Below you can find out all about our story, read our mission statement and meet the team behind our #1 rated screenplay services.

About Script Reader Pro (and you).

Hi, my name’s Alex (the one on the left) and I’m the founder of Script Reader Pro. Welcome aboard! We’re so glad you found us.

Everything we do and create is based on helping screenwriters live the life they want and need to live—the creative life.

Not all screenwriters are going to achieve this and break into the industry. But here’s why my team and I believe in YOU:

1. You’re a creative. You want to express yourself. You might even be a rebel who doesn’t quite fit in the regular routine. You’re not happy with “the norm” and you want something different out of life.

2. You’re in it for the love. You’re not in it to get rich, hang out with stars and “make it big.” You’re in it because you love writing and your dream is to be able to make a living as a writer. The joy of seeing your imagination realized on the big screen and be loved by others (while getting paid for it) is your ultimate goal.

3. You will feel unfulfilled if it doesn’t happen. You know becoming a writer is your calling and you know if you don’t achieve it you’ll look back aged 80 and feel you haven’t lived the life you wanted. The world needs to hear your stories so don’t be afraid to take the leap and pursue your dream.

We believe you deserve the best.

This means giving you access to a team of pro screenwriters who can simplify and take the myth out of how to break in.


1. We can help because we’re professionals who know what it’s like to be on the outside looking in. In order to realize your dream of doing what you love—write (and get paid for it)—getting help from people who’ve already achieved this goal can be invaluable.

As pro screenwriters, we understand what you’re going through because we’ve been through it too. After much blood, sweat and tears we’ve achieved some level of success in this crazy business and now we’re here to take the trial and error out of the process so you can do the same.

2. We understand how important getting your stories out is to you and have designed our products and services to help make it as easy as possible. Writing’s never “easy” but it’s made harder by all the contradictory and confusing advice that’s out there.

We don’t believe in the advice to “just write, write, write.” Or “let the story breathe.” We believe in practical advice over waffle. We believe in hands-on exercises over theory. We believe in taking the myth out of becoming a pro screenwriter.

3. Ready to get to work? If you think making it as a screenwriter is all about natural talent, or being privileged enough to live in LA or mix in the “right circles,” it’s time for a rethink.

Becoming a pro screenwriter is as much (if not more) about hard work and strategy as it is about talent. No matter who you are or where you come from. Rather than just blindly writing every day as suggested by practically every screenwriting blog on the planet, it’s about changing your state of mind.

It’s about changing how you write and what you write. It’s about coming up with a routine and an action plan to get you where you need to be. And we can help you do all of this and more.

Choose from a range of script coverage services or a twelve-week mentorship to get a pro’s opinion on your script.

Meet the team.

script consultancyPeter Briggs. [Returns in December.]

Pro experience: Peter’s perhaps best known for co-writing Hellboy, with Guillermo Del Toro. In 26 years, he’s been employed by 20th Century Fox, Paramount, Universal, Sony/Columbia, Miramax, and many more, writing on such projects as Alien vs. Predator, Judge Dredd and War Of The Worlds.

Backstory: When I was a kid I didn’t want to make movies, because in those pre-internet days I didn’t even know that was a possibility. I grew up a wide-eyed British Marvel comics-reader on a blue-collar Northern housing estate, any given Harryhausen movie on TV—my month’s highlight. I was obsessed with Doctor Who, Star Trek, and the British Gerry Anderson shows.

When Star Wars came along, it rocked my world. Its attendant flood of behind-the-scenes literature made me realize people made this stuff for a living, and I started to devour everything I could about every facet of filmmaking. My parents had neither money or connections but, as a teen, I still had the best film school there was: old movies on the BBC.

I left home, armed with stubbornness and determination. Began as a runner at a commercials company in London, segueing to becoming an assistant cameraman. In the evenings, with a manual typewriter, a photocopy of Kasdan’s Raiders Of The Lost Ark screenplay, and William Goldman’s Adventures In The Screen Trade for reference and inspiration, I started writing screenplays for myself.

After six years, on a “What If?” whim, I submitted my resulting pile of dead tree to some talent agencies. Within weeks, William Morris and ICM both offered to represent me. A year later, I made my first screenplay sale overnight to 20th Century Fox. That was the last time I assisted as a cameraman.

