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I give a script the best coverage, in terms of reading, editing and making sure the structure are well presented to the producer

Hi John, thank you, I agree that identifying the family member whose fear, guilt, or helplessness carries the emotional point of entry could give STEVEN a stronger character-driven layer beyond the horror itself. I’ll definitely keep that in mind as I look at how the pitch can be sharpened.

Some of them lack development level.

Barry, STEVEN has a clear concept and award recognition, but the pitch leans too much on production details and comparisons. The logline works, yet it doesn’t fully show what makes the story unique in today’s horror market. Tightening the focus on the hook and emotional core would make it stronger.

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