A page anchored read of 74 pages, 60 scenes and 12 speaking characters.
Prepared
20 September 2026
Reference
SAMPLE
Every count in this report is computed directly from your file. Every observation carries the page it came from. Observations that could not be tied to a page were removed before this document was written; the number removed is on the final page.
A sample logline for a placeholder screenplay written only to demonstrate this report.
Five measured dimensions. The bar is this script. The marker is where it ranks against 22 ScriptLix screenplays.
Structure / 98%
60 scenes across 74 pages, median scene 1.15 pages, average 1.16
Dialogue balance / 100%
49% of prose words are dialogue, and 0 of 8 ten page windows sit outside 35 to 65%
Scene economy / 68%
10 of 60 scenes fall outside the quarter page to three page band, and 50 action blocks run past 40 words
Character spread / 58%
the busiest speaker holds 11% of all dialogue lines, and the longest gap for any speaker is 14 pages
Formatting / 100%
60 scene headings and 360 character cues were recognised, and 360 of those cues are followed by dialogue
74
Pages
60
Scenes
12
Speakers
49%
Dialogue share
1.16
Average scene, pages
1.15
Median scene, pages
0
Scenes over 3 pages
10
Scenes under 1/4 page
The five fixes that would move it most
Measured score today is 85 out of 100. Fix the top 2 and the same arithmetic returns 96. Each target is the 75th percentile of the 22 screenplays in the ScriptLix library, or 90, whichever is higher.
#
Do this
Page
Gain
1
Character spread. Close the gap where your lead disappears, or hand those pages to a character who is present. ALPHA carries 11% of the lines and the longest silence runs 14 pages.
p1
+6.4
2
Scene economy. Split or trim the scenes that run past three pages, and break the longest action blocks. 10 scenes sit outside the quarter page to three page band and 50 action blocks run past 40 words; the longest scene is 0.0 pages.
p0
+4.4
What is working
Page
Scene
Observation
p38
31
Sample strength. Placeholder text anchored to a page.
What is not
Page
Scene
Observation
p55
46
Sample weakness. Placeholder text anchored to a page.
Two
Revision roadmap
The rewrite plan, in the order that moves the measured score most. Today the arithmetic says 85 out of 100; work the list from the top and the same arithmetic climbs toward 96.
1Sample roadmap item. Placeholder instruction.
PAGE 1 · SCENE 1
Sample reasoning. Placeholder text on why this moves the placeholder script most.
Done looks like: Sample acceptance. Placeholder text a reader could verify on the page.
moves Structuresmall lift
2Sample roadmap item. Placeholder instruction.
PAGE 9 · SCENE 8
Sample reasoning. Placeholder text on why this moves the placeholder script most.
Done looks like: Sample acceptance. Placeholder text a reader could verify on the page.
moves Dialogue balancemedium lift
3Sample roadmap item. Placeholder instruction.
PAGE 17 · SCENE 15
Sample reasoning. Placeholder text on why this moves the placeholder script most.
Done looks like: Sample acceptance. Placeholder text a reader could verify on the page.
moves Scene economylarge lift
4Sample roadmap item. Placeholder instruction.
PAGE 26 · SCENE 22
Sample reasoning. Placeholder text on why this moves the placeholder script most.
Done looks like: Sample acceptance. Placeholder text a reader could verify on the page.
moves Character spreadsmall lift
5Sample roadmap item. Placeholder instruction.
PAGE 34 · SCENE 29
Sample reasoning. Placeholder text on why this moves the placeholder script most.
Done looks like: Sample acceptance. Placeholder text a reader could verify on the page.
moves Formattingmedium lift
6Sample roadmap item. Placeholder instruction.
PAGE 44 · SCENE 36
Sample reasoning. Placeholder text on why this moves the placeholder script most.
Done looks like: Sample acceptance. Placeholder text a reader could verify on the page.
moves craftlarge lift
Three
Beat map
Each beat plotted against where that beat conventionally sits. On the dashed line means on the conventional page. Above it means early, below means late.
Act breaks
Page
Scene
Beat
Conventional
Delta
What happens
p19
16
Break into two
p19
on
Sample act break. The placeholder story commits to its problem.
p55
46
All is lost
p56
-1
Sample low point. The placeholder plan comes apart.
Beats
Page
Scene
Beat
Conventional
Delta
What happens
p1
1
Opening image
p1
on
Sample opening. A placeholder room and a placeholder problem.
p38
31
Midpoint
p37
+1
Sample midpoint. The placeholder stakes change shape.
Beat map
Where the shape drifts
Every beat that lands more than 5 pages from where that beat conventionally sits. The conventional page is arithmetic on your own page count, not a rule. A large delta is a question, not a fault.
No beat sits more than 5 pages from its conventional page. On this measure the shape is where a reader expects it.