I disdain the idea you ought to spreadsheet a movie into being solely by the numbers: creativity and common sense can triumph over stale script guru snake-oil. You don’t have to be a USC alumni to be a success in the movie business. If you’ve talent and determination, having someone who’s already fought in the Hollywood trenches to help whip your opus into shape is worth its weight in gold. So. Let’s get started, shall we…?

Main-genre specialties: Drama, Action/Adventure, Sci-Fi
Sub-genre specialties: All

Most important fact of all: Peter has an aversion to glowing rocks, and likes pink very much, Lois.

script readerDash Finley.

Pro experience: Dash Finley is a screenwriter and film journalist based in Los Angeles. Having worked as a development assistant to a number of high-powered executives and creatives, he has written many screenplays, working under filmmakers such as Doug Liman (The Bourne Identity), Stanley Weiser (Wall Street) and Bruno Barreto (Dona Flor and Her Two Husbands). Dash has also been hired for feature work by Norris Chumley (a former producer for Oprah) and Jason Kliot (the producer of Coffee and Cigarettes).

Backstory: For better or for worse, I put my passion for writing before everything. I get far less than the recommended amount of sleep and far (far) more than the recommended amount of caffeine, all in the name of writing for a living.

I want to inspire other writers not to give up on their own ambitions in the face of tough odds. It’s not easy to feel passionate to the very core of your being about a project, only to face persistent ambivalence and rejection from the industry gatekeepers.

That’s why I hope to guide writers to craft a version of their script that is true to their own unique vision, while also factoring in the practical, commercial considerations of the modern-day film business. There’s no reason why an individualistic passion project can’t also be a project that sells—and, ideally, I’d like to show up-and-coming scribes how they can accomplish both.

When I was growing up, my father exposed me at a young age to the classic works of the horror genre. While my buddies were all getting into Star Wars, I was more interested in Tobe Hooper’s The Texas Chainsaw Massacre. This skewed education definitely informs my taste in current TV, and movies, as favorites of recent years have included The Babadook, Castle Rock, The Conjuring, and Hannibal.

That said, I’m also a dutiful student of cinema history, and I pride myself on being able to appreciate films of any genre or time period based on their self-contained merits. The defining elements of a great heightened sci-fi film are not the same as those of a coming-of-age dramedy, and vice versa.

As such, when I provide script coverage, my goal is always to push the script at hand to become the best version of what it’s trying to be, rather than molding it into some imagined version of what it ought to be.  In closing, it is my humble wish to see other writers who live and breathe for their work realize those ineffable dreams of theirs, and I will do my very best to help make that a reality.

Main-genre specialties: Thriller, Horror, Drama
Sub-genre specialties: Sci-Fi, Western, War, Historical, Family

Most important fact of all: Dash is the proud owner of two guinea pigs, Otis and Randy.

Sean Jackson screenwriterSean Jackson. [Currently unavailable.]

Pro experience: Sean’s screenplay, Junk in The Trunk, was successfully optioned and is currently in pre-production. The success of Junk in The Trunk led him to write the accompanying novel which is soon to be published and he has two thriller pilots currently in development. In addition, Sean has helped many writers—from novices to seasoned pros—develop their stories into features and television pilots.

Backstory: My foray into screenwriting came early when I studied cinema at Texas Tech University. The class encouraged me to consider a career in film, but I didn’t know anyone in the industry. As a result, I settled and decided to pursue a safe, boring traditional career. It wasn’t until years later while watching a drama on Netflix, written by my former sales manager, that I decided to resurrect my dreams of becoming a writer.

The success of my former colleague was the “if he can do it, I can too!” moment for me. I started devouring screenplay books, taking classes, and attending pitchfests. I can’t say that my first screenplays were the stuff of a screenwriter wunderkind. However, I stayed encouraged, and for the first time in a very long time, I was having fun! As they say, “when the student is ready, the master will appear,” and I soon found a mentor who helped me develop my talents even further and really find my voice.

