Apols if I've posted this before, don't think I have but am starting to get a bit dejavuey with these things...

Anyway ScriptBook is different as it uses what looks like extensive AI to review your script and then add it to a Marketplace where presumably they hope that Producers will find it.

They normally charge for the AI analysis and hosting BUT until the end of April they are offering a free review of one script (and presumably inclusion into the Marketplace)... so it may be worth a look given it's free.

I'm planning on reaching out to the CEO and asking for an interview once my uploaded script has had the AI treatment.

Site is https://scriptbook.io/ and look out for the tab at the top with #CoronaSolidarity on it for the free analysis.

As always, make sure you are comfortable with their T&Cs before you sign up.

Stay safe

I uploaded one just for shits and giggle - will let you know what I think

Thanks Dave, I did the same... see what happens

Just uploaded "Here Comes The Bogeyman". Hopefully they accept shorts.

I would add that I would never pay for this.

I simply do not understand the payment paradigm at all, whether it is Inktip, Blacklist. etc. etc.

There are tons of free script hosting services (this one of course, Script Revolution, Coverfly, etc.). So "hosting" is not something one should ever pay for?

Anonymous reviews (like on Blacklist) - why????? You can get free reviews at places like this and if you want to pay for a review/coverage - then why not hire someone specific with known credentials??? i.e, I can understand paying for a review - but why not buy one from a specific individual you trust.  

So the holy grail always becomes -  THIS - is the path to your Hollywood success. I always thought if they really believed it why aren't they putting their money where their mouth is.  Like this site - other the free April offer they're going to charge writers. Now, what they are supposedly doing is solving the tedious read problem for the studios - i.e., rather than the Studios having readers and interns slush their way through a pile of scripts - here is a neat little AI data base that tells you which ones you should be focusing on.  So really they are providing a service to producers that they want writers to pay for. It's not just these guys - it's all of them .

So - to me the dream site would be something like:

Company X provides a script review service to Producers. They will provide these producers vetted scripts with what ever AI data element breakdowns they think makes sense.

Company X is also going to have a cadre of reading professionals reviewing scripts because they know they only make money when they provide quality scripts to producers.

Producers pay Company X for this service - they can figure out the mechanics of this. I don't give a shit how that works. It could be a percent of the option price, it could be a flat fee per script sent - whatever. The point being this:

If Company X is not providing something of real value to Producers, by definition, they cannot be providing anything of value to Writers.  And if they are providing value to Producers - then charge the Producers.

Largely agree Dave, but there's clearly a lot of newbies out there desperate enough to pay and pray.

Company X in your scenario is called an Agent, they do all of those things for Producers already, and that's why a lot of the things that these sites offer don't fly... Producers already get them elsewhere.

If it's a newbie Producer then maybe... but there's here, ScriptRevolution, Inktip all with categorised scripts.

Maybe we're old and cynical, I know I am

Quoted from AnthonyCawood Company X in your scenario is called an Agent, they do all of those things for Producers already, and that's why a lot of the things that these sites offer don't fly... Producers already get them elsewhere.

Perhaps a better way of putting it - Virtual Agent

Gotta say... it IS kinda fun looking over the numbers for your script, Dave.

Wish we could see the production budget numbers and box office numbers... but the scene breakdown is pretty cool to look at.

Gonna drop one in and see what it comes up with.

Dave,

Your female characters are 42% of the characters and 61% of the dialogue.

I got a good laugh out of that.

Though, for the sake of my marriage, I'll keep the social commentary out of this particular reply.

PK

Zack pulls a hard R rating. SHOCK!

And, female characters: 14%, dialogue 50%. (I find this WAY too amusing.)

Went to upload, but the terms and conditions return an error code. Sent an email.  I'll wait to see them.

Quoted from Zack Just uploaded "Here Comes The Bogeyman". Hopefully they accept shorts.

I looked yours up, Zack, and I couldn't help but chuckle at the lowest common denominator chart. Yours is about as niche as it gets, but still popular with audiences, so that's good stuff.

Lmao, even computer AI's hate my scripts.

Fun to look at, but not sure what all this tells you or anyone else.

