5/5 & 4/5 The following are the major plot points that are contained in the three act structure.  It is not necessary that the script contain all these points, but it should contain the majority.
5/5 & 4/5 PRE-EXISTING LIFE.  Part of act one, this lets us view the current situation the protagonist is in before a major and unexpected change.
5/5 & 4/5 With a defined INCITING INCIDENT, unexpected and life altering, easily discernible and occurring in the first 10-18 pages, it forces the Protagonist out of their everyday world and creates a situation they must overcome.
5/5 & 4/5 The beginning of the script should raise a QUESTION that is answered in the final scenes (Who is the killer?  Will the lovers get together?).  Getting the answer to this question is what pulls the audience through the story.
5/5 & 4/5 The ACT ONE DECISION.  What has the protagonist decided to set out to accomplish, what is their GOAL.  The Protagonist gradually acclimates to the new situation and  formulates a plan for accomplishing this GOAL.
5/5 & 4/5 As the Second Act begins, the Protagonist decides to take DECISIVE ACTION in response to the Inciting Incident- setting off to accomplish their goal.  This step involves a sequence or several sequences of POSITIVE PROGRESS for the protagonist.
5/5 & 4/5 THE FIRST REVERSAL - as the story unfolds for the Protagonist, the stakes of their goal are consistently raised and seem more difficult to achieve. Risk has also accumulated with appropriate amounts of tension and release.
5/5 & 4/5 The MID-POINT.  Usually the point in the script where a major event or set back happens.  Example, the introduction of a new antagonist or antagonistic force.
5/5 & 4/5 The SECOND ACT is filled with the Protagonist repeatedly facing opposition to his goal while trying to achieve it using his current way of thinking.
5/5 & 4/5 At the midpoint of the screenplay an event occurs that forces the main character to fully commit to his/her goal.
5/5 & 4/5 The FALSE CLIMAX begins ACT THREE.   The point in the script where the protagonists goal SEEMS to have been realized.
5/5 & 4/5 The ACT THREE DECISION.  Different from the first act decision, this is where we see how the protagonist has changed emotionally over the course of the script.  What will they now do to reach their goal?
5/5 & 4/5 In the Third Act, the Protagonist uses a LESSON learned in the Second Act and applies it to solve the problem (the Inciting Incident) established in the First Act in an unexpected way.
5/5 & 4/5 In the CLIMAX the Protagonist's emotional change allows them to use a LESSON learned in the Second Act and apply it to solve the problem established in the First Act (the Inciting Incident) in an unexpected way.  The Protagonist must face his/her biggest obstacle at the climax.
5/5 & 4/5 SUBPLOTS - an integral part to upholding story structure.  Are there subplots (usually 2-6) and are they identifiable and interesting enough stories to hold up on their own? Pull out every scene that does not have to do with the main plot.  String them together.  Do they form an interesting enough story on its own with a beginning middle and end?  Are their obstacles and reversals within the subplot?  How do they relate to the main goal and is it intertwined with purpose to the main plot.
5/5 & 4/5 THE ROMANCE - a virtual required subplot for every story in every gene.  The number 1 subplot.  Pull out the scenes between the couple.  Is their love story interesting?  Would an audience want to see them succeed?  Is it believable, fairy tale, boring. Compelling, too perfect?  Do they face obstacles and within their relationship.  Every great romance must overcome some type of obstacle.
5/5 & 4/5 Ideally, each scene should advance the next, and not be able to take place without the previous one.  Does each scene have a purpose?  If you pull a scene out, will it be missed?  Can you pull a scene or event out and have it occur somewhere else or must it occur at that point only.  If scenes can be rearranged, even just one, and the story still makes sense, it does not follow the above rule.

3/5 The screenplay has SOME of the aspects of a 3-ACT Structure, but they do not easily fit together or do not always make logical sense.
3/5 The screenplay has SOME aspects of a 3-ACT Structure, but plot points are missing, ineffective, or lacking appropriate drama.
3/5 The CORE CONCEPT is not identified within the first quarter of the screenplay.
3/5 The INCITING INCIDENT is not easily discernible or does not make obvious sense.
3/5 The Inciting Incident occurs in the first few pages or significantly late (page 20+). Do not confuse a TEASER - a brief scene, usually opening the script to establish the theme, with the Inciting Incident though.
3/5 The Second Act occurs without decisive ACTION on the part of the Protagonist.  This action must be in direct relation to the conflict presented in the inciting incident.  It is not enough for the character to make decisions, these must directly affect the main plot of the film.
3/5 The Protagonist overcomes the Inciting Incident in an obviously PREDICTABLE way.
3/5The Protagonist does not directly face the villain/obstacle in the climax.

