Screenwriting : Everyone passes for a different reason! What should I do? by J Medina

Well....everyone has a different reason because....everyone's definitions/interest levels/judgment qualifications are different. That's just a simple fact. In most industries, there are well-defined industry standards to be considered and approved in order to be "something." By position. Many are mandated - federally, and even at the state, county and local levels. In this industry of script readers/script consultants/prodco people/studio people....there isn't an industry-accepted standard of analysis. There aren't requirements to be...any of those positions There aren't any mandates, certificates, or licensings needed That's another simple fact. Anybody who wants to be a script consultant...can say "I'm a script consultant." And viola! They're a script consultant. So just from the "script consultant" standard....there isn't one. So you have to try to qualify those people before you sign on to a package deal. Some truly suck and are failed...whatever...take your pick....writers...prodco people....restaurant owners. Some are young hucksters. Some are old hucksters. And some are truly great at what they do, and have well-defined objective standards that help them define their criteria of judgement. And some are in the middle....new...young....getting better...or getting worse. That's just the facts. One day I'll pay ten different script consultants to review the same script, just for fun. I'm sure the conclusions will vary greatly. Again....there are no industry standards...no licensing....no certification. It is what it is, and thankfully....there are some really great ones. They've certainly helped me as a writer. I"m very grateful to have them/had them in my life, no doubt. The great ones shine out brightly from the not-so-great ones, and the ones who are covered in slick snake-oil. WIth regards to prodco's.....hell....everyone is looking for something different. And if you're lucky and smart...you can find out exactly what they are looking for. And maybe you can pull that exactly-what-they're-looking-for script out of your banker's box of scripts, and say...."yo....here's exactly what you're looking for." And they'll read it....and maybe they'll agree. With regards to your buddy's comment that people are "tryiing to find a reason not to like it"....that's true. People in the business say "no" probably 999 times for every time that they say "yes". They are conditioned to that. That's partly because many scripts are not good enough....and partly because it's truly not exactly what they are looking for. I can't stress that enough. Most people say....using comedy as an example...."we're looking for comedies." But they don't tell you EXACTLY what type of comedy they are looking for. So here comes 1,000 writers with comedies. No. No. No. No. No. No. No. No. Whoa...here's exactly what I'm looking for. See what I'm saying? It's my belief that most people in the business won't say exactly what they're looking for....because they don't want to tip off THEIR competitors...the other prodco's....due to the fear and paranoia in the business. Based on the people that I know in the business....I'd say it's more than "my belief"....I'd say it's a fact for many in the business. Some prodco's will tell you EXACTLY what they are looking for, luckily. You gotta find those people, and try to fill their needs. You have a much better chance of success with those people than with the people who tell you "well....we're looking for a comedy." It's a tough business in many ways, no doubt. And you raised two of the basic ways it's tough for writers. Wait unitl someone offers you a one-year zero-dollar up-front option with maybe $5,000 on the back if no one wants to finance your script in that one-year timeframe. How'd you like to tie up a script for one-year with a low-level or mid-level production company who have a teeny tiny track record at getting financing? Aye-yah. Time to seek your own financing, maybe? As an aside...in most industries....most HR people are conditioned to say "no", too, because they are looking for five or six levels of drill-downs, too - and you don't know about that, either. For example, they just don't want a "good sales person." They want a......good sales person....with five or more years in a specific field....with specific experience in a specific part of that field....who are used to using X,Y, and Z softwares....with X licensing....who is coachable....with references....and with X amount of contacts in that field. You don't get to know those drill downs, either. It's just the way most of the world runs. 100 applicants....10 qualified...3 most qualified....1 the absolutely most-qualified. It's the same string, but a different yo-yo. Good luck, bro.

wow, thank you so much for taking the time out to write such a thoughtful response!!! I really appreciate it. I guess i'm kinda the square peg and everyone else is the round hole. You know, I'm really willing to be self critical but never self defeating. I expected different answers from different readers, but I was hoping at least TWO would have the same answer! lol . Thanks for the advice, my friend. This is why Stage 32 is so great. God bless!

