Screenwriting : You Can't Get There From Here by Lee Davis

I think you are better off querying managers because it costs nothing and the manager can get your script into the right hands. Things like posting scripts on Inktip (etc) are passive. They require some exec with lots of free time to be looking for scripts on the web... and you don't really want the exec with that much free time. Never think that they will come to you, find the way to get to them. Know this about queries: you send out a ton to get a handful of responses.

Thanks, William. I'm glad to hear your opinion. I'll ramp up the query campaign. If I decide to post the script, it will probably be on The Blacklist. It might take years, but if it's really good, people eventually find it. Hunting for a script online is way easier than writing one yourself.

Hi Lee, iif you are willing to spend money I would recommend companies like screencraft. They will read your script and send it to studio readers. I live in Perth and used their reading service for feedback. I didn't opt for it to be ready by studios because I am producing it myself. We start filming September! I would probably take that option for my other scripts which are in development ATM. Good luck!

Kathy. I'd like to work with someone who knows how to read, not someone who likes to listen to pitches. By the way, have you read Bukowski's novel,"Post Office?" Great book!

Alle. Thanks. I'm interested in finding out more about your production company and your films, such as "Drinks with Sadie." Are there any reviews posted online? Trailers?

For other writers who can afford professional guidance/promotion, take a look at specscout.com, sellingyourscreenplay.com and theblacklist.com. Currently, these seem to be the best sites to make your scripts available to industry professionals. A word of caution. These three sites charge fees to cover, list, and promote screenplays. I would not suggest listing early drafts or non-commercial stories on these sites. In addition to wasting your money, posting weak material will probably undermine your credibility. Spec Scout (run by Jason Scoggins who also publishes the Scoggins Report), charges $197 for services that include coverage by three professional readers. Submitted scripts are assigned a score between 0-100. Scripts that score above 68 are promoted to industry professionals (managers, agents, and producers), but it's not easy to get a qualifying score. As an example, the produced screenplay, The Fault in Our Stars (a current box office smash hit) was rated 84 on Spec Scout. In comparison, one pro writer with 20 years of experience (and several optioned scripts) received a score of 55 on his latest script. According to Scoggins, only about 10% of the scripts submitted receive a passing score. So only one out of ten writers who pay the $197 coverage fee receive any serious industry attention. The Blacklist charges a flat monthly fee to list a script and additional fees to receive coverage by one or more readers, which may not be as targeted as the rating system used by Spec Scout. Despite some purported coverage problems, this database is one of the most popular sources for serious managers and producers, although it may take several years before even an exceptional script attracts a buyer. In recent years, The Blacklist has become the go to resource for scripts considered option worthy. One script that was purchased and produced after languishing on the The Blacklist for several years is Argo, which won the Best Picture Oscar in 2013. As William Goldman quipped, "No one knows anything." If a writer believes his/her work has real merit and strong commercial appeal, and is willing to put up some seed money to make their work accessible, it's worth knowing these sites can make a difference in your career. If any Stage 32 members have experience with these services, I'd love to hear from them.

One of my scripts went through SpecScout. Two readers gave it passing scores, one trashed it. That person made a number of mistakes in his or her analysis. Because these types of reviews are subjective, there is generally no recourse. I never contest these judgments because it's generally foolish to try. However, within weeks of that bashing, the same script won two contest. That means it rose above hundreds of other scripts. So this time I did write to SpecScout with my concerns. Surprisingly, Greg Gertmenian wrote back a hugely long email addressing the problem. He was extremely gracious. I had to commend him, for in my 15 years working in the industry, I never met someone who took the time to clarify their position with such honesty and kindness. We exchanged several very long and detailed emails because the problem was not really with my script, but with the format they chose to base their service on. Unfortunately for me, there really was no way around it, though he did offer to have another reader replace the inaccurate one. Eventually, we settled on another solution. Still, even as a double award-winning script, I couldn't make it onto that list. As for honesty and integrity, those who run SpecScout are at the top of their game. That said, because of the way that service (and all readers services) are entrenched within the rigid three-act, character arc, Save-the-Cat idea of filmmaking, most Hollywood pictures are going to have vast similarities where you can stop-watch every beat and plot point. The idea of remotely stepping outside the box in Hollywood, is equivalent to winning the lottery.

Stuart. Thanks for your comment concerning my interest in submitting my work to a pro reading service. I agree that readers who are wedded to the Save the Cat three-act, four-beats-to-a-bar, philosophy, would not be very helpful to me. It takes more than correct structure and wordsmithing to write something that is fresh, original, and powerful. I remain strongly interested in finding a pro who shares my interest in developing top-of-the-line mystery/thriller movie scripts. If you know of a good consultant who meets my criteria, please contact me.

Lee, I'm not sure yet what exactly your criteria is. Which market are writing for? Do you want to know how to format a script to make it Hollywood, or do you want to write a script any which way you want? There are basic "rules" to follow in filmmaking so your audience knows what's happening, but this is basic storytelling. If you want a service that is industry standard, there are many out there. They will assess your script as to how it pertains to Hollywood standards. Anything else is an Indie film and you will either have to make it yourself, or find an Indie director and producer to make it for you. I do editing and commentary, and can tell you whether your script is coherent, Hollywood-ready, dialogue concise, etc. You can go to my website and read excepts from my novels and screenplay to decide if I'm the right fit for you. I'm not here to solicit work, and I don't promote your scripts to the industry, but it sounds like you are after a slant outside the Hollywood system, a system that will only view your script one way.

Black List readers are good. They are beyond the Save the cat training wheels and are riding real bikes. The coverage I got on my script was the best coverage $50 can buy - very brief but very perceptive, intelligent and not cookie-cutter b.s.

Stuart. Thanks. I'm not looking for basic guidance. So far, I'm most impressed with The Blacklist and Spec Scout, so I will definitely choose one of these to make my script available, but I'd also like to find someone who's written several solid (optioned or purchased suspense thrillers, as what I really need is expert advice on how to put a finer tone on some of my suspense scenes. Only someone who works regularly on this type of script is going to be able to help push it up above the competition. The script is very solid and doesn't need much help, but I know there are some really gifted script doctors who might be what I need. Here's a metaphor. I'm already a 9, but I'd like to check with a top knotch plastic surgeon to see if it's possible to look like a 10. My genre is mystery/suspense. Examples of scripts I like are Black Swan, Side Effects, and older films like The Usual Suspects, Blood Simple, Vertigo and Klute,

Well, I've optioned and sold suspense thrillers and won 2nd place in a contest for my crime thriller, not to mention two grand prize wins this year. After writing 18 scripts and 8 novels, I think I'm pretty qualified. However, your choice. BTW, on this 9, pushing for 10, is that from your assessment, or a professional assessment?

Hi Stuart. I appreciate your interest, but I'm not familiar with your work and you didn't mention what screenplays you admire, so I have nothing to evaluate. Are your novels available on Amazon. One look will tell me what I need to know. The 9 is a composite score by a couple of professional editors and writers I know in other writing fields (fiction and non-fiction). I've worked as a professional non-fiction writer in the past and I know a number of good editors. They're the people who suggested I look for a suspense screenwriting specialist. If you've published suspense novels, you probably have the feel for the material, but I'd like to know more about your preferences in screenwriting. If you have time, send me a couple of loglines and let me know a few of your favorite movie scripts. Thanks, Lee.

Stuart, I found your website, and I'll let you know if I think we might be a good fit. How do you charge for reading and commentary?

www.inktip.com