Best & most legitimate professional script consultants?

Ted Smith · Dec 5, 2004

Best & most legitimate professional script consultants?

Who are the the best & most legitimate professional script consultants? Excluding the "I would never pay someone to critique my script" or the "screenwriting consultants are useless" arguements, I'm simply looking for advice and feedback from those who have used a few of these services or others (or know anyone who has)...

- Script P.I.M.P. - www.scriptpimp.com/script...ex_ww2.cfm
- Coverage, Ink. - www.hprodev.com/coverageink/
- Script Nannies - www.scriptnannies.com/index.html
- Story Sense - www.storysense.com/
- James P. Mercurio - www.jamespmercurio.com/index.html
- Story Notes - storynotes.com/
- Hollywood Lit. Sales - www.hollywoodlitsales.com/
- Screenwriters Online - screenwriter.com/insider/news.html
- Totally Write - www.totallywrite.com/
- Script Advisor - www.script-advisor.com/index.html

Are any of these or others I haven't mentioned just complete crap or straight up scams? Are there any others I should consider that are pretty well regarded? A few of these claim they were mentioned in Creative Screenwriting magazine but I wanted to get feedback from more objective sources first.

Thanks!

SimonSays · Dec 5, 2004

Best & most legitimate professional script consultants?

Linda Seger is probably the best - but she's really expensive.

the scriptbroker is also really good - less expensive than Seger.

CelluloidLover · Dec 6, 2004

script consultant

try [email protected]. He's a professional writer and doesn't charge and arm and a leg. He worked on two of my scripts and did a very solid job.

canelatea · Dec 7, 2004

Re: Best & most legitimate professional script consultan

Dara Marks is well regarded. If I were to use someone, I might use her. I heard her speak about story, character and theme. Made sense to me.

Maria Buenos Aires · May 3, 2006

Best & most legitimate professional script consultants?

Just joined in, and I'm in the same predicament... wondering whether this makes sense. Ted: Did you finally use one of the script consultants? What did you think? Does anyone actually know Linda Seger's work? Is it worth the money?

xhouseboy · May 3, 2006

One of the things that never fails to ring an alarm bell with me as regards script doctors, etc, is track record (or lack of it) within the industry.

Do they have one, and if so, why give up on a lucrative career to advise others on how their work should read.

And if not (as can be the case), is it wise to pay for advice from someone who hasn't sold a script? If their advice is such gold, wouldn't they do a lot better applying said advice to their own work?

Just a thought.

zeprosnepsid · May 3, 2006

I'm guessing you don't have any avenues toward getting script coverage from studios or agents? Because that's pretty handy and also free....

kdtighe · May 3, 2006

xhouseboy said:
One of the things that never fails to ring an alarm bell with me as regards script doctors, etc, is track record (or lack of it) within the industry...

I was just scanning this thread. My brother knows a thing or two about the industry...as an example he mentioned to me that Carrie Fisher does quite well fixing up scripts.

So for whatever it's worth just because a person fixes scripts doesn't mean they don't have talent or a track record.

kdtighe · May 3, 2006

SimonSays said:
Linda Seger is probably the best - but she's really expensive.

the scriptbroker is also really good - less expensive than Seger.

What kind of price range are we talking about?

Kevin

xhouseboy · May 3, 2006

kdtighe said:
I was just scanning this thread. My brother knows a thing or two about the industry...as an example he mentioned to me that Carrie Fisher does quite well fixing up scripts.

So for whatever it's worth just because a person fixes scripts doesn't mean they don't have talent or a track record.

I'm not sure I get the point here.

Carrie Fisher so obviously does have track within the industry. She's also got contacts, and if her advice can make a script fly, then she's probably a good option as she may well be able to get it to the right people.

I was referring to those who charge and arm and a leg and have no real credentials -- and there's a few of them out there.

kdtighe · May 3, 2006

xhouseboy said:
I'm not sure I get the point here...

I wasn't trying to be arguementative. I thought you questioned why a person would be a script doctor if they could simply write their own stuff. This made me think of the Carrie Fisher example. I'm sure she charges an arm, two legs and several other parts of the body!

Kevin

Perdita · May 3, 2006

xhouseboy said:
I'm not sure I get the point here.

Carrie Fisher so obviously does have track within the industry. She's also got contacts, and if her advice can make a script fly, then she's probably a good option as she may well be able to get it to the right people.

I was referring to those who charge and arm and a leg and have no real credentials -- and there's a few of them out there.