Act proportions as the beats fall
Section
Runs
Pages
Share
Act one
p1 to p19
19
26%
Act two
p19 to p55
36
49%
Act three
p55 to p74
19
26%
Four
Scene heat map
Every scene, colored by how it reads right now. Bands come from the pressure estimate, the craft and dialogue flags landing on that scene, and beat drift. Arithmetic on your pages, not a judgement.
One square per scene, in order. A gold tick marks the first scene of acts two and three.
workswobblesbrokenthree or more flags
The scenes doing the damage
Scene
Page
Heading
Flags
Pressure
1
p1
INT. SAMPLE OFFICE, DAY
4
48
6
p8
EXT. FILLER LOT, AFTERNOON
4
50
11
p13
INT. SPECIMEN WAITING ROOM, DAY
4
61
16
p19
EXT. DEMONSTRATION PLATFORM, DAY
4
57
21
p26
INT. DEMONSTRATION KITCHEN, DAY
4
63
26
p31
EXT. DUMMY PARKING DECK, NIGHT
4
63
31
p38
INT. FILLER GARAGE, NIGHT
4
52
36
p44
EXT. SPECIMEN BRIDGE, DUSK
4
49
Five
Scene ledger
Every scene the read covered, in order: what it is doing, what is in conflict, the state it opens and closes on, whether it turns, and a pressure estimate.
pressure estimate: 35% how short the scene is against a 3 page cap, 35% how many people speak in it against a 4 speaker cap, 30% how far its dialogue balance sits from this script's own average. Arithmetic on your pages, not a judgement.
The last column is the one change to make on that page. It is blank where the scene already works; 0 of 60 scenes carry one.
Scene
Page
Heading
Function, conflict, turn
Do this
Pressure
1
p1
INT. SAMPLE OFFICE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
48
2
p2
EXT. PLACEHOLDER YARD, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
63
3
p2
INT. EXAMPLE CORRIDOR, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
43
4
p4
EXT. SPECIMEN BRIDGE, DUSK
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
54
5
p5
INT. DEMONSTRATION KITCHEN, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
32
6
p8
EXT. FILLER LOT, AFTERNOON
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
50
7
p8
INT. PLACEHOLDER STAIRWELL, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
51
8
p9
EXT. SAMPLE RIVERBANK, DAWN
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
50
9
p11
INT. EXAMPLE WAREHOUSE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
63
10
p11
EXT. DUMMY PARKING DECK, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
52
11
p13
INT. SPECIMEN WAITING ROOM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
61
12
p14
EXT. PLACEHOLDER ROOFTOP, EVENING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
49
13
p15
INT. SAMPLE ARCHIVE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
49
14
p17
EXT. EXAMPLE FOOTPATH, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
63
15
p17
INT. FILLER GARAGE, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
42
16
p19
EXT. DEMONSTRATION PLATFORM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
57
17
p20
INT. SAMPLE OFFICE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
32
18
p22
EXT. PLACEHOLDER YARD, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
48
19
p23
INT. EXAMPLE CORRIDOR, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
53
20
p24
EXT. SPECIMEN BRIDGE, DUSK
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
50
21
p26
INT. DEMONSTRATION KITCHEN, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
63
22
p26
EXT. FILLER LOT, AFTERNOON
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
52
23
p28
INT. PLACEHOLDER STAIRWELL, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
60
24
p29
EXT. SAMPLE RIVERBANK, DAWN
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
49
25
p30
INT. EXAMPLE WAREHOUSE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
48
26
p31
EXT. DUMMY PARKING DECK, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
63
27
p32
INT. SPECIMEN WAITING ROOM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
42
28
p34
EXT. PLACEHOLDER ROOFTOP, EVENING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
56
29
p34
INT. SAMPLE ARCHIVE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
33
30
p37
EXT. EXAMPLE FOOTPATH, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
48
31
p38
INT. FILLER GARAGE, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
52
32
p39
EXT. DEMONSTRATION PLATFORM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
52
33
p40
INT. SAMPLE OFFICE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
63
34
p41
EXT. PLACEHOLDER YARD, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
52
35
p43
INT. EXAMPLE CORRIDOR, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
59
36
p44
EXT. SPECIMEN BRIDGE, DUSK
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
49
37
p45
INT. DEMONSTRATION KITCHEN, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
49
38
p46
EXT. FILLER LOT, AFTERNOON
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
63
39
p46
INT. PLACEHOLDER STAIRWELL, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
43
40
p48
EXT. SAMPLE RIVERBANK, DAWN
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
55
41
p49
INT. EXAMPLE WAREHOUSE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
33
42
p52
EXT. DUMMY PARKING DECK, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
48
43
p52
INT. SPECIMEN WAITING ROOM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
53
44
p54
EXT. PLACEHOLDER ROOFTOP, EVENING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
53
45
p55
INT. SAMPLE ARCHIVE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
63
46
p55
EXT. EXAMPLE FOOTPATH, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
52
47
p57
INT. FILLER GARAGE, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
59
48
p58
EXT. DEMONSTRATION PLATFORM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
48
49
p60
INT. SAMPLE OFFICE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
48
50
p61
EXT. PLACEHOLDER YARD, MORNING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
63
51
p61
INT. EXAMPLE CORRIDOR, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
43
52
p63
EXT. SPECIMEN BRIDGE, DUSK
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
56
53
p64
INT. DEMONSTRATION KITCHEN, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
33
54
p67
EXT. FILLER LOT, AFTERNOON
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
50
55
p67
INT. PLACEHOLDER STAIRWELL, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
52
56
p68
EXT. SAMPLE RIVERBANK, DAWN
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
51
57
p70
INT. EXAMPLE WAREHOUSE, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
63
58
p70
EXT. DUMMY PARKING DECK, NIGHT
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as settled exits as unsettled (does not turn)
Shift: Open to closed.