                       IMDB       ROTTEN TOMATOES    NET PROMOTER     META CRITIC  
                      SCORE      CRITIC    AUDIENCE      SCORE                  SCORE

                      
MY SCRIPT         6.1            58            50               -23                       48          

ZACK SCRIPT     5.6            47            60               -46                       57

QUIET PLACE     6.0            50            46                -26                       51

So, Zack and I are  right up there if not better rated than A Quiet Place. I assume the huge option checks will be in the mail any day now.  Not sure if I should sell to Disney of Sony. Tough choice, Zack has an equally tough decision.

What can this site tell you???? Let's take dialogue. It can tell you how many lines, but can't tell you if it is horrible or great. Can tell you how many female characters - but not a clue is to whether or not they are interesting ones - etc.

I don't see this is a threat to script readers.  

Quoted from Zack Lmao, even computer AI's hate my scripts.

You're better than a Quiet Place

Quoted from Zack Lmao, even computer AI's hate my scripts.

Hey, the audience was something like 56%. That's nearly 3:2. A hell of a lot of movies of Metacritic would kill to have that score. =)

I threw 60 Feet Under in there. I love numbers, so it'll be fun to see.

Re: A Quiet Place. I don't know what to make of that one. I noticed the low scores, too. But, also saw that they had it rated "Blockbuster." Based on what, I wonder? The production budget vs. box office numbers were interesting, but how did the program give the script such low audience scores, but determine it would pull in over $100 million? Or, am I reading that wrong?

Quoted from PKCardinal I threw 60 Feet Under in there. I love numbers, so it'll be fun to see. Re: A Quiet Place. I don't know what to make of that one. I noticed the low scores, too. But, also saw that they had it rated "Blockbuster." Based on what, I wonder? The production budget vs. box office numbers were interesting, but how did the program give the script such low audience scores, but determine it would pull in over $100 million? Or, am I reading that wrong?

I'm guessing they determined the box office after the actual box office

Quoted from eldave1 I'm guessing they determined the box office after the actual box office

I didn't look it up, but I thought part of the point was that they would try to analyze the script for potential box office? So, I was assuming the box office was their guesstimate.

Quick search shows A Quiet Place domestic box office number of $188 and their estimate north of $111.

Hey, if anyone wants to make a cool $30M, let me know. 60 Feet Under looks like it will cost about $15M to make, and pull in about $45M.

Anybody?

Hello?

Quoted from PKCardinal Hey, if anyone wants to make a cool $30M, let me know. 60 Feet Under looks like it will cost about $15M to make, and pull in about $45M. Anybody? Hello?

Sorry - fielding offers now

Mine is up there, Visiting Day US... interesting to see the breakdowns but I'm not sure how it helps really, as pointed out, there's no quality based ratings beyond the (I assume) guestimated IMDB/Rotten Tomato type scores.

I really liked my keywords though

Keywords: zombies, taser, chute, turban, torch, cctv, fund, cure, generator, lab

Who's not gonna buy it from that!

What I now can;t figure out is how a prospective Producer is supposed to get hold of me?

Quoted from eldave1 Sorry - fielding offers now

You'll have to do something with all the money that you're about to make...



I did find it interesting that the scene chart for my script really looks like the action is heavily front-loaded. I don't see the script that way. I wonder if I'm wrong?

Also, my male/female ratios are WAY off. Very male-centric. But, I think that's a product of my approach to the script. I wanted it strictly from the eyes of my protagonist... so, he's in 95% of the scenes. I don't feel like the chart accurately reflects the distribution. But, again, it's a new way to see the script.

Quoted from AnthonyCawood What I now can;t figure out is how a prospective Producer is supposed to get hold of me?

Dave will tell them as part of his negotiations.

(You gave your email, so, presumably that's where you'll hear.)

Quoted Text (You gave your email, so, presumably that's where you'll hear.)

Yeah but I can't see my email address on the script data and more worryingly I cannot see anything on the sites homepage for where Producers sign-up or login... in fact nothing at all that appears to talk to Producers.

The plot thickens!

In other news... I'm led to believe the free offer thingy will extend beyond the end of April.

Quoted from PKCardinal Dave will tell them as part of his negotiations. (You gave your email, so, presumably that's where you'll hear.)

Yes - I'm trying to haggle - they are  only offering a million. I'm looking for two

Quoted from eldave1 Yes - I'm trying to haggle - they are  only offering a million. I'm looking for two

Don't forget, mine costs $15M ($14.5 of that going to Channing Tatum). So, you're going to have to push them higher.

