Screenwriting : I really really need advice about this by D A Stenard

If a “manager” is asking you to pay anything run far away. Not sure why they would be charging you for coverage. That’s a major red flag for me if they want to rep you

Huh... That's a little strange. (In my opinion)

Granted, I'm not an A-list writer, but I have been signed by managers before and have never been charged for their feedback (which I received from them). If they are genuinely excited about your work, they would happily give you suggestions to improve it in order for you to sell your script so you can both make money. (Just my humble opinion...)

Have you tried reaching out to someone in Stage32's Script Services department? They should be aware of this. And it would be nice if they gave you feedback on how to proceed.

At the end of the day, it's of course your call; I'm not judging ;)

THANK YOU!!! I thought it was just my paranoia

I've never heard of it before you posted about it yesterday, D A Stenard. I agree with what everyone said in the comments.

I was always told that the money comes after the manager finds someone to produce your work. You shouldn't be charged service fees or monthly fees. The money flows when a producer gets you a contract for the development part. I would think a manager has people open for your script. They probably have a list of producers waiting for your screenplay. Beware out there.

Only if you're paying her in Monopoly $$$$

My manager always paid for my coverage. Also, this is not a "Let's do this!" email. A let's do this email is where the manager says let's set up a phone or facetime meeting where I have already half-decided to bring you on, and get to know you and not try to sell you anything. What you are describing is HER pitching wares she is selling to YOU. Not how this works.

Dan Guardino PLEASE don't leave Obi-Wan!

My take is completely different. PYBOT line. Guarantee success and I will pay you 10 times the fee. No takers! Just empty echo chambers. Or, as I have put it in my marketing emails addressed to shakers and movers... you can have it all for zero fees if you guarantee success, that would include copyright, of course. So, if the guy cannot spend 15 / 30 minutes in evaluating a marketing potential as a piece of crap or identifies a silver lining, what is it that's holding him/her back. My thinking is empty talk. But it begs an answer from the more learned ones. Oh, you don't have the email, you can ask for a sample if you rub shoulders with the money boys. It is crystal clear. Just looking at my daily doze of champagne, the first mug of coffee in the morning.

I want to draw your attention to the fact that if you give the project to another screenwriter, he will have copyright on it. I am writing this in case you decide to improve your script in this way. The situation you described may not be a scam for the sake of money, although it looks very much like it. but your project may be transferred to another screenwriter, leaving you without credits in the film.

Arthur Charpentier In the US if you have a US copyright registration for your IP, e.g. screenplays, the only way there is a transfer of rights is if there's an official/legal act of conveyance, say like a sales contract executed by the owner of the copyright and the purchaser. If I send a copy of one of my scripts to a producer it's essentially an implied contractual agreement (especially in California), but the copyright registration will be the integral part of the legal process should theft of IP be an issue, which it usually is not according to caselaw...

Mike Childress, I'm writing about another option. If another writer writes their own version of your story, they will have a copyright on it. And your script stays with you.

Ah, OK, I think what you are referring to is idea theft vice work (like script verbatim) theft. Even if another entity steals your idea it/they would still have to copyright it to possess a copyright registration. Ideas aren't protected under US law, entire works expressing ideas are. This is why it's best to apply for a US copyright before disseminating your IP. If you have the copyright registration, have an idea ripped off, and can show an entity had access to your IP (maybe you sent it to a producer via email) your legal case v the Defendant will likely be stronger.

Arthur Charpentier Mike Childress - Thank you for your input. Mike is correct on this. In my case, my works are registered with the USLOC. Ideas cannot be protected. Just like opinions. And copyright has to be legally transferred. If someone lifts off a paragraph word for word from a script then it's theft and can be sued. The only authority that guarantees protection in a court of law is USLOC. The ?WGA? does not, I believe. One tries to avoid this by not sending the Treatment or the Manuscript out willy nilly.

