There seems to be confusion among some burgeoning screenwriters on what types of documents or selling tools you need to create – or will be asked to create – and the differences between them. Part of breaking in means knowing the terms, knowing what’s being asked of you, and how to deliver correctly. If...
By Ruth Atkinson, Story Editor & Script Consultant Here’s a screenwriting truth. A script is for READERS. A film is for AUDIENCES. Seems obvious, right? Clearly, you can’t have a film without a script but here’s the deal… Our engagement with a script is entirely different than our engagement with a film. Why? Because a...
"Who ARE professional readers?" "If someone writes a good story with terrible dialogue, would that get rejected?" "What are the biggest mistakes made by amateur writers?" YOU ASKED. WE ANSWERED.
No matter how good you are, when you get to the professional world, you will be competing against thousands of people who are better. So, there is no "good" … there is no "good enough" … there's only the never-ending pursuit of being stronger. Start now.
Jeff York has only been writing screenplays since 2008, but has already had some striking success. Now, Jeff adds a ScriptXpert Jackpot win to his resume, for The Love Seat.
Story Analyst Dan Calvisi used to only reveal the inner workings of his method to his students and script consulting clients now but he’s sharing his template in his new eBook: Story Maps: How to Write a GREAT Screenplay, available as a download purchase directly off his on his Act Four Screenplays website.
Going to a coverage service is like flipping through the phone book to find a therapist. You MIGHT get the exact right person reading your script… but I wouldn't put money on it.
All the secrets you need to get your script read by industry insiders. All the tricks and tips in existence, from a former manager who knows what works and worked on him.
Dave Trottier tackles a reader's question about script consultants. What they do -- and shouldn't do -- with your work.