Jaime: I've sent out the same poem to numerous journals. Amid the rejections ["not a good fit"] and editors telling me "this was a close call - - continue to submit," at last a literary journal praised + accepted it. I agree with Bill Costantini's comments. WHAT TO DO NEXT? Put it in a drawer, work on something else. In 6 months, when you look at it again, you will see it with fresh eyes.

And then don't forget about all of the great writers who had their great works rejected. HARY POTTER....12 rejections. DUNE....20 rejections. ZEN AND THE ART OF MOTORCYCLE MAINTENENCE....121 rejections. WILLIAM SAROYAN....7,000 rejections. George Orwell was told, about Animal Farm, "it's impossible to sell animal stories in the U.S." Here's a link to a lot of famous rejections...click on the names for even more great stories. You're in good company, bro. http://www.onlinecollege.org/2010/05/17/50-iconic-writers-who-were-repea...

Thanks guys!!

Don't be afraid to rewrite it using the notes you get from the readers.

Jaime: post the logline (faith-based comedy) on this thread.

The main thing is to keep writing and don't give up. Like LindaAnn suggested work on a new project and come back to it later. That's what I did, I went back to that project and saw flaws in it and I fixed it up.

LOGLINE: A deceased man, vain and despicable during his lifetime, signs a contract to enter Heaven if he can return to Earth and find forgiveness over the course of one week.

@Linda: that was a professional log line i had written for me. Here's my ORIGINAL. Please tell me which one you prefer: "In this modern-day parable, a Purgatory-bound man strikes a deal to return to Earth and earn a chance at Heaven. When the task proves to be impossible, he decides to sue the Almighty Himself. What will happen when he calls God to the stand?"

Jamie, have you ever gone to see a movie with a couple of friends and each of you have a DIFFERENT opinion of it? You kind of liked it, one friend thought it sucked and another thought it was great. There is no simple answer. some people are going to like your screenplay and some are going to think it's terrible. When you find the right producer who thinks your screenplay is great and makes a movie there will be people who see it who don't like it.And those who love it. What the heck do you do? You keep going until you find that producer.

Jamie, it's your story. Own it. Take the comments you think make it better. As D Marcus said - KEEP GOING.

Use it as a calling card to your talents. Stop expecting every screenplay you write to be made. You've spent a lot of time on it so now it's time to move onto the next project. Maybe you'll find success with something else in the future and you can revisit this one.

Jaime, classic story. The more feedback one asks for, the more one can get confused. Remember what your original vision was with this script, then go back to the notes and pick those which can enhance your vision and rewrite accordingly. Second step: go over those notes who simply didn't seem to get your vision and ask yourself, what was unclear in your writing so they didn't get it. Then make it clear. And disregard the notes which seem simply out of focus. Not every opinion deserves to be taken seriously ;) And: many consultants say that in fact readers are looking for reasons to say no, because they are so buried under scripts...

Jaime, I like the professionally-written one better. I like the goal, as stated, better. In that one, it seems like the action and body of the film is going to be all about the nasty guy now having the tables turned on him, and he has to be nice to people. That has a lot of exploratory possibilities - internally and externally. I don't like the concept where it seems the main focus is to sue God. That seems to now be more of a "talkie", and it seems the guy is just keeping up his nasty ways. And besides, where's God going to get a lawyer in heaven? We all know that all lawyers go to....heh-heh...never mind. (Apologies to my lawyer friends, family members, and ex-girlfriends.)

To all of you who responded, I give my heartfelt thanks! I was looking for good advice and I got that and MORE. Your comments have refocused and revitalized me. Thanks guys! God bless you all!

Thx Joey!! This is why I love your site, brother. The people on here, including ur crew, are great. Sage advice, thanks. I feel in my bones that you are right!

