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Frequently Asked Questions
Q: I was looking at your list of services and I don’t see COVERAGE. What gives?
A: When I started thinking about putting together this website and offering my script consulting services to a wider public, I knew immediately that I did not want to do “coverage” for writers. Coverage is a rather crude tool created out of necessity by development execs charged with wading through far more material than they could ever read themselves. It is a fast assessment and vote: up or down. In my view, standard industry coverage is neither fair nor helpful to give to screenwriters who are still in the process of creating their work. I recommend that all screenwriters avoid coverage as much and as often as they can. It is not your friend.Q: So you won’t write coverage for me?
A: There are a lot of people out there who do coverage, as a quick Google search will attest. If you really want to go that way, I hope you’re sure that your current draft is evolved, deeply considered and absolutely ready to go. And to be honest, even if you are, I still don’t think you need coverage. Let the agents and executives worry about that. Just send it out.Q: I’ve been told that writing a genre script with really tight STRUCTURE is the best way to break into Hollywood. Not true?
A: First, I’d like to point out that what I offer is not just for people wanting to break into the biz. I like to work with already established writers as well who come to me for confidential analysis before they either turn in assignment work or, more commonly, while writing something new on spec.No question that tight structure, clear act breaks, an alluring inciting incident that occurs early in the story, etc. etc. are all desirable qualities for your spec. I’ll encourage those things and help you develop them. That said, if you are really looking to break into the screenplay-writing world, my advice is two-fold. First, be prepared for your script — the one you’re working on right now — to not sell, at least not in that classic, front page of Variety, bidding war, spec-sale way. I’ve been involved in exactly ONE of those scenarios out of the thousands of specs that I’ve read. It is very, very rare, and you actually don’t need this to happen. You need to work on your chops and the work (and the paychecks) will come.
Second, and again in my experience, new work with a distinctive voice, a certain amount of daring, and a sizeable spark of freshness and originality are the qualities that get new writers noticed in Hollywood. If your goal is to play it safe (as if that were possible) and become an expert craftsman, my take is that there are already a lot of them working out in LA. It’s tough to out-expert the experts, who already have great representation and are on everyone’s short lists.
Q: Are you saying that popular step methods and saving the cat is not important?
A: No, not at all. I simply feel it’s been over-emphasized in recent years. Obviously there are people who would love to make screenplay writing as much of a science as possible to eliminate artistic and financial risk, and understandably so. Writing a feature-length movie script is a great investment in time and what if you get to the end of the process and no one likes what you’ve done?The most important thing, in my view, is that YOU like your script. If you write something you love and you believe in — if you can defend your work in the face of criticism — you will have already succeeded. Writing stuff that you actually don’t like, that seems dumb to you, or just feels like yet-another teen vampire or zombie story just because you think it’s commercial, I think is a mistake. There’s nothing at all wrong with “commercial,” but I would encourage you not to waste your unpaid, on-spec time writing what you don’t believe in.
Q: Can you help me gain ACCESS to Hollywood studios or agents once my script is finished?
A: I’m aware of quite a few consultants that promise to put your script on so-and-so’s desk (for a fee of course) and maybe that’s true but it feels dubious to me and I don’t care to be in the agent business. Some of my clients, as I’ve said, are already established and have very good representation. As for the others, I want to work with them to get their script ready to take on the world, but then it’s up to them to send it out. If it’s good, people will notice and pick up the phone. I promise.Q: In your opinion, what is the most common mistake that screenwriters make?
A: Sending your spec out before it’s ready. Only friends will read your script more than once. If you rush — because you’ve convinced yourself that the script is perfect, or because you’re sick of working on it, or especially because you need money — it can be fatal to your project. Don’t do it.Q: Do you ever turn work down?
A: I can’t imagine how you could do this job and not turn certain projects down. Obviously, I can’t help everyone and I can’t relate to every story. We can talk about your project before you send it to me. And if after I read your script, if I really feel I can’t make a contribution, I will absolutely send you back your money — a 100% refund. That’s a guarantee. -