Leave it
51
59
p72
INT. SPECIMEN WAITING ROOM, DAY
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as wary exits as committed (turns)
Shift: Certain to unsure.
Leave it
61
60
p73
EXT. PLACEHOLDER ROOFTOP, EVENING
Sample entry. In a real report this names what the scene is for.
Conflict: Placeholder conflict text standing in for the pressure in the scene.
Enters as certain exits as doubting (turns)
Shift: Held to spent.
Leave it
49
The pressure column above, read as a curve across the ledger.
Six
Character studies
First to last appearance for each speaker, with line count on the right.
One full page for every character who speaks at least 10 times. The counts on each page are computed from your file. The reading beside them is not.
Character study
ALPHA
40
Speeches
675
Words spoken
16.9
Words per speech
11%
Of all dialogue
15
Scenes
p1
First appearance
p72
Last appearance
7
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p1
1
Sample first beat. Placeholder text.
p1
1
Sample turn. Placeholder text.
p1
1
Sample landing. Placeholder text.
Most characteristic, p1: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p1: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p1
1
Sample evidence. Placeholder observation anchored to a page.
p1
1
Sample evidence. A second placeholder observation.
Character study
DELTA
40
Speeches
681
Words spoken
17.0
Words per speech
11%
Of all dialogue
15
Scenes
p1
First appearance
p72
Last appearance
7
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p4
4
Sample first beat. Placeholder text.
p4
4
Sample turn. Placeholder text.
p4
4
Sample landing. Placeholder text.
Most characteristic, p4: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p4: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p4
4
Sample evidence. Placeholder observation anchored to a page.
p4
4
Sample evidence. A second placeholder observation.
Character study
JULIET
40
Speeches
675
Words spoken
16.9
Words per speech
11%
Of all dialogue
15
Scenes
p5
First appearance
p72
Last appearance
6
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
No. It is started and left open.
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p8
7
Sample first beat. Placeholder text.
p8
7
Sample turn. Placeholder text.
p8
7
Sample landing. Placeholder text.
Most characteristic, p8: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p8: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p8
7
Sample evidence. Placeholder observation anchored to a page.
p8
7
Sample evidence. A second placeholder observation.
Character study
KILO
40
Speeches
675
Words spoken
16.9
Words per speech
11%
Of all dialogue
15
Scenes
p6
First appearance
p73
Last appearance
6
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p11
10
Sample first beat. Placeholder text.
p11
10
Sample turn. Placeholder text.
p11
10
Sample landing. Placeholder text.
Most characteristic, p11: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p11: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p11
10
Sample evidence. Placeholder observation anchored to a page.
p11
10
Sample evidence. A second placeholder observation.
Character study
HOTEL
35
Speeches
617
Words spoken
17.6
Words per speech
10%
Of all dialogue
10
Scenes
p6
First appearance
p69
Last appearance
10
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p15
13
Sample first beat. Placeholder text.
p15
13
Sample turn. Placeholder text.
p15
13
Sample landing. Placeholder text.
Most characteristic, p15: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p15: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p15
13
Sample evidence. Placeholder observation anchored to a page.
p15
13
Sample evidence. A second placeholder observation.
Character study
CHARLIE
30
Speeches
510
Words spoken
17.0
Words per speech
8%
Of all dialogue
10
Scenes
p3
First appearance
p74
Last appearance
10
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
No. It is started and left open.
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p19
16
Sample first beat. Placeholder text.
p19
16
Sample turn. Placeholder text.
p19
16
Sample landing. Placeholder text.
Most characteristic, p19: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p19: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p19
16
Sample evidence. Placeholder observation anchored to a page.
p19
16
Sample evidence. A second placeholder observation.
Character study
ECHO
30
Speeches
449
Words spoken
15.0
Words per speech
7%
Of all dialogue
10
Scenes
p6
First appearance
p73
Last appearance
6
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p23
19
Sample first beat. Placeholder text.
p23
19
Sample turn. Placeholder text.
p23
19
Sample landing. Placeholder text.
Most characteristic, p23: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p23: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p23
19
Sample evidence. Placeholder observation anchored to a page.
p23
19
Sample evidence. A second placeholder observation.