(Unless you're talking Xbox gamer points and not dollars. Gamer points are forever, and therefore worth more.)

Quoted from PKCardinal Don't forget, mine costs $15M ($14.5 of that going to Channing Tatum). So, you're going to have to push them higher. (Unless you're talking Xbox gamer points and not dollars. Gamer points are forever, and therefore worth more.)

Got it - also working on product placement deals

Quoted from eldave1 Got it - also working on product placement deals

Product placement... interesting.

Especially considering "bra" was one of your keywords.

Quoted from PKCardinal Product placement... interesting. Especially considering "bra" was one of your keywords.

Just signed a deal with Victoria Secrets. Although I have to change my protags name to Victoria

In response to the question 'What happens after upload and how do Producers find the script and get in touch' I got this as a response. (they've also agreed to an interview)

Hi there, first of all as a company our core business is providing AI script analysis. Our current client base (film funds, production companies, distributors/sales agents & 2 major film studios) have been asking if we could provide them with a pipeline of 'AI validated' projects. Our new marketplace is the answer to that question. As an AI company our focus remains tech. All we do is hand over contact details of writers to an interested party and we get out of the way. Our current client base have already signed a yearly license with us to validate their own projects . In that sense there's no pressure on us to make money out of writers. We think the companies should be paying for services not the writers.

So I threw JOHN LENNON'S HEAVEN up there, for giggles. I must be stupid when it comes to statistics because I can't figure out where it's plotting me. X and Y axis (axes?) are my kryptonite...

And I failed the Bechel test because I do not have two female characters conversing about a subject other than a man; however I have a very strong female lead; which they characterized as the antagonist.

AJR

Quoted from ajr So I threw JOHN LENNON'S HEAVEN up there, for giggles. I must be stupid when it comes to statistics because I can't figure out where it's plotting me. X and Y axis (axes?) are my kryptonite...

That particular chart was my favorite.

The vertical represented how critic-pleasing your script is. The horizontal represents how mainstream it is. Upper-left is your best bet for making money. Upper-right is the wacky award bait. Don't be the bottom-anything, especially bottom-right.

So when I pick production budget on the x and audience reach on y, I am top left - is that good? I'm near BROOKLYN and LA LA LAND... which is so representative of reality...

(0:

AJR

Quoted from Mr. Blonde That particular chart was my favorite. The vertical represented how critic-pleasing your script is. The horizontal represents how mainstream it is. Upper-left is your best bet for making money. Upper-right is the wacky award bait. Don't be the bottom-anything, especially bottom-right.

I was bottoms up....?

I got an email from them this morning saying that since 60 FEET UNDER was one of the "very few with a high financial prediction," they've unlocked the financial information to give it higher visibility.

Thought that was cool.

PK,

I see you've got a green light and you're going to take in $30-60MM - very cool!

Quoted from ajr PK, I see you've got a green light and you're going to take in $30-60MM - very cool!

You better believe I'll be using this info to pitch the script!  

The unlocked financial information is pretty cool to see. Predicts gross for individual countries even.  1M just in Australia. Though, it didn't get so fine as to tell me how many times Warren is predicted to see it. (I'm guessing 3 times. Twice just to throw things at my name on the screen.)

Shaka, Warren.

FYI, been conversing with their sales team through email.

Very nice, very responsive.

They'll be adding more writer-centric feedback in the future, as they build the marketplace out.

Side note: I think it'd be cool if I could run a script through the AI without it going onto the marketplace. That way I could make changes if a problem were identified (ex: my script being too male dominated in dialogue.) Then, when it looks ready, throw it on their marketplace.

They emphasize that the producers would pay for the service, not the writer. If so, this could turn into a very interesting tool for us.

It'd be great if this model worked.

What about adding the other info - screenwriter, budget, etc? Right now that appears locked for the rest of us - is that only for paying customers?

Their CEO has agreed to an interview with me... message me any questions you'd like posing.

Quoted from AnthonyCawood Their CEO has agreed to an interview with me... message me any questions you'd like posing.

Done.

Thanks!

Quick update, the free analysis has been extended to the rest of 2020.

Interview questions have also been sent to the CEO.