2/5 & 1/5 No discernible 3-Act Structure. The movie is more of a "slice of life"
2/5 & 1/5 The INCITING INCIDENT cannot be discerned and does not make any sense.
2/5 & 1/5 Events in the script seem to occur at RANDOM without any planning as a whole.

5/5 & 4/5 The core concept can be concisely summarized in an engaging 1-3 sentence logline.
5/5 & 4/5 While the core concept can be thought of as a combination of two films (The Godfather meets Terminator), it has a UNIQUE HOOK - something we have not seen before.
5/5 & 4/5 The script REVOLVES almost exclusively around the core concept. While there may be additional subplots, they either work to COUNTERPOINT the premise or REFLECT it.
5/5 & 4/5 Universal CONFLICT is built directly into the premise and can be related to by ALL viewers on a PRIMAL level, independently of time period or culture.

3/5 While the core concept is discernible, it TOOK TIME to discover.
3/5 The core concept is DIFFICULT TO EXPRESS without explaining the story's setup in depth and does not lend itself to a 1-3 sentence logline.
3/5 While the core concept is enjoyable, it has a FAMILIAR hook and adds nothing new to the genre.
3/5 The script WANDERS away from the core concept with too many themes; incidents in the script seem tacked on ONLY to fit within the story.
3/5 While there is enjoyable conflict, it is SPECIFIC to a demographic and NOT universal. Scripts revolving around gender-specific issues (e.g. breast cancer) or unique demographics (rockabilly bands residing only in Barstow) are good examples.

2/5 & 1/5 The core concept of the story is POORLY DEFINED or nonexistent.
2/5 & 1/5 The core concept is near IMPOSSIBLE to express.
2/5 & 1/5 The core concept verges on PLAGIARISM or is incredibly BIZARRE.
2/5 & 1/5 The script RARELY touches upon its intended core concept.
2/5 & 1/5 There is NO conflict, or the conflict is so specific to a demographic as to be irrelevant to anyone else.
2/5 & 1/5 The theme is INSULTING to the chosen demographic.

5/5 & 4/5 The Screenwriter establishes EMPATHY, a connection between the Protagonist and the audience, with his or her initial introduction no more than 10 pages into the Script.
5/5 & 4/5 Something is in Jeopardy- within the first 20 pages the Protagonist has an easily established Dramatic WANT or GOAL and the audience wants the Protagonist to SUCCEED in accomplishing it.
5/5 & 4/5 Generally, the script should have just ONE strong Protagonist.
5/5 & 4/5 The Protagonist takes direct ACTION against internal and external conflict consistently throughout to reach this goal, thus driving the plot.
5/5 & 4/5 The protagonist has a clear emotional NEED that must be realized by the end of the script.  Example:  the protagonist is selfish therefore must be able to then make unselfish choices by the climax.  This emotional change is what makes the characters story interesting. 
5/5 & 4/5 The Protagonist makes CHOICES instead of just reacting to things that happen TO him.
5/5 & 4/5 The Antagonist and Supporting Characters DO NOT OVERSHADOW the Protagonist. While other characters may have their own moments to shine, the story constantly REVOLVES around the Protagonist. The Supporting Characters actions always affect the Protagonist.
5/5 & 4/5 The Supporting Characters are also not simply plot devices.  They seem as real as the protagonist, with their own goals and purposes, no matter how small.
5/5 & 4/5 Due to opposing forces in pursuing a goal, the principal characters transform and have easily discernible ARCS - learning lessons and growing as people over the course of the Screenplay. The arcs and Screenplay Characters are believable throughout.
5/5 & 4/5 Every story must have 4 basic characters: Protagonist - or hero.  Must be human, good, believable, and consistent.  Must have a flaw or weakness. Antagonist - the villain or foil.  The secondary main character that starts or is the problem.  Does not have to be human. Ally - or the buddy - allows the protagonist to vent, talk, helps him out of a jam, supports Messenger - or catalyst - brings information to the protagonist to help him, move along the story, and save time of the protagonist having to find this information on his own. Are all these characters present and easily identifiable?  Do they posses their necessary qualities? 
5/5 & 4/5 Are the characters developed in 3 dimensions: physically, mentally, and socially? 1) Self -appearance, physical attributes, manor 2) Psychological - personality, drive, dreams, desire 3) Sociological - they must interact with the world, with their home life or friends, with their job or co-workers. Does a character exist in all of these fashions or is something missing?