Character study
FOXTROT
30
Speeches
508
Words spoken
16.9
Words per speech
8%
Of all dialogue
15
Scenes
p3
First appearance
p74
Last appearance
6
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p26
22
Sample first beat. Placeholder text.
p26
22
Sample turn. Placeholder text.
p26
22
Sample landing. Placeholder text.
Most characteristic, p26: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p26: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p26
22
Sample evidence. Placeholder observation anchored to a page.
p26
22
Sample evidence. A second placeholder observation.
Character study
GOLF
30
Speeches
509
Words spoken
17.0
Words per speech
8%
Of all dialogue
15
Scenes
p1
First appearance
p68
Last appearance
6
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
No. It is started and left open.
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p30
25
Sample first beat. Placeholder text.
p30
25
Sample turn. Placeholder text.
p30
25
Sample landing. Placeholder text.
Most characteristic, p30: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p30: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p30
25
Sample evidence. Placeholder observation anchored to a page.
p30
25
Sample evidence. A second placeholder observation.
Character study
INDIA
20
Speeches
339
Words spoken
16.9
Words per speech
6%
Of all dialogue
10
Scenes
p3
First appearance
p67
Last appearance
9
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p34
28
Sample first beat. Placeholder text.
p34
28
Sample turn. Placeholder text.
p34
28
Sample landing. Placeholder text.
Most characteristic, p34: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p34: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p34
28
Sample evidence. Placeholder observation anchored to a page.
p34
28
Sample evidence. A second placeholder observation.
Character study
BRAVO
15
Speeches
282
Words spoken
18.8
Words per speech
5%
Of all dialogue
10
Scenes
p10
First appearance
p73
Last appearance
10
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
Yes, on the page
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p38
31
Sample first beat. Placeholder text.
p38
31
Sample turn. Placeholder text.
p38
31
Sample landing. Placeholder text.
Most characteristic, p38: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p38: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p38
31
Sample evidence. Placeholder observation anchored to a page.
p38
31
Sample evidence. A second placeholder observation.
Character study
LIMA
10
Speeches
169
Words spoken
16.9
Words per speech
3%
Of all dialogue
5
Scenes
p15
First appearance
p74
Last appearance
14
Longest absence, pages
Wants
Sample want. Placeholder text describing what this character is chasing.
Needs
Sample need. Placeholder text describing what they actually require.
In the way
Sample flaw. Placeholder text naming the habit that costs them.
Arc
Sample arc. Placeholder text tracing the change across the placeholder script.
Arc completes
No. It is started and left open.
Voice
Sample voice note. Placeholder description of how this character sounds on the page.
The arc in three beats
Page
Scene
Observation
p41
34
Sample first beat. Placeholder text.
p41
34
Sample turn. Placeholder text.
p41
34
Sample landing. Placeholder text.
Most characteristic, p41: “This is placeholder dialogue standing in for a real line.”
Least characteristic, p41: “Sample line. Read it as shape rather than as story.”
On the page
Page
Scene
Observation
p41
34
Sample evidence. Placeholder observation anchored to a page.
p41
34
Sample evidence. A second placeholder observation.
Seven
Voice similarity
Measured, not guessed: average line length, shared vocabulary, question rate and contraction rate, for every speaker with at least 10 speeches. A pair is flagged above 0.75.
ALPHA and DELTA score 0.82, sharing 64% of their content words. Average line length differs by 3%, question rate by 4%, contraction rate by 6%.
ALPHA, p1: “Sample line from the first placeholder speaker.”
DELTA, p1: “Sample line from the second placeholder speaker.”
Every measured voice
Speaker
Speeches
Avg words
Questions
Contractions
Longest speech, page
ALPHA
40
16.9
20%
14%
p1
DELTA
40
17.0
22%
17%
p1
JULIET
40
16.9
24%
11%
p5
KILO
40
16.9
18%
14%
p6
HOTEL
35
17.6
20%
17%
p6
CHARLIE
30
17.0
22%
11%
p3
ECHO
30
15.0
24%
14%
p6
FOXTROT
30
16.9
18%
17%
p3
Eight
Dialogue analysis
Dialogue as a share of prose words, in ten page windows. The shaded band is 35 to 65 percent. Marks outside it are drawn in rust.
No run of 10 pages or more sits above 65 percent dialogue. The balance holds across the whole script.
Where the balance sits, ten pages at a time
Pages
Dialogue words
Action words
Dialogue share
In band
p1 to p10
806
893
47%
yes
p11 to p20
750
959
44%
yes
p21 to p30
882
812
52%
yes
p31 to p40
846
848
50%
yes
p41 to p50
766
942
45%
yes
p51 to p60
885
811
52%
yes
p61 to p70
774
924
46%
yes
p71 to p80
380
275
58%
yes
On the nose
Lines that say the subtext out loud.