Quoted from PKCardinal You better believe I'll be using this info to pitch the script!   The unlocked financial information is pretty cool to see. Predicts gross for individual countries even.  1M just in Australia. Though, it didn't get so fine as to tell me how many times Warren is predicted to see it. (I'm guessing 3 times. Twice just to throw things at my name on the screen.) Shaka, Warren.

Just be careful how use use the data - they own it.

Quoted Text 9.06 Intellectual Property. SCRIPTBOOK retains all ownership and intellectual property rights to the Platform, the Services and all associated software. The Subscriber must not copy or use them in any way without our prior and written authorization. 2. Property Rights and Use of Website This Website and all content (information, text, illustrations, videos, logos, icons, software, design, applications, sheets, models, data and all other content available on or through the Website (hereinafter “Content”)) are the copyrighted property of ScriptBook, and/or its subsidiaries or the copyrighted property of parties from whom ScriptBook has licensed such property. It is strictly prohibited to retain, copy, distribute, publish, or use any portion of the Content except as expressly allowed in these Terms of Use. You acknowledge and agree that the Website and the Content are the property of ScriptBook and are protected by applicable intellectual property and other laws. Subject to the limited rights expressly granted in this Agreement, ScriptBook reserves all right, title and interest in and to the Website and any other IP-rights, materials or other properties owned, licensed or controlled by ScriptBook.

Quoted from AnthonyCawood Quick update, the free analysis has been extended to the rest of 2020. Interview questions have also been sent to the CEO.

Looking forward to that

Quoted from eldave1 Just be careful how use use the data - they own it.

I hear you, and I will. They specifically told me that they unlocked the financial features so that I could use it to promote the script. So far, I've used the numbers on social media, etc. with a link to ScriptBook. I'll be pitching with the numbers and mentioning ScriptBook in the pitch... wouldn't make sense to do it otherwise anyways.

I feel like that's exactly how they intend for me to use the info.

But, I do appreciate the heads-up, Dave.

Quoted from PKCardinal I hear you, and I will. They specifically told me that they unlocked the financial features so that I could use it to promote the script. So far, I've used the numbers on social media, etc. with a link to ScriptBook. I'll be pitching with the numbers and mentioning ScriptBook in the pitch... wouldn't make sense to do it otherwise anyways. I feel like that's exactly how they intend for me to use the info. But, I do appreciate the heads-up, Dave.

Cool - best of luck

So this type of technology has been around a while.  There's another similar software system called "Merlin" that supposedly does the same thing.  ScriptBook used to charge $5,000 to studios to mine this data but I think it's down to around $2,000 now.  So I'm guessing having this offered up for free to screenwriters for this year is no big deal because it just provides a bigger pot for studios to draw from (and more money, consequently, to ScriptBook).

Just because I'm a sucker for technology, I threw an old script "According to Plan" (which I had previously optioned but the option expired) on here and got these scores:


       IMDB       ROTTEN TOMATOES               NET PROMOTER     META CRITIC  
                      SCORE      CRITIC    AUDIENCE      SCORE                  SCORE

                      
MY SCRIPT         6.3           61           57              -12                       54

I'm in "Whiplash" range, apparently.  But it wouldn't get greenlit because it says it would only cost $1 MM but only make $3MM in box office.

I'm curious, because it doesn't say on the site, but can you load up more than one script?

Gary

  

Quoted from Gary in Houston I'm curious, because it doesn't say on the site, but can you load up more than one script?

I asked them this question, but haven't heard back yet.

I'm assuming so, simply because they don't post any limitations. Also, they indicated that they're reacting to requests from their clients to not only analyze scripts that the clients provide, but to create a pipeline of pre-curated scripts to their producer clients.

This in mind, it's in their best interest to analyze as many scripts as possible. Especially since it's all done with AI, there's no human cost component.

But, that's all speculation on my part. Perhaps AC's interview with the CEO will clear this question up.

How many scripts you can have on for free is one of the questions in the interview... and as per hawkeye's post, my understanding is that they are funded by at least one studio so currently they don't specifically need to charge us.

Looking forward to the answers coming back

Quoted from AnthonyCawood How many scripts you can have on for free is one of the questions in the interview... and as per hawkeye's post, my understanding is that they are funded by at least one studio so currently they don't specifically need to charge us. Looking forward to the answers coming back

I've loaded about 8 - got analysis so far on all but 1

Just got the answers back for the interview, have asked a couple of follow ups but hopefully be online within 24 hours... it's a cracking and really interesting piece!