3/5 The Author does not readily establish EMPATHY with the Protagonist, or the attempt is CONTRIVED or heavy-handed.
3/5 The Protagonist's goal DOES NOT MAKE SENSE or seems tacked on.
3/5 The audience is AMBIVALENT towards the Protagonist. While the story may be interesting, the audience does not care one way or the other about the Protagonist.
3/5 The Protagonist is occasionally PASSIVE or does not always drive the plot. Other characters often provide plot points without the Protagonist initiating the interaction.
3/5 Supporting characters OVERSHADOW the Protagonist or the plot will continue without the Protagonist for long stretches of time.
3/5 The principal characters DO NOT have an easily discernible ARC and do not learn believable lessons, or the lessons feel tacked on.

2/5 & 1/5 The audience has no EMPATHY towards the Protagonist at any point in the plot.
2/5 & 1/5 The Protagonist has no discernible GOAL.
2/5 & 1/5 The audience DISLIKES the Protagonist and does not want them to succeed.
2/5 & 1/5 The Protagonist is almost always PASSIVE and does not affect the plot at all.
2/5 & 1/5 Supporting characters always OVERSHADOW the Protagonist. You would rather the script be about them.
2/5 & 1/5 The principal characters learn nothing over the course of the script and remain UNCHANGED throughout.

5/5 & 4/5 Principal characters have DISTINCT speech patterns and don't sound alike. If you were to take a line of dialogue and cover up the speaker's name, you would have a good chance of discerning the speaker’s identity.
5/5 & 4/5 Dialogue adds to the characters and story without EXPLAINING what is going on, or TELLING what has happened or is about to happen.  No “On the Nose” Dialogue.
5/5 & 4/5 The characters always use SUBTEXT, never overtly stating what they mean or feel. Such states should be obvious to the audience based on the strength of the plot.
5/5 & 4/5 The dialogue is BELIEVABLE, with character interaction occurring at appropriate moments throughout the script.
5/5 & 4/5 The dialogue FLOWS, with each interaction leading well into the other. No lines seem out of place.
5/5 & 4/5 The dialogue is REFLECTS the time period and subculture in which the story takes place.
5/5 & 4/5 The dialogue is MEMORABLE. The audience will recall specific lines and tell their friends about them.
5/5 & 4/5 The dialogue has a certain beat, and uses ALLITERATION and ASSONANCE to make conversations sound great, even to a viewer who speaks a different language.
5/5 & 4/5 The action and dialogue balance each other out into a smooth coherent read without stalling the screenplay.
5/5 & 4/5 The dialogue is NOT EXPOSITORY.  With many scripts, especially ones with complex stories, it is easy to let the characters get lost in long uninteresting explanations of major story points.  This is neither interesting or dramatic.

3/5 Principal characters often SOUND ALIKE or have partially distinct SPEECH PATTERNS where an established character's dialogue does not sound consistent throughout.
3/5 The characters often do not use SUBTEXT; instead, they overtly state their feelings or explain their actions. The characters often SUMMARIZE previous actions of which the audience is already aware.
3/5 The dialogue often is not BELIEVABLE, with character interaction occurring at odd or inappropriate moments throughout the script.
3/5 The dialogue often does not FLOW, with interactions abruptly transitioning, or plot points being signaled via overt explanations.
3/5 Some lines of dialogue are ANACHRONISTIC - not fitting into the genre or time period of the Script.
3/5 The dialogue is INNOCUOUS, with no particular lines standing out. They're not bad, but they're not very good either.
3/5 Dialogue is often used where a visual image could be easily substituted with equal or greater effect. 
3/5 The dialogue drags in scenes, making them longer than need be.

2/5 & 1/5 The principal characters have NO distinct speech patterns and dialogue is clichéd or completely superfluous.
2/5 & 1/5 The characters NEVER use SUBTEXT, always overtly stating how they feel and always explaining their actions.
2/5 & 1/5 The dialogue is never BELIEVABLE and always occurs at inappropriate moments in the script.
2/5 & 1/5 The dialogue never FLOWS and is always heavy-handed or serves the plot poorly.
2/5 & 1/5 The dialogue is PAINFUL to read.
2/5 & 1/5 There are large, long running blocks of action or dialogue that make the screenplay read like a novel.

