1. We interview writers all the time, and we know what they do – they write! What exactly is a script consultant? Is it the same thing as a script doctor? What’s the difference between a script consultant and a “reader?”
We are shadowy creatures, aren’t we? Lurking behind every good script, a script consultant is like a secret weapon – although few writers, and even fewer producers, will admit to using a consultant, or “script doctor.” So what do we do that justifies the kind of fees we command?
Essentially, a script consultant takes a long, hard look at your plot, structure, story logic, narrative drive, character development and characterization, theme, dialogue, and format. Does your screenplay work? It's not good enough for your friends and family to love it, unless they're in a position to buy it. As a script consultant I work with screenwriters, directors and producers throughout the writing and development process. I evaluate the script for problem areas – and then I tell you how to fix them – hence the term “script doctor.” For directors, or independent producers who don’t have an in-house development team, a script consultant can provide an approach on how to adapt a book to film; or even do a specific type of rewrite, whether for dialogue, story or character development.
So, specifically, a script consultant:
analyzes and evaluates your screenplay
identifies and solves story problems
provides effective suggestions for re-structuring
helps you develop more compelling characters
guides you in adapting a book, play or story to film
As you can see, a professional script consultant should be capable of working with you throughout the rewrite process. There are many people calling themselves script consultants these days. But someone providing 2-3 pages of “in-depth notes,” is more likely a “reader,” hopefully with some experience doing coverage for major production companies and/or studios. While coverage can be very valuable, particularly for writers who can’t afford a comprehensive consultation, not all readers are created equal. And whether a writer is looking for a script consultant or a reader, it’s always a good idea to check out their background and credentials, and ask for references.
2. Speaking of credentials, how did you arrive at your current position of script consultant, and how have you managed to establish, and maintain, your contacts within the industry?
That’s an interesting story. In this case, I didn’t have to claw my way to the top – this is something that more or less fell into my lap. Unlike many other script consultants, who are either academics or former executives, I had been working as a screenwriter for some time when one of my screenplays, MISERY LOVES COMPANY, attracted a lot of attention. My own script consultant on that project, and screenwriting mentor (and now close personal friend), Chris Vogler (author of “The Writers Journey”) asked if I would be willing to take referrals for script consulting. This was back in 1994; and, although I still see myself primarily as a screenwriter, I have been consulting with writers, directors, producers, and studios ever since. This has included working as a story analyst and script consultant for such companies as Twentieth Century Fox, TNT, Samuel Goldwyn Films, and Lifetime, among others; acting as a judge for the now-defunct CableAce Awards, for movies and mini-series and children’s programming; judging various screenplay competitions; and assessing projects for financing for the New Zealand Film Commission.
As you know, and will hear time and time again, this is an industry based on personal contacts. It is also an industry with a voracious appetite, always looking for the next big thing; and while it seems like it’s hard for a newcomer to break in, it is much easier when people already know you, like you, like your work, and, as a story analyst and script consultant, like your taste. In fact most of my work, both as a writer and as a script consultant, comes from referrals from people I’ve worked with before. And my industry contacts know that I wouldn’t call them about a script I think they should read unless I really thought it was worthy of their attention. This is often frustrating to some of my clients who are new writers, and believe their work is ready for a studio submission, when it’s not; and while I understand their impatience, I also know what executives are looking for, and how important it is to make a good first impression. In fact, I’m sure that’s how I maintain my good relations – they know I’m not going to waste their time!
3. Many writers struggle to find a balance between writing a script that is close to their heart and writing a script that is obviously commercial. What are your thoughts on this difficult decision between following your heart and following the money?
I hear this idea all the time, that, to be successful in Hollywood, screenwriters feel like they have to abandon their art, and all deeply held beliefs, concerns, morals, etc., etc. Frankly, I am disturbed by this continuing schism between the concept “passion project” and “marketability.” As far as I’m concerned, if you are writing a screenplay, then you had better care about it, and it had better bear some resemblance to something we can identify as a movie, or it’s not going to be satisfying to anyone but the writer.