Page
Scene
Observation
p1
1
Sample dialogue note. Placeholder text about a line stating its own subtext.
p8
6
Sample dialogue note. Placeholder text about a line stating its own subtext.
p13
11
Sample dialogue note. Placeholder text about a line stating its own subtext.
p19
16
Sample dialogue note. Placeholder text about a line stating its own subtext.
p26
21
Sample dialogue note. Placeholder text about a line stating its own subtext.
p31
26
Sample dialogue note. Placeholder text about a line stating its own subtext.
p38
31
Sample dialogue note. Placeholder text about a line stating its own subtext.
p44
36
Sample dialogue note. Placeholder text about a line stating its own subtext.
Passages that circle
Page
Scene
Observation
p1
1
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p8
6
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p13
11
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p19
16
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p26
21
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p31
26
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p38
31
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
p44
36
Sample dialogue note. Placeholder text about a stretch that runs long on speech.
Who does the talking
Speaker
Speeches
Words
Share of all dialogue
Scenes
ALPHA
40
675
11%
15
DELTA
40
681
11%
15
JULIET
40
675
11%
15
KILO
40
675
11%
15
HOTEL
35
617
10%
10
CHARLIE
30
510
8%
10
ECHO
30
449
7%
10
FOXTROT
30
508
8%
15
GOLF
30
509
8%
15
INDIA
20
339
6%
10
BRAVO
15
282
5%
10
LIMA
10
169
3%
5
Nine
Dialogue, character by character
One read per speaker who clears 10 speeches: how steadily the voice holds, the habit that marks a line as theirs, and a few of their own lines sharpened. Every line quoted is yours, with the page it sits on.
Dialogue
ALPHA
How the voice holds
Sample consistency note. Placeholder text on how steady this voice reads across the draft.
The tell
Sample tell. Placeholder text naming the habit that marks this speaker.
Lines that could be anyone
Page
Scene
Observation
p1
1
Sample slip. Placeholder text where the voice drifts.
The same line, sharpened
PAGE 1 · SCENE 1
AS WRITTEN
This is placeholder dialogue standing in for a line as written.
ONE WAY TO PLAY IT
Placeholder dialogue, tighter.
Why: Sample reason. Placeholder text on what the cut buys.
PAGE 1 · SCENE 1
AS WRITTEN
A second placeholder line, longer than it needs to be on the page.
ONE WAY TO PLAY IT
A second placeholder line.
Why: Sample reason. A second placeholder explanation.
Dialogue
DELTA
How the voice holds
Sample consistency note. Placeholder text on how steady this voice reads across the draft.
The tell
Sample tell. Placeholder text naming the habit that marks this speaker.
Lines that could be anyone
Page
Scene
Observation
p4
4
Sample slip. Placeholder text where the voice drifts.
The same line, sharpened
PAGE 4 · SCENE 4
AS WRITTEN
This is placeholder dialogue standing in for a line as written.
ONE WAY TO PLAY IT
Placeholder dialogue, tighter.
Why: Sample reason. Placeholder text on what the cut buys.
PAGE 4 · SCENE 4
AS WRITTEN
A second placeholder line, longer than it needs to be on the page.
ONE WAY TO PLAY IT
A second placeholder line.
Why: Sample reason. A second placeholder explanation.
Dialogue
JULIET
How the voice holds
Sample consistency note. Placeholder text on how steady this voice reads across the draft.
The tell
Sample tell. Placeholder text naming the habit that marks this speaker.
Lines that could be anyone
Page
Scene
Observation
p8
7
Sample slip. Placeholder text where the voice drifts.
The same line, sharpened
PAGE 8 · SCENE 7
AS WRITTEN
This is placeholder dialogue standing in for a line as written.
ONE WAY TO PLAY IT
Placeholder dialogue, tighter.
Why: Sample reason. Placeholder text on what the cut buys.
PAGE 8 · SCENE 7
AS WRITTEN
A second placeholder line, longer than it needs to be on the page.
ONE WAY TO PLAY IT
A second placeholder line.
Why: Sample reason. A second placeholder explanation.
Dialogue
KILO
How the voice holds
Sample consistency note. Placeholder text on how steady this voice reads across the draft.
The tell
Sample tell. Placeholder text naming the habit that marks this speaker.
Lines that could be anyone
Page
Scene
Observation
p11
10
Sample slip. Placeholder text where the voice drifts.
The same line, sharpened
PAGE 11 · SCENE 10
AS WRITTEN
This is placeholder dialogue standing in for a line as written.
ONE WAY TO PLAY IT
Placeholder dialogue, tighter.
Why: Sample reason. Placeholder text on what the cut buys.
PAGE 11 · SCENE 10
AS WRITTEN
A second placeholder line, longer than it needs to be on the page.
ONE WAY TO PLAY IT
A second placeholder line.
Why: Sample reason. A second placeholder explanation.
Dialogue
HOTEL
How the voice holds
Sample consistency note. Placeholder text on how steady this voice reads across the draft.