In my case, my offer is as generous as it can be. Crystal clear and it's not a scam. But there are no takers. If you are curious as to what it says, you will need to PM me.

But it boils down to this: I have read, that a real well-versed smartass in Hollywood acting as an agent/producer or more like putting an entrepreneurial hat on, can tell you in the first 15 minutes of reading the Synopsis and the first 15 pages, if there is money to be made with your novel. Can it be made into a profitable, underline profitable, movie? If the answer is NO, no amount of opinions, seminars, webinars and the like, can save you. Just like pouring money down the drain. But you buy a lot of hope based on fear). Back to our smartass, I have never come across such a guru... they've gone in hiding.

No, production companies should not charge writers for coverage.

D.A., in my opinion you are correct in having questions about this managerial approach. If you made a paid pitch to this person, then she should have a sense of your abilities as a writer and whether she can get your works out to an agent. If she's truly interested but not totally convinced, she can ask you for more samples. But this idea of having her "assistant" provide coverage for a fee seems to be a way to make money out of new writers, without any guarantee of representation. There are all sorts of companies providing development notes for various fees; perhaps that is a better first step.

Unfortunately, writers have become the go-to funds for broke execs & reps.

There's also a law firm who solicits in many script service companies and they run game on writers by asking them to pay for a script editor rewrite (like $800 to $1000+) before they show it to their "roster" of celebrities. They ran this game to a writer-friend; made phonecalls to famous show biz ppl while he was in their office, cost him $2000+ and a year of BS, and all he got back was a good "Hollywood" story to tell family.

An evil world we live in Dan MaxXx

Dan MaxXx What do you think of Brandon Blake? He tried to swindle me in service and monthly fees to shop my screenplays around! Check him out. He's not legit.

D A Stenard: The situation you describe, in which a manager/producer is asking you to pay their assistant for "notes" (and, even worse, implying that you must do this as a condition of the manager's potentially or actually representing you), is definitely not okay, no matter how many people who call themselves producers or managers these days may be trying to take financial advantage of aspiring screenwriters. And her comment about how you don't have to pay this fee if you are already famous/produced doesn't make this "policy" of hers any less outrageous and unacceptable. You should report this to Stage 32 staff. Screenwriters on Stage 32 "pay to pitch" to producers and managers in a transparent process via the platform, or pay a fee to Stage 32 to get script notes from execs, and that process is supervised by Stage 32, and above-board and legit. But under no circumstances should the screenwriter be paying any producer, manager, or manager-producer anything beyond that initial, one-time "pay to pitch" or "pay for script evaluation" fee purchased at Stage 32 (or on a similar reputable platform). Legit managers are supposed to represent screenwriters and find their clients work, they work on a commission-only basis, and you should not be paying them anything for development, script notes, or anything else after the initial, supervised connection via the Stage 32 pitch platform. Both managers and producers may give you further "notes" on a script of yours if they represent you or are producing your script (or are seriously considering repping or producing the project) but the screenwriter never pays them for these notes, their overhead, or anything else. Unless they are officially your manager or producer, whether you choose to execute those notes without any formal commitment from them (or, in the case of a producer, an option contract with fees paid to you), is up to you. But you should never be paying a manager anything except standard commissions on payments you receive from producers for screenwriting work the manager got for you, if, and only if, they officially represent you. Once a producer is "interested" in your script-- even if your initial contact with them was through a pay-to-pitch service like Stage 32-- you should never agree to pay them for anything-- not for further "notes" on that script, not for their overhead or their expenses, or anything else. If they have a "script reader" they should pay their own script reader, that's not your job. Producers should be paying you for the privilege of marketing your script via an option contract, and managers and agents should represent you on a commission-only basis. Always hire an entertainment attorney to review any contracts before signing anything.

As a screenwriter, I have decided to create my own production company and will start producing one of my screenplays. The amount of people who may be reputable but still vultures on newer writers is astounding.

