Rewriting
Why Readers Pass On Your Script (Nine Reasons, In Order)
A pass is rarely about talent. It is almost always one of nine repeatable problems, and eight of them are fixable in a focused rewrite pass.
The Craft Desk
New articles every week on the things the Armageddon Score actually measures: structure, character, dialogue, scene craft, and the order you should fix them in. No gurus, no templates — just the diagnostics that move a draft.

Rewriting
A pass is rarely about talent. It is almost always one of nine repeatable problems, and eight of them are fixable in a focused rewrite pass.
Business
A logline is not a summary. It is a bet that one sentence can make a stranger want the whole story. Here is how to build one that holds that weight.
Business
Page count is the first note a reader forms, before a single line of dialogue. Here are the ranges that keep you in the room, and the three cuts that get you there.
Structure
Nobody reads your script fairly after a bad opening. Here is the checklist professional readers run in the first ten pages — and how to pass it.
Structure
Almost every low structure score traces back to the same page range. Here is how to find the exact scene where your middle stops pulling — and what to put in its place.
Character
If your antagonist only shows up to block scenes, your hero is not being tested. Build opposition with its own case, calendar, and cost.
Dialogue
Most drafts do not have a bad-dialogue problem. They have a too-much-dialogue problem. Here is the pass that finds the lines nobody will miss.
Business
Readers judge professionalism from the shape of the page before they read a word. Here is how to make that judgement work for you.
Rewriting
Polishing dialogue in a script whose structure will change is the most expensive mistake in screenwriting. Do the passes in this order instead.
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