Oh, and yes... no limit on the free scripts you can upload.

Quoted from AnthonyCawood Oh, and yes... no limit on the free scripts you can upload.

I have one that would be fun to drop in. It was the first comedy feature I ever wrote and it's a high-budget, banjo-centric hot mess... so, I won't. But, I'd love to.

That said, I have another one to try that's in much better shape... so, here goes nothing!

Thanks, AC. Can't wait to see the interview.

Funny you should say that Paul...

https://screenwritingopportuni.....i-ceo-of-scriptbook/

Enjoy

Quoted from AnthonyCawood Funny you should say that Paul... https://screenwritingopportuni.....i-ceo-of-scriptbook/ Enjoy

As always - great job, Anthony - thanks

I don't know - I am struggling to find connections.  Here is the data from the scripts I submitted.  

The last column is the overall audience reach. The scoring is actually inverse. It ranges from 0 to 1. The closer you are to 0 - the higher the audience reach. e.g., a .2 is better than a .9

My highest rated script was Shipping Out. I MO it is not near as good as some of the others and I thought so not ready for prime time I haven't even posted it here yet.

I think my best script is The Beginning of The End and The End. It won the Silver Award for the 2017 PAGE contest and finished high in a bunch of others. Here, it kind of sucks.

The Last Statesman is my second best script - here it is in 2nd.

So, there is zero relation between what I (as well as contests) view as quality versus what AI data shows.

There also seems to be no relationship between the quality ratings and the audience reach.  As an example, Dark World - which is MEH, had shitty ratings in all categories but by far the broadest audience reach.  So it seems that reach is totally unrelated to ratings.


         
                       IMDB      RT     RT     NET                META           AUDIENCE     
                    RATING     CRI   AUD     PRO       CRITIC     RATING     REACH
                                   
SHIPPING OUT          7     68     73      32                 60        7               0.6
DARK WORLD           5.8     45     46     -39                 45     5.8               0.4
LA LOTERIA           6.1     58     53     -23                 45     6.1               0.8
BEGINNING           6.1     58     50     -23                 48     6.1               0.7
LAST STATESMAN     7     71     74      28                 66        7             0.85
SCREW YOU TUBE     6     61     65     -29                 60        6              0.9
STEP SEVEN          5.8     44     48     -37                 48     5.8              0.9
MEETING THE         6.3     59     50     -14                 52     6.3              0.9


I took a gander at the ratings for some produced scripts.

     
                                   
QUIET PLACE            6     50      40   -26                 51         6             0.18
HER                          7.2     70      76      41                 75        7.2     0.9
FAULT IN OUR         7.1     72     60      33                 58         7             0.9
STAR IS BORN           6.7     70     65      13                 63         7             0.7
LALA LAND           7.1     74     75      35                 73        7.2     0.82
                                   
Quiet Place = crappy ratings but an incredible audience reach.     
LaLa LAND - great ratings - horrible audience reach. Same with A Star is Born, HER and Fault in Our Stars.

The data is interesting and it is free so I do think it is a service. I just don't have a clue what the data is telling me yet.

NOTE - SORRY FOR THE JUMBLED MESS OF NUMBERS - CAN'T FIGURE OUT THE ALIGNMENT

Great interview. Thanks for pulling it together AC!

Interesting that she says companies are sitting on their money right now. I would think this could be a great time to focus on development.

As for the site, I see it as another tool in the toolbox. And, we need all the tools we can get.

I see they've taken the financials off of the marketplace completely. Before, you could see it under the film positioning tab.

Dave, Last Statesman posts some big audience numbers. That's cool.

Quoted from PKCardinal I see they've taken the financials off of the marketplace completely. Before, you could see it under the film positioning tab. Dave, Last Statesman posts some big audience numbers. That's cool.

Thanks.  Just don't have a clue what that means

Quoted from eldave1 Thanks.  Just don't have a clue what that means

It means you have one more thing to promote, if you want.

It also means there's one more source out there highlighting your work in a positive way. Stacking pennies, my friend.

Just another note to add to this:

I sent an email asking the following question:  "One you load up a script, are you able to delete it later, or more importantly, if you have an updated version of the script, can you replace the earlier version?"