The tell
Sample tell. Placeholder text naming the habit that marks this speaker.
Lines that could be anyone
Page
Scene
Observation
p15
13
Sample slip. Placeholder text where the voice drifts.
The same line, sharpened
PAGE 15 · SCENE 13
AS WRITTEN
This is placeholder dialogue standing in for a line as written.
ONE WAY TO PLAY IT
Placeholder dialogue, tighter.
Why: Sample reason. Placeholder text on what the cut buys.
PAGE 15 · SCENE 13
AS WRITTEN
A second placeholder line, longer than it needs to be on the page.
ONE WAY TO PLAY IT
A second placeholder line.
Why: Sample reason. A second placeholder explanation.
Dialogue
CHARLIE
How the voice holds
Sample consistency note. Placeholder text on how steady this voice reads across the draft.
The tell
Sample tell. Placeholder text naming the habit that marks this speaker.
Lines that could be anyone
Page
Scene
Observation
p19
16
Sample slip. Placeholder text where the voice drifts.
The same line, sharpened
PAGE 19 · SCENE 16
AS WRITTEN
This is placeholder dialogue standing in for a line as written.
ONE WAY TO PLAY IT
Placeholder dialogue, tighter.
Why: Sample reason. Placeholder text on what the cut buys.
PAGE 19 · SCENE 16
AS WRITTEN
A second placeholder line, longer than it needs to be on the page.
ONE WAY TO PLAY IT
A second placeholder line.
Why: Sample reason. A second placeholder explanation.
Ten
Craft flags
Measured in code
Page
Scene
Flag
Note
p1
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p2
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p4
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p5
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p6
0
long_action_block
A block of 56 words runs without a cut or a line of dialogue.
p8
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p10
0
long_action_block
A block of 56 words runs without a cut or a line of dialogue.
p11
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p13
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p14
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p16
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p17
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p19
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p20
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p20
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p23
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p24
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p26
0
long_action_block
A block of 50 words runs without a cut or a line of dialogue.
p28
0
long_action_block
A block of 49 words runs without a cut or a line of dialogue.
p29
0
long_action_block
A block of 49 words runs without a cut or a line of dialogue.
p30
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p32
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p34
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p35
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p35
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p38
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p39
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p41
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p43
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p44
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p45
0
long_action_block
A block of 49 words runs without a cut or a line of dialogue.
p46
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p48
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p49
0
long_action_block
A block of 49 words runs without a cut or a line of dialogue.
p50
0
long_action_block
A block of 56 words runs without a cut or a line of dialogue.
p52
0
long_action_block
A block of 49 words runs without a cut or a line of dialogue.
p54
0
long_action_block
A block of 56 words runs without a cut or a line of dialogue.
p55
0
long_action_block
A block of 56 words runs without a cut or a line of dialogue.
p57
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p59
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p60
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p61
0
long_action_block
A block of 52 words runs without a cut or a line of dialogue.
p63
0
long_action_block
A block of 49 words runs without a cut or a line of dialogue.
p64
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p65
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p67
0
long_action_block
A block of 54 words runs without a cut or a line of dialogue.
p69
0
long_action_block
A block of 55 words runs without a cut or a line of dialogue.
p70
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p72
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
p73
0
long_action_block
A block of 51 words runs without a cut or a line of dialogue.
Sentence openings you reuse
Counted in code across every action line. A repeated opening is not wrong, but four or more of the same one is a tic the reader hears.
Opens with
Times
Pages
For example
demonstration beat
32
p3, p7, p8
Demonstration beat.
the room
32
p3, p7, p8
The room holds its shape while the conversation reorganises
example passage
29
p1, p9, p11
Example passage covering a small physical task performed
it has
29
p2, p6, p10
It has been there long enough to leave a mark on the...
the sound
29
p1, p2, p4
The sound
a door
27
p1, p2, p3
A door opens somewhere below and does not close
demonstration text
27
p1, p2, p3
Demonstration text standing in for
papers are
26
p2, p4, p5
Papers are moved from one pile to another
a figure
25
p1, p5, p8
A figure crosses the space, stops, and
filler action
25
p1, p2, p4
Filler action.
sample staging
25
p1, p5, p8
Sample staging text
sample text
25
p3, p6, p8
Sample text
two people
25
p1, p2, p4
Two people occupy the same room and manage not to look at...
someone stands
24
p4, p10, p11
Someone stands too close to the doorway
considers the
22
p1, p5, p8
considers the object on the table without touching it.
example action
22
p2, p6, p10
Example action
placeholder action
22
p1, p5, p8
Placeholder action describes the room and the light falling
sample paragraph
22
p2, p4, p5
Sample paragraph
conversation reorganises
21
p7, p10, p13
conversation reorganises itself around a new fact.
description of
21
p6, p10, p14
description of an object at rest
filler description
21
p2, p15, p22
Filler description of an object at rest.