Jaime, I completely agree with Bill - - and Bill phrased it beautifully (as always).

Hi all, in response to posts like this one, I started a new thread: https://www.stage32.com/lounge/screenwriting/How-to-Interpret-a-Pass-Per...

Thanks, Regina!

I've been writing in and around the Faith based market for over a decade now in both film and TV. In fact I was just hired to do a rewrite on a christian legal thriller for one of the faith based film companies here in the US. When trying to market your script as a faith based script you need to take into consideration how those kinds of movies are marketed to that audience. The faith based films are divided into two main types: The Evangelical film (God's Not Dead, Fireproof, Courageous, etc) that are promoted directly to churches and then there's the Ministry specific film (October Baby, Not Today, Doonby, etc) that are promoted to not profit ministries that support the underlying cause of the film (sanctity of life, Gospel for Asia, etc). If you think of the faith based film genre as a road, these are the lanes your movie can choose to drive down. In order to get the underlying support (and subsequent ticket sales) you need to appeal to one of these groups. Water down the biblical message and you risk losing and endorsement from the pulpit and their large congregations, misrepresent or gloss over the ministry cause and you lose the non profits and their large mailing lists. Faith based films are often paired with supplementary material for churches to use the film as a teaching tool. Fireproof had the companion Love Dare book for example. You need to think about the kind of supplementary material that could be generated to go along with your film. Maybe a stand alone book or a bible study series for adults, if it's a kids film can you develop a vacation bible school course around it. These are the questions the producers and distributors are asking when considering your scripts. Believe me. I have had meeting when I have been told to replace an entire story line to make it easier to sell to a specific ministry group. The being said, after reading over your log lines there are a few issues you many want to think about. First, purgatory is seen as a Catholic doctrine so you will lose the evangelical/protestant pulpit on that one. Secondly, the idea of a person dying and getting sent back for a second chance to redeem themselves is one again going against the evangelical/protestant view of death and salvation. So from where I sit, the reaction you are going to get from the faith based film companies and distributors is that we can't sell this because the theology will be too troublesome for the evangelical base we cater to.

thanks for your advice, Alan! What I'm trying to do with "Suing God" is make a mainstream movie with a message. I know, it's never been done before and it's almost a stupid idea, but I've prayed really hard on it, and I'm secure in the fact that this is what God wants me to do. I understand that a faith-based company will probably turn it down FLAT, and that's fine. What i'm going for is a mainstream comedy that "fools" you into the message. It's a tight line to walk, but I think I've done it fairly well(I hope). As for Catholic doctrine, I am in fact a Catholic, but, strangely enough, my protagonist is actually Jewish. I think there's enough here for both believers and non-believers to talk about, and while it may offend BOTH camps in some ways, I think the message is STRONG. Think of it like this: Christ taught in parables so that the people of His time could better understand His message. In addition, Christ hung out with what the people of those days(and the people of these days) would consider "bad" people. What I've done here is create a modern-day parable, spoken in the language of modern day people in order to get His message across to them. I call it a "sheep in wolf's clothing". Sounds crazy, I know, but I have faith that it will get done someday. Thanks again for your advice!!!

You premise reminds me of that 1985 movie The Heavenly Kid http://www.imdb.com/title/tt0089265/ If you are looking at mainstream movies that have biblical themes then there are those that work (Evan Almighty) and those that don't (Noah). As for the Suing God idea, just understand you are not the first to market with this. There was an Australian movie called "The Man Who Sued God": https://en.wikipedia.org/wiki/The_Man_Who_Sued_God And just to be fair to both sides there is also a movie called "Suing the Devil" http://www.imdb.com/title/tt1615075 If you want me to read your script and give you my take on it I'd be more than happy to take a look.

thanks Alan. I've been made aware of all those movies since I wrote "Suing God", and rest assured, they are nothing like mine. If you'd like to read it, PM me and I'll email it to you. thanks.

Try to check out: https://www.stage32.com/lounge/screenwriting/Why-you-get-conflicting-not...