This was the response I received:

"Hi there, you can upload as many scripts as you like and as many drafts as you like. Just make sure you add the draft number in the title. Keep in mind that your script is/was never published on the webiste. Only the ScriptBook analysis is available on the marketplace. You won't be able to delete this at the moment. In a next phase (we're still developing the marketplace) you'll be able to set up your own account and edit your scripts. However, from experience we know that writers find it helpful to compare analysis for different versions of the same script. Some companies in our client base have up to 18 drafts of the same script."

So it appears that no production company can actually go in and read your script -- only see the analytics to the script.  And while you currently can't delete something you've uploaded, you can add as many revisions as you want (making sure to properly number which revision number you've uploaded).

Gary

Thanks Gary - and as per the interview, should a Prodco like the look of the analysis they can contact your for the script.

Quoted from Gary in Houston Just another note to add to this: I sent an email asking the following question:  "One you load up a script, are you able to delete it later, or more importantly, if you have an updated version of the script, can you replace the earlier version?" This was the response I received: "Hi there, you can upload as many scripts as you like and as many drafts as you like. Just make sure you add the draft number in the title. Keep in mind that your script is/was never published on the webiste. Only the ScriptBook analysis is available on the marketplace. You won't be able to delete this at the moment. In a next phase (we're still developing the marketplace) you'll be able to set up your own account and edit your scripts. However, from experience we know that writers find it helpful to compare analysis for different versions of the same script. Some companies in our client base have up to 18 drafts of the same script." So it appears that no production company can actually go in and read your script -- only see the analytics to the script.  And while you currently can't delete something you've uploaded, you can add as many revisions as you want (making sure to properly number which revision number you've uploaded). Gary

Interesting - thanks

One last note in case some of you were wondering.  I inquired about television scripts or pilots, and whether those are an option for being uploaded in the future.  Their response:

"Hello, yes our next step will be a roll out of an AI specifically for tv scripts. At this point we don't analyze any uploaded tv scripts but will hopefully soon add this to the marketplace."

Gary

So I just put up my script "7days in La suerte" - had a lotta reads on it - biggest two problems I've encountered is independents say to do it right it's a major studio film (costly) and some of the characters having extreme personalities would only come off believable if an accomplished person played them (I don't understand that one but got it three times.) Interested to see what this computer says.

Just curious if producers can't read the screenplays - How do they contact us if they like it. And why is the financial part fuzzier out. (Fuzzied? Is that a word?)

Quoted from JohnI So I just put up my script "7days in La suerte" - had a lotta reads on it - biggest two problems I've encountered is independents say to do it right it's a major studio film (costly) and some of the characters having extreme personalities would only come off believable if an accomplished person played them (I don't understand that one but got it three times.) Interested to see what this computer says. Just curious if producers can't read the screenplays - How do they contact us if they like it. And why is the financial part fuzzier out. (Fuzzied? Is that a word?)

They contact you through the email you register with.

Financial is fuzzied out because they do not offer that analysis for writers for free - actually not sure they offer it all

I believe the financial stuff is available to studios/producers but only those that have signed up, I think there's 2 that have funded development of the service so far so I imagine it's their reward at the moment.

Guess the computer didn’t like my story - Gave me slightly below average in all categories (i.e. 5.9 in IMDB 57 in the next one. )

Audience reach 0.7

Of well - I guess if it’s ever made not a lot of computers ‘lol be coming to see it.

Put my western up. Got okay reads by producers - it’s still out there - Want to see the difference.

Quoted from JohnI Guess the computer didn’t like my story - Gave me slightly below average in all categories (i.e. 5.9 in IMDB 57 in the next one. ) Audience reach 0.7 Of well - I guess if it’s ever made not a lot of computers ‘lol be coming to see it.

It is a fun exercise - but again not sure what it means. e.g.,  Not sure if a computer/AI can tell you if dialogue made you laugh or cry, etc.

One thing I did notice in looking at a couple of scripts - the closer you are to a cookie cutter script (I.e. end first act at page 30 - look at their graph) the better it is which makes sense with a computer program.  Saving he cat scripts would do well over non-sequential tandem scripts - I think. But like you said I’m not taking it seriously - not unless it gives me some feedback I can make it better with.

That’s “makes my scripts better”

So I gave this a whirl by uploading Who Wants to Be a Princess? and got the feedback.