Staton Rabin Entertainment lawyers are just as bad. They try to siphon money from screenwriters also. Like Shaun Kolich says they're like Vultures to the unexpected screenwriters. Do not be fooled by their title.

It's like anything else in life, such as finding a good doctor or plumber who bills fairly. To find a great entertainment attorney, I'd suggest screenwriters seek referrals from colleagues they know and trust in the film/TV business and check out their reputations.

Reminds me of an old sailing vessel in a pirate ship where the crew is up in the rigging, tightening and adjusting lines to ensure everything is set up perfectly, even if it means bending the rules to get ahead.

A sailing vessel redolent with the smell of manure that's manned by misogynists and poseurs.

Dan MaxXx SPOT ON.

"Any agent who would read the work of a new writer would probably not be able to help you." No, don't give them a dime, give them the bum's rush.

D A - What did you decide to do with this situation?

1. this definitely sounds off. if it's someone on their team, it makes no sense to pay them. they should have a salary and be paid already. 2. if this is someone you met through stage 32, perhaps write to the education or help team to let them know/verify. might be worth flagging it so other writers don't fall for it.

Thanks, I may talk to somene here at Stage 32, see what their take on it is.

Claude Gagne I concluded from his website that he was not legit.

So, they want you to cover some of their client base development cost basically. It is obviously resource-consuming to have a staff member read and evaluate the work of prospective clients. On the other hand, if a manger/producer doesn't have those resources, I would question how effective they are. Either way, this is not a cost you, the writer, should bear.

Jodie Hewson I did. Nothing! Christiane Lange Sometimes when something glitters, BEWARE!

It seems the latest evolution of predatory practices is requiring screenwriters to pay for coverage. I have seen at least a half-dozen people being asked for this in the last week. Amazing how once a money grab starts everyone piles on. The fact of the matter is, no production company, or studio is going to green light a project off of an internet coverage service. I'm a coverage provider and I wouldn't ever suggest someone get coverage for this purpose.

Several writers here that have used multiple passes from internet coverage services to develop their material sold scripts that were produced.

I suppose it depends what's meant by "off of." One size does not fit all.

There is value in using a service to improve your material. What I am referring to are “producers” or managers making writers get coverage as a method to shop or otherwise finance the material- that is not how projects are green lit.

The original was a tad confusing. The second explains it better.

"By making" I take to mean for the writer to directly pay the manager or producer for coverage. That's not kosher. Managers and producers either have staff to read for them or read themselves.

D A Stenard the producer who's working with me has in-house people who read and give notes/coverage for free. I personally wouldn't be OK with paying for coverage from my manager/producer.

I think it is a big 'no-no!' but the world is changing so who, 'now-knows.'

Susan Kelejian Yup! I am working with a producer at the moment, and he wanted to attach some folks to the project. They asked to read the script before committing. This was simply part of the process.

Reading the script and giving you notes? Of course, that SOP. But charging you? Absolutely not. Paying for coverage is standard as well, but that's something you should do long before you approach a manager/producer. I've worked with several managers, and they've never asked my writing partner and I to pay them for giving notes on a script. And they've been the ones reading the script, not an assistant. I suppose there might be some out there that do, but I wouldn't be a big fan of that practice. They could easily charge you for the coverage and then say, 'Here's our notes, but we're going to pass' and then you'll never hear from them again. If you're planning to go through with it, ask what she's going to charge you. If it's more than $150-200, that would definitely set off my Spidey-Sense.

No, don't pay for coverage. It's a hustle.

Producer who pitched one of my scripts to legit industry contacts (Daniel Petrie, Jr. and Touchstone Pictures) years ago: "Any agent who would read the work of a new writer would probably not be able to help you."

Just went through this... I ran it by an Exec. producer who said it is not industry protocol. Tell them no you will not pay them money and if they like your work to follow industry protocol and make you an offer. Also, report the person to Stage 32 and tell them that you have reported them.