nothing here
21
p1, p5, p8
Nothing here is drawn from a real screenplay.
the temperature
21
p11, p13, p14
The temperature of the scene changes
carefully and
18
p2, p9, p13
carefully and with more attention than it deserves.
long enough
18
p15, p22, p25
long enough to leave a mark on the surface.
placeholder passage
17
p2, p4, p17
Placeholder passage
carries further
16
p1, p2, p4
carries further than it should at this hour
example description
16
p1, p2, p4
Example description of weather against a window
across it
15
p1, p5, p8
across it
committed to
15
p10, p13, p14
committed to either entering or leaving.
somewhere below
14
p2, p3, p4
somewhere below and does not close again
action text
13
p13, p14, p15
action text
anybody naming
13
p13, p14, p15
anybody naming the thing that changed it
arm of
13
p25, p28, p29
arm of the chair instead.
further than
13
p14, p16, p20
further than it should at this hour.
hand hesitates
13
p25, p28, p29
hand hesitates over a switch, withdraws, and settles on the
light from
13
p6, p10, p17
Light from a passing vehicle sweeps the
pile with
13
p2, p30, p36
pile with no obvious system behind it
a hand
12
p3, p6, p8
A hand hesitates over a switch, withdraws, and
floor gives
12
p5, p10, p11
floor gives slightly underfoot near the far wall
to look
12
p6, p20, p24
to look at one another for a long moment.
another for
11
p1, p2, p4
another for a long moment
covering a
11
p11, p26, p28
covering a small physical task performed carefully and with
more attention
11
p11, p26, p28
more attention than it deserves.
ceiling and
10
p6, p10, p17
ceiling and is gone before anyone reacts to it
the floor
10
p2, p4, p17
The floor gives slightly
anyone reacts
9
p2, p40, p43
anyone reacts to it
from a
9
p2, p40, p43
from a passing vehicle sweeps the ceiling and is gone before
no obvious
9
p6, p10, p20
no obvious system behind it.
placeholder staging
9
p4, p11, p26
Placeholder staging
sample action
9
p11, p26, p28
Sample action text
settles on
9
p3, p8, p11
settles on the arm of the chair instead
covering movement
8
p2, p4, p17
covering movement through the space
does not
8
p20, p24, p35
does not close again.
enough to
8
p6, p10, p17
enough to leave a mark on the surface
standing in
8
p20, p24, p35
standing in for a real beat
to be
8
p4, p11, p26
to be committed to either entering or leaving.
underfoot near
8
p2, p4, p17
underfoot near the far wall.
without anybody
8
p11, p28, p36
without anybody naming the thing that changed it
describes the
7
p13, p15, p31
describes the room and the light falling across it
here is
7
p13, p15, p31
here is drawn from a real screenplay.
action describes
6
p11, p28, p50
action describes the room and the light falling across it.
itself around
6
p3, p8, p11
itself around a new fact.
a real
5
p1, p5, p8
a real beat
its shape
5
p43, p44, p60
its shape while the conversation reorganises itself around a
new fact
5
p43, p44, p60
new fact.
behind it
4
p4, p17, p73
behind it.
moved from
4
p4, p17, p72
moved from one pile to another pile with no obvious system
Written but not filmable
Interior state that the camera cannot see.
Page
Scene
Observation
p1
1
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p8
6
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p13
11
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p19
16
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p26
21
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p31
26
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p38
31
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
p44
36
Sample craft note. Placeholder text about reporting a feeling the camera cannot see.
On the nose
Lines that say the subtext out loud.
Page
Scene
Observation
p1
1
Sample craft note. Placeholder text about a line saying its subtext out loud.
p8
6
Sample craft note. Placeholder text about a line saying its subtext out loud.
p13
11
Sample craft note. Placeholder text about a line saying its subtext out loud.
p19
16
Sample craft note. Placeholder text about a line saying its subtext out loud.
p26
21
Sample craft note. Placeholder text about a line saying its subtext out loud.
p31
26
Sample craft note. Placeholder text about a line saying its subtext out loud.
p38
31
Sample craft note. Placeholder text about a line saying its subtext out loud.
p44
36
Sample craft note. Placeholder text about a line saying its subtext out loud.
Eleven
Rewritten passages
3 passages, as they stand and as they could read. Not instructions, a demonstration of the note.
PAGE 5 · SCENE 5
Sample problem. Placeholder text naming what the passage is doing wrong.
AS WRITTEN
SAMPLE ORIGINAL PASSAGE
Placeholder lines standing in for the writer's own text.
Nothing here is taken from a real screenplay.
ONE WAY TO PLAY IT
SAMPLE REWRITE
Placeholder lines showing the shape of the suggested version.
Still placeholder text.
Why: Sample rationale. Placeholder text explaining why the second version plays better.
PAGE 19 · SCENE 16
Sample problem. Placeholder text naming what the passage is doing wrong.