We all know how difficult it is to come up with that “high concept” idea that is obviously highly marketable; but any project should engage your passion and creativity, or it’s not going to read well to anyone. And even those high concept genre scripts need to achieve a level of execution that is intelligent and sophisticated, in terms of story and character development. If your script doesn’t reach that level, and take the reader on a unique and original ride, then no one is going to want to read it, much less finance it, make it or flock to it. If you really care about your story, you will do everything you need to do as a writer to make sure your story has a central idea, and make that idea sparkle and shine. As a writer of anything but a journal, or maybe letters to your mother (who will love you no matter what you write), you are always writing for yourself and your audience. Experimental film aside, the trick is to capture your passion for your story, and your central idea, in a way that speaks to other people – that is the hard work of writing for any writer. For a screenwriter it’s even more difficult, since screen stories are told in a kind of verbal and visual shorthand that is a language unto itself.
To get back to your question, even small, personal, quirky projects have proven to be successful in the marketplace (BEING JOHN MALKOVICH, anyone? Or even AMERICAN BEAUTY, for that matter), when the writer had an original story to tell, and told it well. The trick here is to learn how to work at telling it well, finding the heart of your story and learning to cast aside the dross surrounding it, instead of assuming that every word you write is gold, or high art. That said, perhaps it is also worth taking a look at whether your story idea has a concept suitable to a screen story, or whether it would be better served as a novel, a short story, a play, or even a TV series. Pitching your idea to your writers group, or other industry professionals, will help there. Any professional script consultant should be able to tell you whether your material is commercially viable; many experienced readers can do the same.
4. One of your skills is taking a script and preparing it to go on the market. What does that process involve?
For a writer, preparing a script to go on the market involves what sometimes feels like endless rewriting. As I said earlier, when a writer brings me a script (or even a synopsis or a treatment) for evaluation, I take a look at story structure, story line, character development, dialogue, theme, and of course, the premise. I try to get a feel for the overall “shape” of the script, and what I think the writer is going for; and then I try to mirror that back to them, with what the broad strokes of each act should achieve. I then give the writer detailed notes, both on the above issues as well as on specific pages and scenes, with suggestions for the rewrite. I also suggest movies in the same or similar genre, that the writer should take a look at. You have no idea how many would-be screenwriters rarely see movies, because “there isn’t anything out there they want to see” – ever! Or they don’t see how they can learn anything from someone else’s film. There are no new stories out there, there are just endlessly new ways of telling them; you owe it to your audience to be aware of what’s gone before, and to make yours different (and better, deeper, more entertaining, etc.)
Taking a script from first to final draft can be a painstaking process, and can feel somewhat brutal, especially to new writers who aren’t accustomed to getting a professional critique. It is, in fact, very similar to the development process, where executives, once they own the script (and presumably already love it), give you massive amounts of notes for the endless rewriting they expect you to do. So, if you are hoping to work as a professional screenwriter, it is a good idea to learn to work from notes right from the start.
Once I’ve finished the script notes I will schedule a story conference, whether by phone or in person, so that we can review the notes, and perhaps come up with some new ideas as to how to approach problem issues. This process, of notes, rewriting, and review, can continue for as long as it takes to get what I would consider a decent draft. This is often easier with producers than it is with writers, since producers understand how long the process can take (and can afford to pay for it). Occasionally, if I feel it’s a project I would like to continue to be involved with, I will take the script out into the marketplace. The writer is, of course, free to submit the script to agents and executives on his own.
5. How can writers better prepare themselves for the process of offering their work for sale? What do they need to be wary of?
The first thing a writer should do is learn to accept criticism and rejection! I’m not kidding – this is not a career for the faint of heart. Does that mean a writer should accept every critique offered, and frantically scramble to rewrite every time a rejection letter arrives? No, of course not. Use what makes sense to you, and ignore the rest. But if you’re not ready to hear any criticism of your work, if you’re first response is to stubbornly defend every word you wrote, then you’re not ready to send your screenplay out into the marketplace. If you’re unsure, test the waters by using a script consultant; or by getting coverage before sending out your script.
The next step is to register the script with the Writers Guild of America, either the East Coast or the West Coast branch. In fact, if you are pitching a story idea, before you’ve written the screenplay, you should register the synopsis, no matter how short it is. This will afford you some proof, should that producer make a film that looks suspiciously like yours, that they had access to your idea, to your registered story. Does this stop producers from stealing material? No. But hopefully it gives some of them pause. To afford yourself of real legal protection, particularly in the case of a unique premise, you may want to copyright your script with the Library of Congress. Copyright infringement is a punishable offense; registration infringement is not. You can find links to the Writers Guild of America, West, and contact information for the Library of Congress, here on the Done Deal website.