Jaime - Bill C.'s 1st post at the top of the thread pretty much gives you all the nuts and bolts (you should also read the link supplied by Regina above). The trouble in a subjective business like screenplays is that it is exactly that - subjective. Everyone has (and is entitled to) an opinion - and they are all different for different reasons. If you submit your work to 100 people (readers, execs, friends, fellow scribes) you will get 100 different opinions with anything from minor to major variations on the whys. It's a crap shoot. Always has been, always will be. The takeaway from the morass is that out of the 100 - it only takes one "yes" (as another poster pointed out with a litany of success stories that began with myriad rejections) and you need to have the fortitude to stick it out until you land that thumbs up. And the belief in yourself and your talent - no matter what. Even though the company that requested your script ultimately passed - it sounds as if they at least provided you with a thoughtful reason for it. That helps. Many do not. Most will just go radio silent - and you are left to interpret that as a "no" without them ever putting their opinion on the line. SOP. I had a company ask for a specific genre script - I wrote one from scratch - they loved it - and passed anyway. Why? Projected budget was too high. They asked for a big budget action movie - then decided it was too big for them to handle - because they had limited resources and if it wasn't a hit - it would tank the company. Lesson learned. Even when you give them what they ask for - they don't want it. Also - faith based is a burgeoning but still niche type of a market. So when you describe the story that way - you narrow down the list of potential buyers from the start. It's like trying to sell a sci-fi pitch to a company that wants rom-coms. You're toast before you start. I would NOT begin feverishly re-writing your work to try to account for all the different sets of notes you got - because that's a quick trip to the rubber room. If some made sense to you and you think IN YOUR OPINION they would improve the script - no harm in taking a pass at it. But until one of those potential buyers with their own spin wants to become a real buyer and puts some option or rewrite money where their mouth is - hold off. Don't give up. If it's well written, whether it generates a quick sale or not - and gets good reads - it still serves as a writing sample and can generate something else (like a paid gig) on down the line. That's your worst case scenario. And to Alan T. on the subject of "The Heavenly Kid" - that movie was co-written by a buddy of mine - Martin Copeland who I met when the Writers Guild put together a co-ed softball team many moons ago to compete in some showbiz leagues. He was the first one on the team to get a movie made - and Heavenly Kid was it. He only got one other movie produced after that and now lives in Paris.

Adding to what Michael Eddy has said, I would also bet that if your script were submitted to the major studios (all for-profit corporations with the same goal of trying to do well at the worldwide box office), and if the studio execs all took the time to give genuine feedback, the big picture headlines would all be pretty similar. The suggestions for HOW to achieve those headlines might be different. For example, when producer Playtone and writer/director Spike Jonze wanted to make Spike's very artsy version of Where the Wild Things Are, I bet every major studio said something like, "Can you make it more mainstream, fun, comic, and accessible for a family audience? This version is very cerebral, and we'd like to cater to families in Middle America more." I bet those big picture headlines were extremely similar. But I bet the "here's how you might achieve that" examples were different. In this case, you had an Oscar-nominated filmmaker and very influential producers who were ultimately given the room to make the movie they wanted to make, even though that version was more artsy than what the studios would have wanted for a big kids' book adaptation.

once again, thanks, gang!!

Jaime, relax, there is always hope - you state that you had a measure of success in several competitions, that should be a good enough boost to your confidence - I had a script on Triggerstreet that rated almost last in a body of almost 4,000 scripts - talk about a dent to one's confidence, lol - the fact that I proved unpopular due to my honesty in script reviews and MB comments didn't exactly help the cause either, BUT, like you, I entered a screenplay contest, Scriptapalooza, and made the quarter finals - hey, maybe it's not much, but I'll take it, lol - so Jaime, take heart from a writer deemed almost last from 4,000 scripts, I acquired a thick skin and kept writing, hone your skills, you will learn to glean some positive insights from ALL your reviews, cheers.