Carrie Fisher is/was a script doctor -- she's someone who's hired after a script is sold by the EP or the studio to get it ready to be filmed after it's been determined that problems can't be fixed by the first writer. She gets/got MAJOR bucks for her skill and talents at that level wouldn't be available to the average screenwriter. That's not the same as a script consultant...

And I do agree with you, xhouseboy, completely BUT there are some good script consultants, some good screenwriting teachers, some good editors, etc., who haven't written anything that's sold. Creative writing and fix-it writing come from different parts of the brain. So the question to be asked is not has the script consultant written anything that's sold, but has the consultant worked on/advised/re-worked anything that's been sold or been optioned.

Didn't G.B. Shaw say: "Those who can (write), do; those who can't, teach (or act as script consultants). Maybe there's a Mr. Holland out there for every budding screenwriter...

But, truly, what credentials would you ask them to have -- a certificate from the school of script consulting (UCLA extension maybe?) -- I'm not being argumentative, just curious because the young ones around here are also always asking me where they can get their scripts "fixed". I don't have an answer.

Perdita · May 3, 2006

kdtighe said:
xhouseboy said:

I'm not sure I get the point here...

I wasn't trying to be arguementative. I thought you questioned why a person would be a script doctor if they could simply write their own stuff. This made me think of the Carrie Fisher example. I'm sure she charges an arm, two legs and several other parts of the body!

Kevin

Click to expand...

I can answer this question. I was a script doctor before I went into television. It's for the money. Lots and lots of money, no anguish, no pain, nothing personal, very challenging work but fun, too. In two weeks I'd earn more than most people did in a year. And I was always congratulated for saving the day. Why the original writer got branded as "difficult", I was branded as "cooperative". So I got lots of work... and never had the urge to "write my own stuff" in that medium. You are making a mistake when you assume that all people are in this business to be creative or to have their voice heard... sometimes it's just about the paycheck and the freedom that such a whopping amount of cash provides.

xhouseboy · May 3, 2006

Perdita said:
BUT there are some good script consultants, some good screenwriting teachers, some good editors, etc., who haven't written anything that's sold. Creative writing and fix-it writing come from different parts of the brain. So the question to be asked is not has the script consultant written anything that's sold, but has the consultant worked on/advised/re-worked anything that's been sold or been optioned.

Didn't G.B. Shaw say: "Those who can (write), do; those who can't, teach (or act as script consultants). Maybe there's a Mr. Holland out there for every budding screenwriter...

But, truly, what credentials would you ask them to have -- a certificate from the school of script consulting (UCLA extension maybe?) -- I'm not being argumentative, just curious because the young ones around here are also always asking me where they can get their scripts "fixed". I don't have an answer.

I agree, Perdita. And as for credentials, those you mentioned would more than suffice. In my book, rewriting another's work is track record, especially if it's a fix-up or polish job for the studios. And having advised or worked on anything that has been sold or optioned would also qualify.

I suppose the real point I was trying to make is that there are no real guarantees when a writer shells out for script doctoring services, and there are unqualified shysters out there who are cashing in on hope. And I know one or two of them (in the UK).

kdtighe · May 3, 2006

It would be nice to know what scripts the person has helped on that got sold but I doubt anyone would give out that info for obvious reasons. Without such a reference it seems me like a crap shoot.

Kevin

Perdita · May 3, 2006

xhouseboy said:
I suppose the real point I was trying to make is that there are no real guarantees when a writer shells out for script doctoring services, and there are unqualified shysters out there who are cashing in on hope. And I know one or two of them (in the UK).

Boy, you got that right. And I hear about that all the time where budding novelists are concerned.

Perdita · May 3, 2006

kdtighe said:
It would be nice to know what scripts the person has helped on that got sold but I doubt anyone would give out that info for obvious reasons. Without such a reference it seems me like a crap shoot.

Kevin

Kevin, your best bet might be to get a reference here at these boards from someone who has actually used a service and was happy with it. That might be the best you can do... but you might hit gold the first time out.

And besides, ALL of life is a crap shoot. You gotta play to win. What's that old saying about Babe Ruth?... in the year that he got the most home runs he also had the most strike outs...

magnum · May 4, 2006

{Carrie Fisher is/was a script doctor -- she's someone who's hired after a script is sold by the EP or the studio to get it ready to be filmed after it's been determined that problems can't be fixed by the first writer. She gets/got MAJOR bucks for her skill and talents at that level wouldn't be available to the average screenwriter. That's not the same as a script consultant...}

So how do we get hold of said Carrie Fisher?

kdtighe · May 4, 2006

Perdita said:
And besides, ALL of life is a crap shoot. You gotta play to win. What's that old saying about Babe Ruth?... in the year that he got the most home runs he also had the most strike outs...