The AI classified it as "adventure" instead of "family," which may mean I need to strengthen the theme.

The script is probably not structured quite the way the AI expects it to be, thinking Act II started about six scenes later than it really did.

Oh, and it tagged the romantic interest as the antagonist. That may mean I need to find a way to introduce the real antagonist earlier. It did mark the real antagonist as the least likable character, so at least that's working

I used the feedback form to let them know what they got wrong about the script, trying to sound as constructive as possible. For one thing, it looks like there are zero G-rated scripts in their sample set, and that may be skewing the AI to read things as if written for an older audience.

I'd say this system can find issues with your script, especially ones you're likely to miss when reading your own work. But not sure I'd trust it to make a go/no go decision on a real project, though.

Edit: The AI says this film (as it understands it) would be more popular with critics than real audiences. I'm getting an Oscar!  

Quoted from FrankM So I gave this a whirl by uploading Who Wants to Be a Princess? and got the feedback. The AI classified it as "adventure" instead of "family," which may mean I need to strengthen the theme. The script is probably not structured quite the way the AI expects it to be, thinking Act II started about six scenes later than it really did. Oh, and it tagged the romantic interest as the antagonist. That may mean I need to find a way to introduce the real antagonist earlier. It did mark the real antagonist as the least likable character, so at least that's working I used the feedback form to let them know what they got wrong about the script, trying to sound as constructive as possible. For one thing, it looks like there are zero G-rated scripts in their sample set, and that may be skewing the AI to read things as if written for an older audience. I'd say this system can find issues with your script, especially ones you're likely to miss when reading your own work. But not sure I'd trust it to make a go/no go decision on a real project, though. Edit: The AI says this film (as it understands it) would be more popular with critics than real audiences. I'm getting an Oscar!

Still, dunno what it does/means for any of the metrics.  Even the basic stuff like emotions.

Let's say Dave is having a chat with the wife and his wife asks him if he loves her. Dave responds:

DAVE
You fucking bet I do.

What is the emotion in this dialogue that is going to be labeled by the machine? Is it going to be love?? I'm guessing it is going to be anger.

Okay - so I put in a second script

Brother's keeper - a western - which has not done as well as 7 days in La Suerte in contest or with producers.

First my scores for 7 days
IMDB WAS 5.9 (just under average - I can live with that from a computer program because most will judge on a curve.

Here's my problem - they said it was 97% crime - it's a dream story that's contained in a crime situation

The character analysis -
My hero. who comes back to save the day, was less likable than the town sheriff who sold out he town. He was only as likable as the villaness who kills at a whim - even her gophers.

They also had a character listed as Cindy - I checked and checked - no cindy in the script.

Emotions - in the scene where the hero's wife leaves him - they had happiness as the top emotion.

ratings it said that the audience would be a gegative 43% (yes-43%) with their opinions to friends - two producers who read this said it was a very audience centric script with a happy leave everybody smiling ending but wasn't enough of a financial reward.

In the last scene where the hero (back from the dream) realizes his life long dream - quits the force and buys a restaurant they said the hero emotion was 53% happy.

2nd script Brothers keeper
Better scores 6.1 in IMDB and higher across board.

Its a dreamed and they had 54% for comedy and 34% for drama - that's okay but then they compared it to very dark serious crime dramas. (none are even in the same genre.

Okay my problems
Key words - Dismount? Hub? It's a western they mount and dismount.

missed genre equity - only two females - but they are much bigger parts then 7 days - major roles.

Had a small PG rating - 7 days had none - this one had family violence - hangings and mass killings. 7 days because it;'s a dramedy I went out of my way to hide the actual violence.

They got most of the likability right (Maybe I got it right this time)

The comparisons - one western - the others were all over the place.  

My final thoughts
I coached for 7 for 40+ years and worked with my analytics programs. The problem with analytics is that they're only as good as what's put in.

They fed it a lot of scripts and the results - financially and view wise. If it's not in those script modes youre not going to get good rating. The more you follow those norms - you're gonna get a good score. (i.e if the critics raved a film that yours mimics high you get a high critic score because that's the data that's in the program - yet your script may suck - not the same writing quality of the first one)
Computers can't rate quality - coaching example - the analytics I used in coaching gave me great tendencies but couldn't tell me how good the opposing players were.