I can't believe, I'm back here. Thanks, REGINA. I only asked two questions: 1. Why are we told to compare our screenplay to similar, already made films? If the exec, is telling me (without reading my screenplay) that my story is to "derivative" to other stories already filmed?? And she cites 2 films, which are not similar to my story, mind you , my story is partially autobiographical. I know my teenage life experiences were not the basis of, Stand and Deliver and the teacher I had in high school, who's in my story, is not, Mr. Escalante - RIP. So, why even go there, Ms....? Like I said b4. Just give me your 1 2 3 4 5. Pass/ Recommend and hasta la vista, baby. Next!!! Last, I ask: Is this what ALL pitch feedbacks look like. Are we giving the wrong guidelines as to how to pitch? Do ALWAYS give away the ending?? I hear yes, yes, yes, always! I was just told the opposite by a fellow Stager, who has had great success and who's screenplay is in production. Who should I believe?? Let's all give them ( like T.D says) the sizzle without the steak. Keep the ending for the request. Lol. Cheers, everyone.

Jorge - sometimes the truths can be hitting us square in the face, and when we're so confused, we can't see them. The truths in your case are both hitting you square in the face, and you already said both of the right answers. "Always", and "never". It doesn't get any clearer than that.

Bill: Always give away the ending? Or never give away your ending??? Which one is it? Keep the steak? Lol Now, I'm cracking up.

Hi Jorge, those are truly great questions. As Bill said, "always" or "never"? Hmmm.... Question 1) Give comps. Risk sounding derivative. -- Describing a screenplay is nearly impossible to do without referencing other movies/shows. By giving a comp, you're conveying the genre, tone, and target market, etc. The concept/story might well be seen as derivative, but you still have to convey the genre, tone, and target market. If the producer says yes to you, a few steps down the road, he will have to sell the script to a financier. The financier will ask him the exact same questions that he is now asking you! So the producer needs to know that he has a strategy to sell the script. He's asking you those questions, and he's asking himself those same questions. ALWAYS BE ABLE TO GIVE COMPS because that's the only way you will be able to convey what kind of movie/show you're trying to make. Question 2) Giving away the ending - IT DEPENDS. It depends on the situation. For example, you're in the elevator with an exec. Your "30 second elevator pitch" does not have to give away the ending. The brief pitch should be about YOU and YOUR STORY; it should entice the exec to ask for more information. The result you want here is, "Hey, Jorge, give me your email, and maybe we'll have a follow-up call, or maybe I'll have you meet with my assistant first." Now when you have this follow-up meeting, be ready to tell the full story, including the ending. Different situation - you're at a pitch fest and you have 5 minutes to convince this exec that you have a fully formed, pro-quality 3-act story - a script that he should read. Then yes, I'd almost always give away the ending in this situation. Unless he says, "Stop right there. Don't tell me. Don't spoil it. You've got me. I want to read it for myself."

Bill, would love your thoughts. These were truly tough questions to answer on a board.

In professional pitch meetings, you pitch the entire story. You focus mostly on the A-plot (not much on the subplots). You give away the ending. But, unlike amateur pitch meetings, professional pitch meetings are usually an hour long with 15-40 minutes of pitching by the writer, and the rest of the time for Q&A and further discussion. I was in a 90-minute pitch meeting yesterday at a TV network. Can you imagine what the network exec would have said to us if we refused to give away how the pilot ends (or how Season 1 ends) after a 90-minute meeting?

Jorge - they're both right! In other words...do what you think is best for you at that particular point in time. It's that simple. Me personally, I am an "always" guy. If "never" works for others...right on, Never People. One way that is definitely wrong, though - never state the ending, and then write after that, "or is it?" That's a big time no-no, and can get you on the Producer's Blacklist under the "Too Cute for His Own Good" category. And then one has to change their name. Again. That gets tiring. Heh-heh.

