Scott, this whole Q & A with DC has been invaluable ... even stuff which I figured out already (the pressure not to recommend) is shared in a way that gives real insight to the process.

I especially like the part of theme, which I'm glad she notes is unserved by the chart ...

One question ... there's pressure to avoid "recommend" on spec scripts, I assume, but what about those projects with attachments, say the producer's already bought the script and wants coverage before sending it to agencies, etc ... is it the same situation?

I'm with Joshua James, great post DC Mar, I've learned a lot.

Sorry to hear you lost a job by actually recommending a script.

Totally understand the call to a higher standard, BUT sometimes you have to follow your heart and pursue that immaculate vision of what could be.

Would love to hear stories of projects you read, and recommended that went on to make it to the silver screen. Hopefully at some point in this series you'll share these success stories.

- E.C. Henry from Bonney Lake, WA

I will pull together the key questions that have come up in these threads and forward them to DC. However, it may take a while to hear back -- DC just had a baby recently!

Two questions:

First, why are there categories marked both good and fair? Does it signify a range?

Second, and more important - what *exactly* is the difference between the rankings? What's a fair, compared to a good, compared to an excellent?

I think that's one we'd all like answered!

Luzid, I don't think there's an industry standard per evaluative levels like Fair or Good. Each reader has their own instinct on that, probably refined over time and per each client (Producer A may have really high standards whereas Producer B may be open to less stellar material). But I'll add your question to the list and forward to DC.