Brothers keeper and 7 days pave my point - Brithers keeps more tradition structure higher rating - 7 days dramedy dream sequence - lower rating.

Interesting but I'll pass and I think producers will.

Two final words -
I agree with dave - I don't get the emotion thing
How the the avengers on that last graph appeal to a very wide auduiance (it was for marvel junkies) and have a low audience liking - the sequels made millions - somebody must've loved the first one. (brothers keeper a western got a wider viewership in the graph than 7 days an dramedy. when did westerns come back!) AND ...

Did I write this much

As already pointed out, it's an AI driven analytics piece that has learnt from the 000s of scripts that it's gone through.

But it's still AI, so fallible.

I've been thinking about the service since I did the interview and my feelings is that the Financials are the key piece of the puzzle for producers, because the ability for a project to turn a healthy profit is what they care about.

So the emotions stuff, likeability etc are probably more interesting to us, as a point of debate, maybe stuff we can learn about in our own scripts and act as a re-write aid.

It's still in Beta too, so be interesting to see where it goes and how it develops.

Quoted Text Here's my problem - they said it was 97% crime - it's a dream story that's contained in a crime situation

Really emblematic of the problem. I submitted four comedy scripts that were classified as dramas.  Of these, one is really a dramedy, two are Rom-coms and one is a straight comedy. So, if the algorithms can't even detect the correct genre, that should tell you there are other macro-level problems. It would have been interesting if they let the writers input some of the information - like genre - so at least they could compare their results with what the writer determined the genre to be - that would allow them to detect errors.

Quoted Text First my scores for 7 days IMDB WAS 5.9 (just under average - I can live with that from a computer program because most will judge on a curve.

I've looked at a ton of scores from different scripts - there are outliers - but they all cluster around those numbers with some exceptions.

Quoted Text The character analysis - My hero. who comes back to save the day, was less likable than the town sheriff who sold out he town. He was only as likable as the villaness who kills at a whim - even her gophers.

Again - this is going to be a context thing which I don't think the AI can handle.  I have submitted In Search of Hysterical Jesus (analysis pending) and I'm dying to see the likeabity scores on Jesus.

Quoted Text Emotions - in the scene where the hero's wife leaves him - they had happiness as the top emotion.

Maybe he was happier than he let on

Quoted Text How the the avengers on that last graph appeal to a very wide auduiance (it was for marvel junkies) and have a low audience liking - the sequels made millions - somebody must've loved the first one. (brothers keeper a western got a wider viewership in the graph than 7 days an dramedy. when did westerns come back!) AND ...

It's impossible to tell if the audience appeal x - y axis is meaningful since the comparable measurable points are after the fact. e.g.,  A Star is Born - a script they placed on based on their analysis is in the same spot that Meet Joe Black is (a script that is just on the chart for reference using actual numbers.) The fact is that A Star is Born did more than 4 times more box office than Meet Joe Black.  

Quoted from AnthonyCawood As already pointed out, it's an AI driven analytics piece that has learnt from the 000s of scripts that it's gone through. But it's still AI, so fallible. I've been thinking about the service since I did the interview and my feelings is that the Financials are the key piece of the puzzle for producers, because the ability for a project to turn a healthy profit is what they care about. So the emotions stuff, likeability etc are probably more interesting to us, as a point of debate, maybe stuff we can learn about in our own scripts and act as a re-write aid. It's still in Beta too, so be interesting to see where it goes and how it develops.

Agree that the financials in terms of production costs are probably going to be the most reliable data - in terms of box office - don't think so.  

Interesting article from back in 2017

https://nofilmschool.com/2017/04/scriptbook-black-list-screenwriting-ai-algorithm

Three things I noticed from the comments

1) financing - still not accurate
   a. If I have 10 scenes but they can be done in one studio how does the computer know that (I had a producer once tell me he can do brothers keeper much cheaper because he had a western town on his set.) Also, if i use subheadings - i get less scenes that somebody who doesn't a computer can't see this.)
   b. Quality of production will change cost.

2. As with your comedies my western came out 92% western - what was the other 8% - and my villain who beats his sons - kills violently - lives without any woman. Beats up the town prostitute got a 47% for love - lol.

Dave - did you notice in the article they charged $100 back then. Now free - think nobody was interested?