Regina - I understood Jorge's question to be related to the two-page written synopsis required in the written pitch sessions here. At your high level in the business...and in verbal pitches like you've described...every writer certainly better know their story front, center and back; be able to tell that as authoritatively and as convincingly as possible; and be able to do the Q & A like you described. That's some seriously fun excitement for writers to experience.

Ah, thanks, Bill. If it's a 2-page written synopsis, then a proper "synopsis" does include the ending. Otherwise, it's not actually a full synopsis. But if Jorge is asking about best practices for S32 pitching, then I defer to Joey. I've never taken pitches on S32, so I'm not the right person to answer.

If execs are being told that they will receive a 2-page synopsis, then they typically expect a synopsis of the whole story. By withholding the ending, I think you'd be pulling a bait and switch. "You were promised a full synopsis, but I'm not going to give it to you." Now, how detailed does the synopsis have to be in conveying the ending? Not too detailed.

REGINA: Thank YOU, thank YOU. love your, " how detailed does the synopsis have to be in conveying the ending? Not TOO detailed. YES!!! Thank, BILL, as well. You are THE MEN, my HERO!! Now I can put this one to sleep (including myself) until my next pitch, which will not be the same screenplay. I'll fish out another one of my six. Btw, Bill, thanks for the tip of " never state the ending, and then write after that, "or is it?" I have in one of my horrors: The End?? Not good, right, Bill? The question ??? mark?

Speaking about comparing your screenplay to others - here's a link to someone in the industry who writes about this specific issue. I have to give credit to Stage Moderator, BETH from whom I got this site called: Narrative First. Hope it helps others here as well. The title of the article says it all. Lol! http://narrativefirst.com/articles/dont-use-other-movies-as-reference.

Jorge, I'm glad you are finding things on that site that work for you, but I only like a few things on Narrative First myself. I personally don't endorse the site, nor the software Dramatica, which seems to be promoted or tied to the site as well. A structure/story software program gives me the hibby jibbies. Personally, I don't really care for the comparison of films, but I truly don't have a strong opinion one way or the other. However, giving comparisons or film references is often expected and utilized by the kind folks on the other side of the table to whom you may be pitching. References help to give market and/or tonal comps. So, be prepared. :)

Jorge - I follow the guidelines laid out by whomever I'm pitching to. Here on Stage32, they ask for the comparison of films, which is probably for tonal and thematic reasons. For example, in a demonic possession horror story - is it more like The Rite or is it more like The Excorcist? Is is more like The Amityville Horror, or more like The Shining? Even in verbal pitches, execs ask that question - "what's it like?" Regarding your "or does it?" question...many of the sci-fi movies of the 1950's and 1960's used to end with the question mark after "the end". In a synopsis, I'd convey in words "but the monster really doesn't die." Something like "Cain and Abel, eternal enemies now united, stand over the dead body of the Bearded Lady. The world is saved from her attacks, and Cain and Able have learned that two is better than one. They limp away to their Space Ship, not seeing her eyes slowly open, as her devilish smile slowly returns," or something like that. Fake endings, done properly, are great devices, and especially when the monster really doesn't die. After all, you don't really want to kill off the sequels.

Yes, well said, Bill. You really have to be prepared. I know Happy Writers utilizes comparisons for tonal references for both written and verbal pitches. :) However, in the article Jorge cited, it's general point was that it opposes the use of script/film comparisons to inform your own writing; to instead, reference your own imagination because you may be forming a different story and the comparison may confuse your intention. But, to me, that's really a personal choice or process in how one works. Plus, you gotta be familiar with what's out there and how your script compares. :)

the film comparison issue during a pitch is just a handy shorthand for the attention deficit disorder frequently suffered by the exec to whom you're pitching. They like to hear your story in a TV Guide blurb and with comparisons to another movie he or she might have actually seen. In that case - always make sure your comparison is to a HIT movie - and not a bomb - even an artistic one. In some cases - they will make the connection on their own. I wrote a big action script once upon a time - and when it made the rounds - all the studio execs said it was "Die Hard on an oil platform". They did the shorthand for me.