The key to success is having fun while surrounding yourself with people more successful than you. You don’t need an MBA in order to write an award-winning screenplay. You do need someone to help you bring your epic story from your mind onto the page. At every stage of your screenwriting career, you will always need mentors who will continue to contribute to your success, and maybe I can be one for you!

Main-genre specialties: Drama, Action/Adventure, Comedy
Sub-genre specialties: Dramedy, Sci-fi, Western, Black cinema, Biopics

Most important fact of all: Much like Hemingway, I enjoy a good cigar whenever I’m writing!

script readerMichael Kalesniko. 

Pro experience: Michael has written or co-written over 30 screenplays for every major Hollywood studio, including Burnt and Iron Sky. He’s also written pilots for ABC and FX and directed one feature, How to Kill Your Neighbor’s Dog starring Kenneth Branagh and Robin Wright.

Michael has headed or participated in film making panels around the world, guest lectured at AFI, Columbia College-Hollywood and AFTRS in Sydney, Australia. As well as both judging and MC’ing pitching contests.

Backstory: My obsession with movies took hold when I saw Planet of the Apes. That was it, I was hooked. Years later at university, a professor briefly shattered that dream when he insisted I study journalism. How else would I ever support a wife and kids, he said. Then one day it struck me… I don’t have a wife and kids.

The next day I drove 1,500 miles to Los Angeles, signed up to a night film school and started writing. By the time I sold my first script to Universal and signed with UTA, I was yet to take a single screenwriting course.

Unlike most of the screenwriting teachers and How-To books out there, all of us here at Script Reader Pro are working screenwriters who love storytelling. We’re doing this because we want to help those who feel the same. There has never been more writing work in Hollywood than there is right now and we want you to get one of those jobs.

Main-genre specialties: Comedy, Drama, Action/Adventure
Sub-genre specialties: Dramedy, RomCom, Western, Historical, Sci-Fi

Most important fact of all: Michael was born in Canada where he gave up cross country running for mountain biking in order to save his knees. Only to crash his bike and require knee surgery.

script readerJenna Mattison.  

Pro experience: Originally from Bombay, India, Jenna is a TV developer, bestselling novelist and feature writer, with her screenwriting work inducted into the Academy Of Motion Pictures Library Core Collection.

She currently has several TV drama pilots in active development, with Roadside Attractions/Lionsgate, Disney and Warner Brothers. The Sound, a psychological horror film, which she wrote, directed and produced, was released through MGM theatrically in 2017.

Backstory: One of the best sayings to describe how I approach my work with writers is “If you’ve been lucky enough to reach a level of success in this business, you have an obligation to send the elevator back down.”

When I arrived in Los Angeles I didn’t know a single soul. I had no idea how I was going to achieve my dream of being in the entertainment business but boy did I have big dreams. My journey hasn’t been linear. It’s been a series of missed opportunities followed by amazing strokes of luck followed by sheer force of will. Sometimes all of those things in the same day.

It’s important to me to share my positive experiences and also my mistakes with a new crop of writers because I wish I had that same opportunity when I was new in the business. But services like Script Reader Pro weren’t available then. It was expensive film school or bust. So I learned by trial & error… heavy on the error.

I would like to save the writers I work with from that same heartache. So that they can make their opportunities count. So that when they get a shot at the big break they are prepared and have the confidence that honing your craft brings.

I’ve done every aspect of film production on a creative level: writing, directing, producing, working with editors and music supervisors and even making distribution deals with major studios so I’m able to arm these writers with an arsenal of information so that they are prepared for whatever this business throws at them. And it can throw a lot at you.

The key to success in this business is knowledge. And I love sharing that knowledge with people who want to succeed. I’ve been very fortunate in this business, but the journey would’ve been infinitely easier and faster if I’d had an experienced guide.

Main-genre specialties: Drama, Thriller, Horror
Sub-genre specialties: Romance, Fantasy, Dramedy, Historical, Religion

Most important fact of all: Originally from India, Jenna moved to Chicago at the age of seven, and currently lives in the hills of Los Angeles where she’s been known to rescue baby squirrels.

Kate Murdoch. [Returns January.]

