When scripts come to you, there are some that you can immediately rule out. If a writer doesn't even take the time to check spelling, grammar, proper formatting, it's a sure bet that the rest of the script won't improve. It may seem unfair, but a reader's job is not to proof a script. So #1, make sure you have proofed everything and used good formatting before you submit. When others comment on it in this forum, it's not being petty. If it looks messy, I would stop after page 5.
Reading through the list, I have to agree with the reader's observations. Readers vary on what they like and also must weigh in what the studio wants. In one case, the production company wanted a strong female lead. Most of the scripts I reviewed had a female lead who was more of a 'companion' to her protective male 'support'. While it's not necessarily true, male writers should have female reviewers check the portrayal and dialogue of their female characters. And vice versa.
I would also make a distinction between a "stereotypical character" and role (trope). It's okay to include archetypical or trope characters because they often define the story. At issue is how they are developed. In poor scripts, they are introduced and NEVER CHANGE. There is no character development or "arc". As a result, the reader (and audience) has no feel for them. If I don't care what happens to a character by page twenty, I can't recommend it.
The only one I would say is not a serious flaw is "The hero isn't as strong as needed." For some films, that is the point and can be a profound message. For me, it breaks formula. In real life, even heroes have limits and sacrifices must be made. Having said that, this only works if you have pushed your hero to his/her limits.
What I do see frequently are scenes strung together to highlight special effects or action with no logic connecting them. Often they are considered a reason unto themselves. The writer/director may think it's cool to have a zombie ripping off a guy's arm with blood spurting, the stoic strong guy getting tortured by the villain only to turn the tables, etc. These cliche vignettes are often tossed in because "they're expected". Fine. In a movie you're shooting for your friends, film away. If you're trying to sell this piece, you need to be less "expected" and more relevant. Yes, those scenes may happen but they are driven by the story and not just tossed in plot devices because they're cool. If you could take out the scene without it changing the context of the movie, then it's probably gratuitous.
The other big flaw, especially with new screenwriters, is they try to "direct from the page". They detail shots, go into elaborate detail over locations, costume, actions, etc. They fail to realize their role is to tell a great story and create a blueprint for other professionals to take over. Unless you are the director, you don't need to worry about camera shots and transitions. Really. You learned it in school, nice, now forget it until you are asked to write the shooting script. This appears in "Script is the writer's ego trip" on the list.
Often submitted scripts will have caveats. These don't preclude consideration. What I would take away is that nearly a third (97 of 300) were moved along for further consideration and roughly a tenth of those (
were good to go as written. I don't think the reader's intention was to say that all writers suck. Most writers have good ideas but really need to hone their writing style. That only comes from reading and practice unfortunately. Screenwriting is part art and part craft.
What I particularly like and appreciate is that it covers a wide variety of genres and scripts. The average script length of 107 pages is something to note. If a script is over 120 pages, it raises red flags. As a general practice, I will give a script until page ten to catch my interest unless it is horribly formatted in which case I stop at page five. By ten I should want to continue on. By page twenty, I should know main characters, care about them, know a bit about their strengths and foibles, the general problem/issue they face, and the obstacles they need to overcome generally. Then it should provide that hook that makes me want to jump into "act two" where the major action and struggle occurs. A good script will hint at it. Even non-linear scripts make you aware of the driving issue of the movie.
It's hard to say how to write a "good" screenplay without coming across as being "formulaic". Write a good story by developing believable characters the audience cares about making reasonable choices under the most difficult circumstances from which they must learn and grow from the consequences. The "craft" comes in by pacing this story to fit into under 120 pages in a standardized format. Saying it sounds outlandishly dull, yet it is the foundation of all screenplays. It is easier to tell others how their writings deviate from that ideal so they can work to improve it. This list is a useful tool if you turn its criticisms around to help guide your writing.
- Start your story beginning page 1.
- A scene should be meaningful and relevant such that removing would diminish the story.
- The story should come first, not the structure.
- The script should not be inflated beyond the story's natural length.
- No character is purely good or evil but are the result of their decisions.
- People should act reasonably within their character.
- Men and women should be treated as vital equals.
- Avoid talking head sequences and not use dialogue when visuals would work better.
- Conflict often goes dormant, not away.
- Make your protagonists unique with strengths and weaknesses that deviate from the "expected".
etc.
Thanks for finding and posting this.
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Each character is given a fuller development. Vader is Luke's father. Leia is his sister. The relationship between Luke, Leia and Han is more fully developed. The dynamic between Vader and Luke is far from simple. 