@BETH: I already covered this issue, but in a recent written pitch, the exec. asst. compared my screenplay to others and the way she phrased it, was a negative, which my screenplay being based from my own personal experiences as a bullied, repressed teen, who had a great teacher who was there for me, won't get into all the details, but in no way is my story close to the film she cited. This even after I included a note as what inspired this story. I take blame, first for writing a pitch play by play, to use her words. Second for comparing to two other high school dramas, not even the one she cited, because the teacher in my story, although he is, was a living person, was nothing like the teacher in the other movie. Now I have my doubts on whether to use movie comparisons in future pitches, written pitches. But, not all Execs. are created equal,also written pitch are (now I realize) more difficult. BTW, Beth, I don't subscribe to Narrative, but I thank YOU, because I found some enlightening post under their free archive section, some of which I don't think is necessary for me to cite here. But thank you, hope everyone can't make JOEY 'S Webinar tonight at 9pm EST. They are always educational and he is AMAZING! Ps: I gotta get me a camera equipped tablet, laptop or phone as soon as I get back on my feet, to Skype pitch, face to face. Lol. Keep writing compelling stories, even if it hurts my fellow writers, in the long run, you'll be glad you did. Thanks everyone for your comments on this subject.

"Best Comedy Screenplay" at a well known contest, Okay, what happened after that? Did it get a bunch of reads? There are scripts that win contests but no one wants to make them, because the concept isn't appealing to a mass audience (and you need a lot of people buying tickets in order for a film to make its money back). But often a contest win leads to assignments. So what happened? If everyone is telling you a different reason it's most likely that there is some reason but they are unable to put their finger on exactly what the problem is. Look at what all of these notes may have in common and take a step back to see the bigger picture and where all of those different things may intersect. One of the skills you need to develop on the pro side is to look for the note under the note - not what they said, but what they mean. There's a great quote from multiple Oscar winning screenwriter Billy Wilder "If you have a problem with the third act, the real problem is the first act" - and the issue is almost always that the note points to the third act, but as a writer we need to know the real problem is the that thing in the first act. You have to decode the notes and figure out what they really mean. But if everyone is giving you notes instead of meeting with you and offering you a gig, there is some problem in there somewhere. Though the default setting for readers is "no" (because "yes" costs their boss money), I think every reader is looking for that "yes" because it means they get to be part of a movie.

I just posted in the contests vs coverage. Both have their pitfalls. I have the same issue in a way. I have one script (horror) that has won 5 film festivals in 2015. Have a manager. Had coverage done on the script by 3 different services... all 3 overages came back totally and wildly different. Everyone claims to be "the best" but in the end, it is the opinion of the reader doing the coverage. Who is right and who is wrong? No clue. But if there is a common thread criticism in all the coverage you had done, then obviously address those. Also make sure your script is clean and lean. No over-writing. In your case, you say it is a "faith-based" comedy. That is a very, very tough sell in today's market.

Again, Jorge, I'm very happy you found things that resonated for you on Narrative. That's great. :) I'm so sorry you had a negative experience with your pitch. Yeah, that is a problem if a comparison caused a misinterpretation about your concept, or your creative intention. It's especially unfortunate that it came from someone else. Very frustrating. Plus, with the story being such a personal one, it hits hard. Perhaps chalk this one up to a learning experience. Take what you can to make you even more ready for next time. See where her notes may help solidify your concept, your pitch, or not. You always are so positive, Jorge. You'll come back swinging. ;)

As I stated in my post, script coverage isn't worth shit. You will get different results every time. The person doing the coverage isn't a screenwriter, and most likely has no writing experience, and it is just that person's opinion. As both a screenwriter with 56 film festival wins so far to date, and script reader, I do not do the coverage garbage. I concentrate on the 6 most vital points, which does not include plot or characters, but are extremely important and necessary.