Pro experience: Kate began her career co-penning the indie feature, The Last Treasure Hunt, which was released in 2016 by The Orchard. She has also written Angel of Anywhere, starring Ser’Darius Blain and Briana Evigan and The Perpetual State of Georgia, which was recently optioned by Storyscape Entertainment. In addition to writing features, Kate has worked behind the scenes as a rewriter/script analyzer for many years.

Backstory: When I first tried my hand at writing screenplays, I remember feeling so anxious about every word I wrote. If it was good, if this was the correct formatting, or if what I was writing was even marketable at the moment. It wasn’t until I took a step back that I realized, I’m never going to write a better script than the one I’m excited to write.

Putting that excitement back into my writing was the key for me personally, and something that I try to get across in helping writers work through roadblocks that might keep them from feeling creative. Sometimes it just takes a stripping back of the confusion that rewrites, notes and various other pressures put on you to remember why you wanted to write this story to begin with.

I’ve been really lucky to have incredible mentors, and I think getting that bit of assistance from someone who’s going to take the time to really dive into your work and help you mine through what is or isn’t working is key in growing as a writer.

Main-genre specialties: Action/Adventure, Thriller, Horror
Sub-genre specialties: Sci-Fi, Musical, Fantasy, Animation, Family

Most important fact of all: Kate’s penchant for writing is in her DNA as she is a close descendant of L. Frank Baum, the creator of The Wizard of Oz.

script consultancyScott Parisien.

Pro experience: Scott found the first big push-forward in his career after garnering two separate “Recommend” ratings with Script Pipeline, who he eventually worked for as an analyst and contest judge. He soon gained representation, optioned a few scripts, and became a Page Award winner for his script Incision, which sold soon after and is currently in development with a director and a well-known star attached.

He also has a second horror spec with director attachments and producing partners in development, as well as a pilot, historical drama feature, and a fantasy adventure feature with producers attached.

He has an extensive network and has been hired to write five screenplays over the last two years by five different producing entities. His first produced feature, Foxter & Max, premiered in September 2019 to high audience reviews and a #2 standing in the territory’s box office for its opening weekend.

Backstory: My biggest passion is helping and mentoring new writers. Coming from a small town in Canada with nothing to do but go to the theater, made me fall in love with the magic of the movies, and especially these days, that wonderful medium of television.

Ever since I can remember, I wanted to be the one who created those worlds out of nothing. But because of where I lived, there were little to no resources, and access to Hollywood was almost impossible. I know what it’s like to have to get to that wall, find a way to climb it, and fight to get over it and stay on the other side.

I read all the books, studied all the screenplays, watched all the courses, attended all the pitch seminars and conferences… but I always found it lacking that personal connection. The one thing I always wished I had access to, was a mentor. Someone who’s been there, a fellow creative, someone with the same type of soul as mine who longed to tell stories in only the way movies and TV can.

There is also something magical about helping another writer get to that epiphany-type of moment where they finally get it. Where it clicks. Where their excitement just can’t be contained. Being a part of that is something very special, and truly important to me.

Some writers are great at writing, but not great teachers. Not everybody can explain the deeper workings of what makes a screenplay effective. But some people can, and from the feedback and relationships that I have grown through mentoring tells me that I can consistently help writers cross that plane.

I love being a champion to writers, especially those who match my passion for this magical beast we call a screenplay. It’s what feeds my soul.

Main-genre specialties: Action/Adventure, Comedy, Thriller
Sub-genre specialties: Dramedy, Romance, Western, Family, Religion

Most important fact of all: Scott’s first foray into screenwriting came in the seventh grade when he crafted a horribly inappropriate Police Academy screenplay for an English class assignment.

Arne Olsen Script Reader ProArne Olsen. [Currently unavailable.]

Pro experience: Arne has had fourteen movies produced, including Mighty Morphin Power Rangers, All Dogs Go to Heaven II, and Distorted.

His spec thriller Skybourne is currently in active development with Copperheart Entertainment and director Chuck Russell (The Mask, Scorpion King). He sold his pitch Rapid Fire to Universal, his spec Drake Diamond: Exorcist for Hire to Warner Bros. and adapted the comic book Captain Canuck for Minds Eye Entertainment.

