narrative’s effectiveness at maintaining audience involvement.  The design of the story’s primary and secondary tensions (dramatic questions) is examined with regard to escalation, suspense and areas of lag.  This section also pinpoints areas of clarity and confusion in the plot and character behaviour.

  • 11)  SUBPLOTS – The script’s B and C stories are evaluated in isolation and also in relevance to the A-story (are they adding appropriate depth and complexity?).  Emphasis is placed on dramatic conflict within each subplot and on their overall ability to deepen the script’s thematic exploration.

  • 12)  STORY WORLD – Comprehensive observations on how reliably the world of the story is being conveyed.  This examination involves careful considerations of: the effectiveness of the script’s visual language and descriptions; the significance of the story’s setting and time period; the credibility or lack thereof in how character vocations and cultures are depicted; and the absence or presence of good research.

  • 13)  CONTRIVANCES – Suspension of disbelief is fragile and demands careful maintenance.  This service also addresses general believability issues and their causes, such as plot or character machinations which appear unjustified (e.g. character decisions, actions, behaviours, dialogue). 

  • 14)  WRITING ON THE PAGE – This section assesses the overall quality of the writing, with an emphasis on parts of the script where the storytelling is particularly efficient and inefficient.  Oversights in format, grammar, and punctuation are also highlighted here.

  • 15)  CONCLUSION – This section summarises the main recommendations for development pertaining to the script’s macro and micro elements.  Consistent with the agreed upon development goals and time-frame some of these recommendations may be prioritised above others.

  • 16)  PAGE NOTES – A list of specific thoughts, impressions, reactions and suggestions that arose during each read.  These are noted as they occur.  This section can provide writers with a sense of when and how readers might be held in suspense, puzzled, amused, intrigued, drawn in and drawn out of the story.

  • 17)  MEETING#2 – A concluding discussion with the creative team about the analysis and further narrative options outlined therein.

Production Funding Assessment Service | Review of Film Funding Application

This service offers tailored solutions and support for individuals and companies in preparation for Irish and/or UK production funding applications. 

Beginning with a realistic and constructive review of your complete funding proposal, this report brings its strong points to light and addresses its shortcomings to best position your application and reinforce its viability.

This service requires an initial read fee (€100) and can be 8-20 pages in length subject to your needs and the project’s scale (e.g. a €100K observational documentary application requires fewer notes than a €3million drama series).

Please contact me below for a full quotation.

Funding Proposal Assessment

Analysis is strongly focused on improving the quality of the application package and involves comprehensive evaluations of all relevant elements, including but not limited to:

  • Presentation – a review of the coherency, efficiency and effectiveness of the entire proposal in conveying all aspects of production.

  • Quality of Content – an appraisal of the artistic, commercial and/or educational merits of the proposed material (whether fictional, factual, TV or film). 

  • Audio-visual Approach – practical and aesthetic considerations of the methods, techniques and production processes involved in achieving the intended photographic style.

  • Budget – assessment of the production budget’s adequacy, realism and completeness.

  • Production Schedule – an appraisal of the timetable’s practicality, suitability to resources and conduciveness to quality of content (prep, production, post).

  • Contributor Agreements – examination of contracts with regard to consistency and feasibility concerning key production personnel, cast, talent, logistical and executive personnel.

  • Evidence of Partnerships and Resources – examination of agreements pertaining to essential financial, logistical and/or informational support from relevant communities, organisations, companies, individuals, broadcasters and funders.


This service proposes adjustments, solutions and amendments necessary to meet industry standards and expectations and to improve the production package’s overall capacity for success.

Also provided is a calculation of the project’s value for money based on costs, preparedness and the material’s capacity to compete successfully within its most applicable arena.

(Your production package can be accepted by email in Word, RTF or PDF). 

For enquiries and quotations, please contact me below. 


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