Exactly!

Kevin

dpaterso · May 4, 2006

So how do we get hold of said Carrie Fisher?

Your best bet is to dress up as Jabba the Hutt.

Ms. Fisher's skills are well known and often go uncredited tho' of course she gets paid, alas I think she's a little out of everyone's league.

I've seen a fair number of people endorse www.bartgold.com - a working industry professional.

-Derek
My Web Page - naked women, bestial sex, and whopping big lies.
Stop reading this and get some writing done instead.

Perdita · May 4, 2006

dpaterso said:
Your best bet is to dress up as Jabba the Hutt.

.

And have a million dollar cashier's check in hand made out to Ms. Fisher.

zeprosnepsid · May 18, 2006

I may be a bit removed from reality because I work in the industry -- but I still don't know why you'd pay someone to do 'studio-level' script coverage when studios give coverage for free. Is it really that hard to get your script in the hands of a studio reader/coverage writer and get that kind of help for free?

Then again, studio coverage writers are pretty low on the totem pole. It's always the jobs my friends do when their in between real jobs.

I know the original poster already noted that he didn't want to hear it -- but I really think paying for this kind of thing is crazy.

BottomlessCup · May 18, 2006

Overwhelmingly, the studios don't let you see your coverage. You just get a form rejection or a heart-exploding phone call. Exceptions certainly happen, but for legal reasons, most of the time you never see it.

Paying for coverage is paying for solid, practical advice on how to make your script better. Concrete, objective views on what does/doesn't work and ideas for fixing the doesn'ts.

Studio/agency coverage is a whole 'nother animal. It's not written for the writer; it's written for the studio/agency. It's just a synop, log, and a frank (!) assessment of the work.

WritingFool · May 18, 2006

I think one of the intangibles the original poster would get from this is exactly what hes looking for. And theres not a monetary value on it.

I bet he doesnt feel like his project is ready, because a) it hasnt recieved the responses from agents/managers/contests he entered...or b) hes preparing to do all the mentioned, is very apprehensive, and is merely trying to sharpen his story up, possibly keeping a confidential aspect to it all.

Either way, what hes looking for is peace of mind. He wants reassurance that he has a quality story, from a professional.
So, if this is whats going to keep him motivated, then by all means, its him getting an inch/foot or even block closer to his final outcome.

What works for some, might not work for others. Simple as that. So, mr original poster....just get one..try it, dont dwell on it - just get it out of the way, so you can continue on your course. Because just like theres so many books on screenwriting out there, and so many avenues to pursue, what may seem unreasonable to some, just might be the way for you.

So get your butt out there and just hire somebody. you have a few names here. If its a good story, the writings going to speak for itself anyway.

So, go out and do it your way. This way, if youre not satisfied with the outcome -- at least youll know you are still clawing your way to your goal. At least you'll have your peace of mind.

Hopefully, one day youll get there.
Good Luck!

dpaterso · May 19, 2006

zeprosnepsid said:
I may be a bit removed from reality because I work in the industry -- but I still don't know why you'd pay someone to do 'studio-level' script coverage when studios give coverage for free. Is it really that hard to get your script in the hands of a studio reader/coverage writer and get that kind of help for free?

But if you're an unsold spec writer with no creds or agent or contacts, just how does one get one's screenplay into the hands of a studio reader/coverage writer? (Short of buying a gun and devising a kidnap scheme that ends in a "Misery" type scenario.) I think that's maybe the reality which the majority of aspiring screenwriters on this board are facing.

Note to all, addressing the original poster may be a waste of time, the post date is December 2004.

-Derek
My Web Page - naked women, bestial sex, and whopping big lies.
Stop reading this and get some writing done instead.

Best & most legitimate professional script consultants?

Ted Smith

SimonSays

CelluloidLover

canelatea

Maria Buenos Aires

xhouseboy

In the Yellow Woods

zeprosnepsid

kdtighe

kdtighe

xhouseboy

In the Yellow Woods

kdtighe

Perdita

Perdita

xhouseboy

In the Yellow Woods

kdtighe

Perdita

Perdita

magnum

kdtighe

dpaterso

Also in our Discord and IRC chat channels

Perdita

zeprosnepsid

BottomlessCup

Getting settled

WritingFool

dpaterso

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