Arne has also taught screenwriting at Capilano University and Vancouver Film School and been a consultant/story editor on produced films ranging from Snowwalker to Kung Fu Yoga.

Backstory: Having failed to get accepted into USC Film School, I packed my bags and moved to LA. (Back when you could do that sorta thing.)

After the requisite three years of writing bad scripts (and taking tons of UCLA extension courses and graduating from the AFI), I was hired to write Red Scorpion—a universally panned financial bomb that inexplicably spawned a sequel and became an 80’s action cult classic.

After two more years of writing bad scripts, I sold my spec Cop and a Half in a bidding war between Disney and Universal and was finally off and running!

What most buyers are looking for today is writers with a “unique voice,” and I believe my greatest strength as an adviser is helping you to solve story problems while at the same time reinforcing your voice.

My job is to draw on my vast experience to help you write the very best version of the movie or TV pilot you want to write.

Main-genre specialties: Thriller, Horror, Comedy
Sub-genre specialties: Dramedy, RomCom, Sci-Fi, Family, Super-High-Concept

Most important fact of all: Which of the following is not true? 1. Arne met a member of “The Lollipop Guild.” 2. Is 6’6”. 3. Has seen a UFO. To learn the answer… hire the guy!

script readerTennyson E. Stead.

Pro experience: While best known as the writer behind the tentpole dark future gladiator film, Atlas Uprising, now in development at Emagine Content, Tennyson has also ghostwritten many prestige dramas and was on the development team for the animated family release, Igor. 

As of the writing of this bio, his most recent sale was of a scalding industry satire called Making the GAMP to director Michael Wohl. Out of the more than thirty screenplays he’s written, he’s sold or optioned ten.

Backstory: Growing up in the New England stage community, I studied writing, directing, dramaturgy and design before giving up the theaters of Western Massachusetts for the challenges of Los Angeles.

Over the intervening years, I’ve witnessed the financial and ethical abuses of Hollywood up close and personal, and I’ve had the honor of working side by side with personal heroes like David Lynch, Laura Dern, and a disproportionate number of Star Trek cast members.

While many of my pet projects are united by an interest in science-fiction, fantasy, and other forms of worldbuilding, challenging and empowering actors to grow as performers is my real passion as a screenwriter.

Giving a director and a cast the tools and support to do their very best work is a screenplay’s only measure of excellence.

My uncompromising eye for structure and specificity is what inspires producers, actors, and directors to keep relying on me. No matter what genre you might be working in, you can count on me for that as well.

In 2013, I was struck in the head with a sword during a stunt sequence on a colleague’s web series. Fighting my way back from traumatic brain injury, a host of quite literally crippling symptoms, and the anonymity of disability has only renewed my faith in the fundamentals of our craft and the necessity of a strong showbusiness community.

Most of our decisions are made by habit, and building strong habits can make our path to success nigh unassailable.

Main-genre specialties: Drama, Comedy, Action/Adventure
Sub-genre specialties: Sci-Fi, Dramedy, Family, Sports, Martial Arts

Most important fact of all:
I may have stolen a cryogenic chamber once.

screenplay proofreaderLauren Craig – Our In-House Proofreader.

Pro experience: Lauren Craig is a writer, creative executive and producer who develops projects from concept through delivery. Specifically, Ms. Craig also has extensive experience proofreading and formatting screenplays in preparation for production.

Her most recent work includes Co-Producer on Cut Throat City, directed by The RZA (Wu-Tang Clan) and starring Ethan Hawke, Terrence Howard and Wesley Snipes.

She was also Associate Producer for Running With the Devil, starring Nicolas Cage and Laurence Fishburne, and Development Executive for Hangman starring Al Pacino and Karl Urban.


We have a dedicated knowledge base where you’ll find the answers to most questions on screenwriting, the business and our services. We hope to work with you soon!


Forget vague script coverage that tells you to “Ramp up the stakes in Act 2” but doesn’t tell you how. Ours are intensive and full of ideas.


Pair yourself up with one of our professional writers for weekly or bi-weekly coaching on our Screenwriting Mentorship program.


Our screenwriting course de-mystifies theory and cuts through the “fluff” found in most script writing courses and script coverage services.