Confidential mutual support for screenwriters
Four writers. Four finished drafts. Eight weeks. Three writers read your script cover to cover, tell you what is actually wrong with it, then stay in the room while you rewrite. You do the same for them. That is the entire arrangement.
No fee · Nothing to buy, now or ever
You pay in reading, notes and time
Why Wilder
Billy Wilder wrote Sunset Boulevard, Some Like It Hot and The Apartment. He won three Academy Awards for screenwriting and he shared every one of them. Charles Brackett wrote with him through the 1940s; I. A. L. Diamond from the late fifties until the end of his career. Two writers in a room, arguing a script into shape, for the better part of forty years.
His standard was shorter than anyone else’s.
Thou shalt not bore.
It is on our emblem because it is the only test that matters here, and because the man who set it spent his whole working life proving that the surest way to meet it is to write alongside somebody who will tell you when you have failed.
Why this exists
If you have entered contests, you know the shape of it. A score. A quarter-final placing. A paragraph of notes that could describe almost any screenplay. You have no way of knowing whether a single human being reached the end.
If you have paid for coverage, you may have received something genuinely useful. You may also have received two pages from a reader on their fourth script that day.
And if you have been running drafts past ChatGPT, Claude or Gemini, you already know they love it. They love everything. They are built to be encouraging, they reward clean formatting and competent scene construction, and they cannot become bored, which is the single most important thing a screenplay can tell you about itself.
A script can be well built, well researched, ambitious and completely dead on the page. Every AI you show it to will call it strong.
Professional coverage is worth paying for. It is worth paying for after your draft has met intelligent readers who had a reason to finish it and a stake in what comes next.
That is what this is for. It is not a service, a course, or a stepping stone to something you buy later. It is four writers doing for each other the one thing the industry does badly and takes good money for.
The arrangement
Every Season runs in two parts. The first tells you the truth about what you have. The second keeps three people beside you while you act on it.
All four scripts go out the day the room is confirmed. Everyone reads all of them. The whole thing, to the last page.
Thirty minutes on your project, every single week, with three people who now know it as well as you do.
The Season
Short enough to commit to. Long enough to produce a “considered” draft.
| Week | What happens |
|---|---|
| 01 | Diagnostic: two scriptsSixty minutes each, written notes in hand. |
| 02 | Diagnostic: two scriptsEveryone declares their rewrite before the session ends. |
| 03–07 | Rewrite sessionsThirty minutes each, every week. One deep week per writer, with one spare week built in for when life happens. |
| 08 | DeliveryNew drafts arrive. The four of you decide together whether to run a second Season. |
The session
On Zoom. The four of us agree the time between us once the writers are chosen, then fix it for the Season. We do not advertise a time in advance, because finding the right four writers matters far more than the convenience of the hour.
Your thirty minutes are not a performance. Five minutes to frame the problem, twenty for the other three to work on it, five to say what you are doing next. It is not read this and tell me what you think. It is here is where I am stuck. That distinction is what makes half an hour enough.
The real cost
Roughly fifteen on your own rewrite. Four or five on everybody else's: reading, written notes, and the session itself. In the first fortnight you will read three feature screenplays properly.
We do not ask whether you write full time. Most good writers at this stage have a job, and the hungriest writer in any room is usually the one who does. We ask what you can genuinely give, every week, for eight weeks.
If twenty hours is not available to you right now, this room will not work, and it is far better that you know that before you apply than in week three.
Is it for me?
There is no fee because every member supplies the only thing that makes it valuable: a finished script, real attention, and notes worth having.
The same terms, in both directions
John Pruzanski sent the first email and built this page. That is the whole of his authority. Nobody is anybody’s teacher here, and the order in which the four scripts are read is drawn by lot in week one, in front of everybody.
He submits on the same schedule, reads the same three scripts, meets the same deadlines and receives notes with no special standing. He handles the calendar, the folder and the meeting link, and is otherwise one writer of four.
He has also published his own application in full: the script, the logline, what he already suspects is wrong with it, and what every reader has told him so far, including the one professional reader who did not like it. Nobody should join a group of four on the strength of a landing page. Read it, and decide whether you would want him reading yours.
Questions
Yes, and there is nothing to buy afterwards. No fees, subscriptions, upsells, affiliate links or paid tier. It costs you a finished script and twenty hours a week. That is the only currency involved.
No. Coverage is a verdict from a stranger. This is four writers who read each other's work in full, argue about it in real time, and are still in the room six weeks later when you are halfway through the rewrite. It is designed to be the thing you do before you spend money on coverage, so that when you do, you are paying to find out something you do not already know.
Yes. A complete draft of a feature or a pilot. Not an outline, not a treatment, not forty good pages. The first fortnight is built entirely on everyone having something whole to read.
Applications are open worldwide. The four selected writers agree one weekly time between them and then keep it, so we do not advertise a slot in advance. Tell us your genuine availability on the form and we will build the Season around what overlaps. Expect the hour to be inconvenient for somebody. It usually is.
You do, entirely and at every stage. Scripts, notes, conversations and ideas stay between the four of you. Nothing is published, shared, submitted, sold or fed to an AI service. Every member agrees to this in writing before the first session.
On availability, on the evidence that you can give a useful note, and on whether the four scripts make a room that can actually help each other. Credits and placings are not a factor. Every shortlisted writer has a short conversation with John before anything is confirmed.
You have a new draft that three people followed from diagnosis to delivery, and a clear view of whether it is worth paying for professional coverage. If the four of us want to continue, Season two opens with the diagnostic read of exactly those new drafts, or with a new project each. Nobody is obliged to stay.
Use whatever tools you like in your own process. But the notes you bring to this room must be yours, written by you, after you read the script yourself. A room built on generated notes would be worth precisely nothing, which is rather the point of the whole enterprise.
The first room
The application asks about your script, your availability, and what has already been said about your work. It takes about fifteen minutes and it needs a link to your finished draft.