Conflict is the driving force of a story, and the central conflict should be universal and pervasive throughout the narrative. Minor conflicts add complexity to the protagonist's struggle, and even secondary characters and antagonists should have their own conflicts.

Key questions regarding the conflict include:

a) Is the main conflict sufficient to sustain the story and challenge the protagonist consistently?

b) Is the main conflict well-defined, with clear stakes?

c) Does the conflict resonate with the human condition, allowing a broad audience to relate to it?

d) Are the stakes established early and believable in the context of the conflict?

e) Does the conflict align with what we know about the character?

f) Does the conflict escalate as the story progresses?

g) Does the main source of conflict evolve or remain consistent?

h) Do subplots also introduce conflict?

i) Is there a balance of external conflict (events) and internal conflict (feelings)?

j) Does the conflict progress as the story unfolds, avoiding stagnant moments?

k) Are conflicts among characters effectively presented, or do they always agree on everything?

l) Is everything addressed in the climax? 

The Craft section assesses the overall quality of the writing. It covers language usage, action descriptions, character descriptions, camera direction, “unfilmables,” and any grammatical errors, typos, or formatting issues.

Key questions related to craft include:

a) Does the writer's use of the English language enhance or hinder the story?

b) Is the script formatted following industry standards?

c) Are there spelling and grammatical errors? Are sentences grammatically correct? Is the sentence structure clear?

d) Is the writing clear, concise, and descriptive, or is it confusing, lengthy, and lacking detail?

e) Does the writing create vivid mental imagery?

f) Is there unnecessary or excessive detail, camera direction, actor direction, or parentheticals in dialogue?

g) Is proper formatting used, including character capitalization, margin alignment, and font style?

h) Is everything described in a way that can be shown on screen, or are there "unfilmables" or omniscient information that should be minimized? 

Although film is a visual medium, dialogue plays a vital role in character development and audience connection.

Key questions regarding dialogue include:

a) Does dialogue distinguish and strengthen each character's individuality, ensuring that characters sound authentic to their backgrounds and personalities?

b) Are characters' unique personalities expressed through their dialogue, including speech patterns, mannerisms, and behaviors?

c) Is each character's voice consistent throughout the story?

d) Is dialogue free from being on-the-nose and overly explicit? Does it contain subtext and nuance?

e) Is there an appropriate balance between dialogue and action? 

The section evaluates the script's adherence to its own established rules, whether in a fantastical or reality-based world.

Key questions related to logic include:

a) Does the script follow its own logic and address questions consistently?

b) Are there any plot holes or inconsistencies in the story?

c) Is the internal logic of the script maintained, even in a fantastical setting?

d) Do characters act in accordance with the information they have, and is there clarity and consistency in the script's world? 

Originality is assessed by considering how fresh and unique the script feels within its genre.

Key questions related to originality include:

a) Is the core concept of the script inherently interesting and original?

b) Does the script introduce new perspectives or a unique world, situation, culture, or science within its genre?

c) Does the script make fresh contributions to its genre or provide a unique perspective on familiar themes?

d) Are there themes, plots, or characters reminiscent of previous films, and if so, what elements are derivative?

Pacing evaluates the balance between tension and release, ensuring that the story progresses at an engaging pace.

Key questions about pacing include:

a) Is the story's pacing balanced, or are there parts that feel too slow or too fast?

b) Does each scene naturally flow from the previous one and lead into the next?

c) Are there scenes that do not drive the story or feel excessively long?

d) Is there an appropriate balance between action and dialogue?

e) Is there enough mystery, tension, and release to keep the audience engaged?

f) Is each scene logically connected to the one before it?

The Premise section assesses the central concept of the script, evaluating its conflict and growth potential, as well as any thematic elements.

Key questions in the premise section include:

a) Can the core concept of the script be summarized quickly?

b) Is the core concept inherently interesting and rich in conflict?

c) Does the premise explore its potential fully and provide a foundation for character decisions and thematic depth?

d) Are there valuable themes or messages within the premise, and is there thematic cohesion?

e) Does the script deliver on the expectations set by the premise?

Structure evaluates the narrative's coherence and effectiveness, looking at the organization of story beats and subplots.

Key questions in the structure section include:

a) Does the story flow smoothly from beginning to middle to end, forming a coherent whole?

b) Are the structural beats effectively placed and timed, such as act one decision, midpoint, climax, and resolution?

c) Are any notable structural devices effectively used?

d) Do all scenes contribute to plot progression or character development?

e) Are story details planted early and paid off later?

f) Are important moments shown rather than told, and are scenes with high tension showcased?

g) Is there an effective engine driving the plot forward?

Tone assesses the consistency and appropriateness of the script's tone within its genre and the writer's intention.

Key questions in the tone section include:

a) Is the tone effective and consistent with the genre and the writer's intention?

b) Does the tone change abruptly or inappropriately from one sequence to another or from the beginning to the end?

c) Is the tone suitable for the genre and the context of the script's intention?