5/5 & 4/5 The story is FASCINATING throughout, with the audience always wanting to know what happens next.
5/5 & 4/5 The story makes logical SENSE but is NOT PREDICTABLE.
5/5 & 4/5 All scenes establish or enrich CHARACTERS, further the PLOT, or are so ENJOYABLE they would be a sin to remove.  The most effective scenes do all of these things simultaneously.
5/5 & 4/5 The Script follows all established conventions and yet adds something NEW to the GENRE in the form of a TWIST.
5/5 & 4/5 The Screenplay is easy to follow, and does not require multiple reads to understand - yet it creates the desire for multiple reads, to enjoy again and study details.
5/5 & 4/5 There are no major holes in continuity or plot.

3/5 Though overall ENTERTAINING, the script sometimes lags where the audience's attention will wane.
3/5 While the story makes sense overall, it is marred by several inappropriate LOGICAL LEAPS, HOLES, or is PREDICTABLE throughout.
3/5 There are several superfluous scenes that do not establish or grow CHARACTERS or further the PLOT.
3/5 The Script RIGIDLY adheres to the conventions of the GENRE without adding anything new, or twists seem TACKED ON only for the sake of having them.
3/5 Scenes have to be re-read because important tidbits of information are not clear or missing.

2/5 & 1/5 The story is either BORING or PAINFUL to read.
2/5 & 1/5 The story makes no logical SENSE.
2/5 & 1/5 Scenes occur throughout that DO NOT establish or grow CHARACTERS, or further the PLOT.
2/5 & 1/5 The Screenwriter has no clue as to the conventions of the chosen GENRE.
2/5 & 1/5 The subplots overshadow, or hide the real story, or create so much confusion that the story becomes lost.
2/5 & 1/5 The script leaves more QUESTIONS than answers when the read is over.  The story feels incomplete or the reader feels they got nothing out of it.
2/5 & 1/5 The Script is just a plain MESS and you would rather pluck out your eyes than continue for another word.

5/5 & 4/5 The Script is PROPERLY formatted as an INDUSTRY STANDARD Screenplay.
5/5 & 4/5 The Script falls into 90-130 page length without feeling crammed or drawn-out; scenes are not obviously cut or added to fit within this page length.
5/5 & 4/5 ACTION paragraphs are grammatically WELL WRITTEN, composed of 3-4 lines, allowing your eyes to flow easily across the page. Sentence fragments are acceptable.
5/5 & 4/5 There are FEW or NO typos.
5/5 & 4/5 The Script NEVER tells the director how to film shots or actors how to deliver their lines. There is NO MENTION of the camera.
5/5 & 4/5 The Script only contains visuals that can be shown on screen – the action paragraphs should not be written like a novel describing emotion and internal feeling.
5/5 & 4/5 PARENTHETICALS are used SPARINGLY, only in cases where it would not be obvious (e.g. sarcasm or sotto) or to show a character's movement from one thought to the next (beat, or “off his/her look”) within the dialogue.
5/5 & 4/5 There is a clear TONE that goes from dialogue, to story, to action lines.  This is consistent throughout and never wavers or changes without precedent. 

3/5 The script OCCASIONALLY uses improper formatting or uses a NON-INDUSTRY STANDARD format consistently throughout.
3/5 The script is SLIGHTLY too short or long, and there are obvious incidents that need to be ADDED or CUT.
3/5 Action paragraphs are written with proper grammar, but they DO NOT grab your attention. Action paragraphs are often too LONG and you find yourself scanning or skipping the action to get to the dialogue.
3/5 Action paragraphs are lacking in description. Action paragraphs contain descriptions of characters' emotions and not action.
3/5 There are NUMEROUS, glaring typos.
3/5 The script OFTEN explains how the film is to be shot or tells the actors how to portray the character.
3/5 Parenthetical's are used OFTEN and are not always necessary.

2/5 & 1/5 The Script is IMPROPERLY or INCONSISTENTLY formatted throughout with NUMEROUS mistakes, such as action within the dialogue.
2/5 & 1/5 The Script is SIGNIFICANTLY above or below proper page length.
2/5 & 1/5 The Script is RIDDLED with typos to the point it is hardly discernible as English.
2/5 & 1/5 The Script reads as if it were a SHOOTING script by ALWAYS explaining camera angles and telling the actors how to deliver their lines.
2/5 & 1/5 Scene numbers and other conventions of a shooting script are used throughout the screenplay.
2/5 & 1/5 Parenthetical are used with almost EVERY line of dialogue, to the point you wish that ability were removed entirely from the screenwriting software.