What this is
A mirror, and a guide.
I made a film. Not with a studio behind me — with a laptop, a lot of stubbornness, and a process I invented as I went. Then I entered it, and it didn't make the cut. The films that beat it were better made than mine. That is the whole of it: no conspiracy, no bad luck, just a gap I could finally see once somebody else's work was standing next to mine.
I'm not stopping. I'm going to make the next one better — and I want to know that it is better, objectively, before I send it anywhere, rather than finding out from a rejection months later. That takes a mirror I can't talk my way around, and a process I can run again on the next draft and the one after. I needed a tool for that, so I built one.
Slop2Nuts is that tool. Not a marketplace, not a gatekeeper, not another place to be judged by strangers with no stake in whether you finish. Two things, really.
A mirror
Work you have lived inside for a year stops being visible to you. You cannot tell any more whether the second act drags, whether the reveal is obvious, whether the thing that moves you moves anyone else. A mirror does not flatter and it does not insult — it just shows you the thing as it is, from an angle you cannot get to on your own.
That is what the readers are for. Six of them, each with their own lens: the studio executive asking whether it sells, the prestige-division head asking whether it matters, the story editor hunting for the emotional centre. They are AI personas, invented characters, and the site says so on every page they appear. What they are not is polite. You will disagree with some of it. Disagreeing usefully is most of the point — you can argue back, and they will change their mind when you are right.
A guide
The other failure mode is drift. Nobody is waiting for your screenplay. There is no deadline unless you make one, no one to notice if this draft takes another eight months, and the work quietly becomes a thing you are always about to get back to.
So the second job is keeping you honest: what changed since the last draft, whether you actually addressed the note you agreed with, which festival wants what by when, and whether the thing you are about to submit fits the rules you are submitting it under. Less of this exists yet than I would like. It is the direction.
Here now
A page for the film
Trailer and film straight from YouTube, poster, logline, synopsis — with a spoiler-free version for the public if the real one gives too much away.
The script, metered
Upload a PDF, Fountain or Final Draft file and it becomes a proper reader. Everyone gets the first few pages; you decide how many, and hand out access codes for more.
Private sharing, per person
Invite someone by email and tick exactly what they see — the film, the treatment, the coverage. You can tell whether they opened it, when, and how often. Revoke it and it stops working.
Coverage that names pages
A full report: verdict, scores, and a revision roadmap that cites scenes rather than vague encouragement. First one free, 50 tokens after.
A critic review you control
A publishable piece of criticism with a star rating. It stays private unless you decide otherwise — and it is written to sell the film without giving away the plot.
Numbers that matter
Trailer views, who has read how far, and a share link of your own that earns you pages of other people's scripts when you pass it on.
Being built
Versions
Drafts as first-class things: keep them all, see what changed, and stop naming files final_v4_REAL.
Feedback on the trailer, not just the page
The cut, the first eight seconds, the beat where attention goes. Today the marketing reader works from the script; it should work from the film.
A score you can choose to show
One consistent number across everything on the site, so a strong script from someone with no credits is legible to someone who has never heard of them. Yours to publish or keep.
Vetted human readers
Some free, some paid, all real people. The AI is a mirror; it is not a substitute for someone whose judgement you can hold to account.
Festivals, before the deadline
What is open, what it wants, whether your film fits its rules — and a synopsis shaped to that specific submission rather than a generic one you rewrite at midnight.
Reaching industry
A way to put a finished thing in front of people who read for a living, without cold-emailing strangers and hoping.
Ideas, not promises
Things I want but have not built. Listed because a roadmap you can argue with is more useful than one that only contains the safe items.
Where readers stop
The page people put it down on is the most useful number a writer can have, and nobody gives it to them.
Did you address the note?
Take last draft's roadmap, read this draft, and say plainly which notes you acted on and which you quietly ignored.
The notes that recur
When four readers independently flag the same scene, that is not an opinion any more. Worth surfacing above everything else they said.
Watermarked links that expire
Industry sharing that leaves a trace, so a leaked script points somewhere.
A submission log
What you sent where, what it cost, what came back. Most writers keep this in a spreadsheet they hate.
Proof of what existed when
A timestamp and a fingerprint for every version, so the record of who wrote what, when, is not an argument.
Co-writers
Two people, one project, without sharing a password.
What it is not
It does not take your work. You keep every right you had. Nothing here is an option, an assignment or a first-look deal, and your script is never used to train a model — not by us, and not by Anthropic, whose terms forbid it. In writing.
It is not professional coverage. A report is a language model in a named persona, produced in minutes for a few dollars. It is fast, it is specific, and it is sometimes wrong. Treat it as a first reader who has never been tired or distracted, not as a credential.
It is not a competition. Nothing here ranks you against other writers, and nothing you do not publish is visible to anyone.
Put something up.
The first report and the first critic review are free, and hosting the project always is. If the notes are worthless to you, you will have found that out for nothing.