Screenwriting : Professional Notes by Tony Cella

Ideally, I would hope that you could find a reader with experience reviewing MFA applications for the schools you are applying to. Regardless, break a leg with your MFA apps!!

I've never tried the coverage program on Stage 32, but I can recommend at least 2 people who are wonderful!

I appreciate the disclaimer, so I wont even post a link, but look up my profile and get in touch if you think I might be of any use, no problem if not.

I have used Happy Writers as mentioned by Joey and Screenplay Readers (Brian O'Malley is a member of this forum) for coverage was very happy with the analysis and notes given by both. Regina makes a very valid point about getting a person familiar with the application process to read your script, as their method of assessment may be different than the usual pass/consider/recommend grade. That said, I'm sure something that's in the consider/recommend category, would meet the requirements.

I will respect the disclaimer, but I've worked with a number of S32ers and my info is on my profile..

Thanks, Eoin. I'm less familiar with MFA programs in screenwriting than with MFA programs in creative writing, which have their own peculiarities (my former assistant received a fellowship to a MFA program in creative writing). Like you said, the academic vetting process is not the same as the typical marketplace criteria.

@CJ, to be 100% clear, I hired Julie Gray for book coverage when my company did not have time to read a long book ourselves. I would hire her again. My experience with her was in the context of a particular job - "should my company produce this book that a manager submitted to us." I cannot vouch for her experience with academic apps.

Thank you for the direction pointing so far. @Rayna White: Feel free to recommend. That's the purpose of the thread. @Eoin O'Sullivan: A good script is a good script. If coverage comes back stellar, then I'll trust the screenplay is a good one. To Regina's point, I wouldn't mind finding a reader who has experience with academic review as they'll know the type of screenplays favored by academic institutions. @Regina: You're spot on. Most M.F.A. Creative Writing programs won't accept writers who pen commercial fiction--e.g. horror, science-fiction and romance--, but I've heard the same isn't true of screenwriting programs. Either way, please let me know if you're familiar with a consultant that has vetted applications for academic institutions.

@Tony, I am friendly with some Adjuncts, but not with the Full Professors who are likely on (or had previously served on) the admissions committee.

Maybe speak to some current grad students and recent grads to see if they know anyone closely associated with the MFA program to give you guidance.

Screenplay Mechanic. Reader who has written actual screenplays that are currently in production. I am in no way affiliated to him but have used him and been happy with the results. His approach is a bit more "from market" so any problems he identifies or suggestions he offers comes from a place of how best to get this project made in the current climate. This can be a good thing or a bad thing depending on your project and what you want from the notes.

without promoting anything, I want to point out there's a big difference between Coverage and Notes! Coverage is what they teach interns and assistants on their first day. it can be helpful but it's not notes. Coverage is written so that no one else has to read your script. Notes are given so that everyone will want to. Coverage is usually 2-4 pages with synopsis and costs about $50-150. Notes are longer, more in-depth, and can cost anywhere from about $150-1500. Just do your due diligence.

To Danny's point, if someone charges you $90 for notes (in some countries, they're more descriptive and call them "next draft notes"), I very seriously doubt those notes are worth paying for! If it sounds too good to be true, it usually is.

I think the best thing to do is find someone currently working in the business as a reader or development exec, since they are front line (the same people who will be reading your screenplay when you submit it to a production company). You're probably going to get coverage instead of more detailed notes, but you will get the blunt info on what works and doesn't work. One of the problems with lots of folks offering notes for $ is that they are outside the business and may steer you in the wrong direction. Screenwriting is a strange type of writing because it's not so much about how it works on the page as how it will work on the screen. Anyone can offer notes or coverage for $, so make sure they know what they are talking about. You can get notes that get you all kinds of hugs in your writing group... but don't get your screenplay any closer to the screen. PS: I second Screenplay Mechanic (I don't know him personally, but from online... and he works in the business).

For what it's worth, I totally agree with William Martell. *But for Tony's desire to apply to MFA program, I think a reader with academic admissions experience could be the best bet. To William's point, if you're a newbie looking for a Screenwriting Instructor, or if you're 100% indie/DIY, then I don't necessarily think you need to work with someone active in the market. Working pros might not be well-suited to teach, and the best teachers might not be working pros. That said, to go along with the academic pursuit of screenwriting, you should round out your education by learning from a working pro, whose current marketplace knowledge will supplement the study of screenwriting. One could say the working pro will add "strategy," "practice," and "in the real world know-how..." to your study. To get relevant notes, you will benefit from the perspective of someone "inside" the business, as William states. I've discussed this before in another thread -- I also think it's very helpful to work with people who have seen a movie through from page to screen, as this is what's required to really understand what winds up on the cutting room floor, how to get into and out of scenes, how to meet genre expectations, etc. The first movie I worked on was compromised by a potential WGA Strike, and it started shooting before the script was ready. We had to do reshoots, and believe me, that was a learning experience.

@Regina: Most humanities teachers work as adjuncts for a considerable length of time before they're promoted to tenure track jobs, if they're lucky. Talking to recent graduates is a good call. @Chas: Screenplay Mechanic sounds like a safe bet. His rates are dirt cheap. @Danny: Thank you for the correction. My bad. If I'm paying, it's for notes. @William: That's a good point, but I'm gearing my sample toward academia, not the market, at the moment. @Regina: Smart thinking. Working with a consultant who has successfully worked in all avenues of screenwriting--creating specs, re-writing for studios, punching up dialogue, writing on assignment and revising their own script for production--would be ideal.

@Tony, I'm using your example to raise my hand and say that I wouldn't be the right pick for you, not that anyone said I would be!! Tony is looking for a screenwriter/consultant - ideally with experience in MFA admissions. (I'm a producer/former studio exec/consultant, not a writer myself.) Just using this thread to make the point of finding the right match for the individual. Tony, if recent grads can't offer referrals, check with TAs, adjuncts, summer school instructors, or in the case of UCLA, Extension instructors, etc. I really think that an "insider" at your top choice MFA program will have a piece of great info that none of us have!!

@Regina: I got that. Good ideas. I meant in general, for non-MFA applicants, a screenwriter with more widespread experience would be useful.