Once you are ready to take your script out, it’s always a good idea to know your market, and what projects specific producers and studios have in development or production. If you are trying to sell your screenplay yourself, instead of through an agent, then you must know who is doing what. Tracking recent sales on Done Deal, reading the trades, and, believe it or not, actually going to the movies, will be a big help here.
Once you’ve passed these hurdles, and have gotten someone to read your script, they will often have you sign a release form (you can find a sample release form on my web site at http://www.StoryAndScriptDevelopment.com) These release forms, while they look scary, actually afford you some legal protection, proving that this company read your script. Most companies won’t read your script without one. Oh, and one more thing - other than a script consultant whom you’ve hired to give you notes on your script, no “producer,” “production company” or “agent” should charge you a reading fee just to read your script.
Let’s say that an agent reads your script, loves it, and wants to take it out, and/or sign you as a client. They will have you sign a contract, binding you to them for a period of time. Typically this is one year, although two isn’t uncommon. If you’re not comfortable with the time period, try negotiating – remember, the agent is supposed to be working for you, and not the other way around. But before you sign, it’s a good idea to get some idea of how they plan to market your script. You want to know if you are both thinking in the same direction, and whether they have the level of contacts that will get your script in the right hands.
Now let’s say that a producer reads your script, loves it, and wants to option it. Congratulations! Before you break out the champagne, check to see who these producers are – has anyone ever heard of them, have they made any movies, or, if not, do they have the kind of relationships where they can get your screenplay to someone who will? Also, don’t be afraid to ask if there is actual payment involved. While free options aren’t all that unusual, you may let them take the script out, but you may not want to sign a binding contract with that producer. And if there is pay, there should be a contract stipulating what the terms are, what the sale price will be, etc. I have had, and seen, enough bad agreements to know that, no matter how poor you think you are, and how good the offer looks on the face of it, you can’t afford not to use an entertainment attorney to negotiate this for you. In fact, any time you feel nervous or concerned about a negotiation, it is wise to consult an attorney.
6. Any final words of advice?
It’s a sad fact that most writers send out their scripts before they’re ready, almost guaranteeing a pass. Before sending an untested script out into the marketplace, I recommend getting feedback from someone, other than your husband, wife or mother. You need to get an honest response, and preferably from someone in the industry. As I said earlier, even if a full script evaluation with a consultant isn’t an option, a writer should at least try to get “coverage,” or extended coverage, of their script. Coverage is the assessment that all agents, producers and studios use when they read your script, and essentially tells them whether this is a project to consider or recommend – or to pass on. Since most screenplays get a pass, getting script coverage before you send your script out will help you determine whether your script is actually ready for the market, and, if not, what areas still need work. Most script consultants who do full evaluations will also do coverage for you.
I know this is a lot to think about – you just want to sell your script! Criticism? Restructuring? Rewriting? Whatever happened to creativity? This is your script, after all, and you think it’s the best work you’ve ever done. It may be – but it’s my job as a script consultant to take your raw talent to the next level. Think of me as a coach – even the best athlete still needs one. A script consultant can mean the difference between placing in a contest and winning the contest, between rejection and sale. But using a script consultant is still no magic bullet – it’s your job to come up with your brilliant, profound, disturbing, hilarious, terrifying premise, and use the consultant’s advice to develop that premise, rewrite and rewrite again, until your script shines, and you make that lucrative deal.
Good luck to all of you in your writing!
ABOUT THE AUTHOR
Sandy Eiges is an award-winning screenwriter, story analyst and script consultant, with major experience in identifying and solving story problems. She has worked with many writers, producers and studios, including Twentieth Century Fox, Samuel Goldwyn Films, TNT and the New Zealand Film Commission, among others. She has also served as a judge for the CableAce Awards and for several screenwriting competitions; and was the winner of the 1998 K.A.S.A. Screenwriting Award for a family comedy, subsequently purchased by Kingman Films. She has a family drama in development with Irish Dreamtime, Pierce Brosnan’s company; and an independent film in development with Lyra Films. She is also the author of HOLLYWOOD SCRIPT WRITING: HOW TO BIRTH YOUR IDEA INTO A BANKABLE SCREENPLAY available online at http://HowToWriteScripts.com She is available for synopsis, treatment and screenplay consultations, rewrites and adaptations, and can be found online at http://www.StoryAndScriptDevelopment.com Her email address is: mailto:sandy@storyandscriptdevelopment.com
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