Incorrect format
If the writer isn't willing to take the time and effort to learn basic screenplay formatting, why should we take the time to read it when we get paid by the script? This includes incorrect fonts, incorrect slugs, centering the characters and dialogue, right-justified text, and character's intro not capped. WE PASS.

Directing the script
No camera angles. No songs. No soundtracks. No actors. WE PASS.

Screenplay too long
Screenplays should be no longer than 130 pages and that is pushing it for a spec. WE PASS.

Screenplays too short
When a screenplay is less than 110 pages, we immediately begin to worry if there's going to be enough story in it to entertain and 99.99999999% of the time, there isn�t. WE PASS.

Notes to the Reader
My own personal pet peeve. I hate them. I don't think they're cute. I don't think they're funny. When I read them, I either pass right away or dig in with both feet to find a reason to pass. Don't tell me what I should know after having just read the scene. I should be able to figure it out from reading your action and description. Don't tell me what a character is thinking. Don't explain things to me that you should be explaining with your action, description, and dialogue. WE PASS.

Colorful covers
We tend to keep skipping these scripts. Sometimes, if the screenwriter is a friend of a friend and we have to read it no matter what, we'll go ahead and put a regular white cardstock or agency cover on it but most of the time, screenplays with bright colorful covers are rejected immediately. I should also mention the use of graphics or binding material other than brass brads. Don't use them. WE PASS.

Boring first 10 pages
This is actually one of the first things that get drummed into us. The inciting incident is nice during the first 10 pages but if for some reason, you don't have your inciting incident within the first 10 pages, those first 10 pages better be phenomenal and provide conflict, action, tension, and/or suspense. WE PASS.

Structure
You'd be surprised at how many scripts we have to read that have no discernable structure. That means setting up the Protagonist. Inciting Incident. A crisis. Setting up the Antagonist. Subplots. Several twists, a climax, and resolution. WE PASS.

Action and description that cannot be shot
You can't shoot a character that's thinking or dreaming of something that's happened to them in their past unless you've written that past in some action and description. Let me mention notes to the Reader again. WE PASS.

Dialogue
Dialogue shouldn't be flat or on the nose. Good dialogue uses subtext. Bad dialogue explains the plot. Bad dialogue tells us what happened instead of letting us see it happen. Talking heads and specifically, pages of talking heads. It's not somebody else's job to figure out what your characters should be doing while they carry on their conversations. It's the writer's job. There's nothing worse than two characters standing together yapping for an entire page (or more) without something else also happening. Show don't tell. WE PASS.

Pet peeves
Every reader I know has his and her pet peeves and though there's no way to know who will end up reading your script, it's best to cover as many bases as possible. Some of us readers for our agency also provide freelance reading for studios and producers so all the above still applies

He has a friend who does some work as a reader for one of the big agencies and when he started he was handed an "under the table guidelines" before he read his first script....

Most will advise against it.  My personal opinion is it depends on how much it actually has to do with the story.  Is somebody singing, or is this just music in the background?  If it's the latter, best to leave it out.

Also, try to take into how much the song may cost to obtain into consideration.  Led Zeppelin and AC/DC are ridiculously expensive.

Screenplays too short
When a screenplay is less than 110 pages, we immediately begin to worry if there's going to be enough story in it to entertain and 99.99999999% of the time, there isn�t. WE PASS.

Structure
You'd be surprised at how many scripts we have to read that have no discernable structure. That means setting up the Protagonist. Inciting Incident. A crisis. Setting up the Antagonist. Subplots. Several twists, a climax, and resolution. WE PASS.

It's all a winnowing process. They have to have a way to downsize the tremendous amount of scripts. Rules give us hoops to jump through. Become a CEO - follow the rules. Become a songwriter - follow the rules. And maybe after all those rules are complied with you be a produced scriptwriter. Famous. Wealthy.

Whoa! Where did that come from?

Gary

In regards to the minimum number of pages, I've heard different amounts, going as far down as 85 pages.
Phil

Script Length

The average feature screenplay, traditionally, is between 95 and 125 pages long. In Hollywood these days scripts generally don't run longer than 114 pages. Comedy scripts are typically shorter, dramas longer. There are, naturally, variations. You could be writing an action-packed film where your description takes only 10 seconds to read, but will take 45 seconds of film time. Here's an example:

"Cpl. Owens sheds his pack and picks up the machine gun. He runs from doorway to doorway, dodging enemy fire while shooting back, until he reaches the church
bell tower."

Writing Tip:
If you had a script full of scenes like this, you could come up with a short script in total pages... but that doesn't mean when it is filmed it would be short. By the same token, another writer could write the same scene and have it take up half a page. It just depends on the writing style of the individual writer.

125 page scripts are considered on the long side for a screenplay. Length is a very important component of the script. When you turn in a script to a producer, the very first thing s/he will do is fan through the pages and look at the last page to see how long it is. It doesn't matter if you've written the most incredible screenplay ever, if it's too long they may refuse to read it.

The Industry's aversion to long scripts is due to economic considerations. Films under two hours mean more showings per day in a theater, which means more revenue for the exhibitor, distributor, filmmaker, and possibly even you, the screenwriter.

When you realize your script is long and have to start cutting your work, keep in mind that if a scene can be removed and the story continues to work, that scene wasn't necessary. EVERY SCENE should not only move the story along to its conclusion; it should be an integral part of the path to the climax.

Did you hear about that one?
http://www.museumofhoaxes.com/hoax/Hoaxipedia/Casablanca_Rejected/

My point is this: you're lucky! With a couple of clicks of your computer's mouse, you can tap into a universe of screenplays -- for free! My favorite screenplay hosting website is SimplyScripts.com, but there are plenty others.

"Directing the script
No camera angles. No songs. No soundtracks. No actors. WE PASS.