AS WRITTEN
SAMPLE ORIGINAL PASSAGE
Placeholder lines standing in for the writer's own text.
Nothing here is taken from a real screenplay.
ONE WAY TO PLAY IT
SAMPLE REWRITE
Placeholder lines showing the shape of the suggested version.
Still placeholder text.
Why: Sample rationale. Placeholder text explaining why the second version plays better.
PAGE 32 · SCENE 27
Sample problem. Placeholder text naming what the passage is doing wrong.
AS WRITTEN
SAMPLE ORIGINAL PASSAGE
Placeholder lines standing in for the writer's own text.
Nothing here is taken from a real screenplay.
ONE WAY TO PLAY IT
SAMPLE REWRITE
Placeholder lines showing the shape of the suggested version.
Still placeholder text.
Why: Sample rationale. Placeholder text explaining why the second version plays better.
Twelve
Structure comparison
Your script against the 22 screenplays in the ScriptLix library. This is our own catalogue, not an industry sample. Read it as a position, not a verdict.
Rust marker is this script. The grey line is the library median. The track runs from the smallest to the largest value in the library.How long your scenes run. The rust bars at either end are scenes outside the quarter page to three page band. The library median scene is 1.6 pages.
Act proportions
Act breaks are taken as the scene start nearest the quarter and three quarter marks, so these are the shape your scene breaks actually make, not beats a model named.
Act
Pages
Share of script
Library median
One
1 to 19
26%
25%
Two
19 to 55
49%
50%
Three
55 to 74
26%
25%
Thirteen
Market
Sample critique. Placeholder text on what the premise promises and where to sharpen it.
Comparable titles
Title
Year
Shares
Why
Page
Sample Comparable One
2019
tone
Sample reasoning. Placeholder text for why this title is comparable.
p19
Sample Comparable Two
2022
structure
Sample reasoning. A second placeholder comparison.
p38
Buyer
Sample buyer note. Placeholder text describing who this would go to.
Budget band
Sample budget band. Placeholder text describing the likely range and why.
A pitch paragraph you can reuse
Sample pitch paragraph. Placeholder sentences a writer could reuse in a query letter. Nothing here describes a real screenplay. It only demonstrates the shape of the report.
Who buys this
Sample buyer archetype, a type rather than a company.
Where to enter it
Sample Venue One
Sample Venue Two
What would have to change to reach a higher tier
Page
Scene
Observation
p55
46
Sample note. Placeholder text on what would raise the ceiling.
Fourteen
Query letter draft
A first draft of the letter that goes out with this script, built only from what the read found. Cut it, argue with it, put your own name on it. The bracketed line is yours to fill.
Subject
QUERY: SAMPLE SCREENPLAY, a placeholder feature
Sample opening paragraph. In a real letter this places the story, the lead and the pressure in three or four sentences drawn from your actual pages.
Sample second paragraph. This one carries the turn and what it costs, again written from the script rather than from a template.
Sample third paragraph. This is where the letter says what the script is about underneath the plot.
A sample logline for a placeholder screenplay written only to demonstrate this report.
Sample comp line. Placeholder text pairing two comparable titles and the shared quality.
[Your bio goes here. One or two lines: what you have written, any placement, where you are based.]
Thank you for reading.
Where each claim in the letter comes from
Page
Scene
Observation
p19
16
Sample note. Placeholder guidance on tailoring the letter per recipient.
Fifteen
Priority fix list
Ordered by how much each would improve the script, every one pointing at a page. The measured score today is 85; the arithmetic in the scorecard puts it at 96 with the top 2 fixed.
#
Page
Do this
Because
Moves
1
p55
Sample fix. Placeholder instruction.
Sample reason. Placeholder text.
structure
2
p19
Sample fix. A second placeholder instruction.
Sample reason. Placeholder text.
scene economy
In order, then
Sample next step. Placeholder text.
Sample next step. A second placeholder action.
Sixteen
Method and limits
This report is built in two halves. The counts, ratios and charts are computed in code directly from your file, so you can check any of them by hand. The written observations come from a language model, and every one of them had to name a page or a scene in your script or it was deleted before this document existed.
A page
180 words of prose. Your file has no fixed page breaks, so pages are estimated the same way for every script.
A scene
Starts at a slug line and runs to the next one. This script has 60.
Word counts
Dialogue and action words only. Slug lines, cues and transitions are counted separately and excluded from scene totals.
Dimension scores
Five pure functions of the counts above. No model was asked for a score.
Percentiles
Rank against 22 ScriptLix screenplays scored by the same functions. A small sample: read it as a rough position, not a market ranking.
Voice similarity
Measured from line length, shared vocabulary, question rate and contraction rate. Not asked of a model.
Observations removed
6, 3 cited no page, 1 cited a page outside the script, 1 cited a scene that does not exist, 1 cited a page and a scene that disagree. Anything that could not cite a real page or scene in your file was dropped in code rather than shown to you.
This report is produced automatically. No claim here has been checked by a person.