Anyone heard of Craig Kellem of Hollywoodscript.com? Is he good/reliable? Is the money he charges for his consulting worth it?
Thanks!
Thanks!
Anyone heard of this guy?
- Thread starter Monaco
- Start date
I guess if you want script advice from a guy with no credits since 1993 and no feature credits at all, feel free to send him your money. I wouldn't.
- Joined
- Feb 13, 2005
- Messages
- 2,068
- Reaction score
- 130
- Location
- NYC area
- Website
- www.josephcalabrese.com
I have to say that his critiques are sound. He gave me some insight on a script a few years ago and I was pleased.
I wouldn't call him a scammer because he hasn't had credits since 93. (I believe he's retired from the biz and this side job is his pension plan). If McKee was giving critiques for a couple of hundred bucks, would you call him a scammer? His credits are even thinner than Kellem's.
The fact is, anyone who offers you critiques for money, or free, should only mean one thing for you. Do you lack the experience or objectivity to self evaluate your work? Can this person's advice make your work better?
If you expect for some magical reason that this person's review of your work will make it an easier sell, then you should never pay anyone because that dream will never happen. That is not the point of having a script consultant.
If all you want is advice to possibly make your work better and you can afford it and you don't have better (free) resources, then I would appreciate the advice from anyone who can offer advice based on any industry experience.
On the other end, I should play devil's advocate and say that Kellem may be too long away from the industry to give advise based on today's standards, but I don't know if that is the case or not. He could still be keeping up.
Basically ask yourself why do you want your script read by anyone like Kellem?
I wouldn't call him a scammer because he hasn't had credits since 93. (I believe he's retired from the biz and this side job is his pension plan). If McKee was giving critiques for a couple of hundred bucks, would you call him a scammer? His credits are even thinner than Kellem's.
The fact is, anyone who offers you critiques for money, or free, should only mean one thing for you. Do you lack the experience or objectivity to self evaluate your work? Can this person's advice make your work better?
If you expect for some magical reason that this person's review of your work will make it an easier sell, then you should never pay anyone because that dream will never happen. That is not the point of having a script consultant.
If all you want is advice to possibly make your work better and you can afford it and you don't have better (free) resources, then I would appreciate the advice from anyone who can offer advice based on any industry experience.
On the other end, I should play devil's advocate and say that Kellem may be too long away from the industry to give advise based on today's standards, but I don't know if that is the case or not. He could still be keeping up.
Basically ask yourself why do you want your script read by anyone like Kellem?
Joe, thank you for your answer. I've never hired script consultants before and would like to try it at least once. I've hired Scott the Reader recently - to read my other script - and he said there's definitely something in it, but he didn't do a complete coverage like Kellem does. Scott didn't find any major or minor problems and just shared a couple of thought. This time I'd like to get a complete coverage. How necessary is a professional coverage in your opinion? Could it help marketing the script?
Thanks.
Thanks.
Last edited:
I know you addressed your question to Joe, but I have a few thoughts for you...
1) Script "coverage" and script "consulting" are two different things. Script coverage is what your script will get when it's submitted anywhere in town; a professional reader will write a summary of your plot, a logline, break down what he thinks does or doesn't work in the script, and then give it a rating that rises in a four-step gradient from "pass" to "recommend." Know that at least 90% of scripts that come into top agencies and studios get a "pass"--and those scripts have already cleared a bar.
A script consultant is someone you hire to give you substantial feedback on the work. They aren't there to just tell you what works and what doesn't work--if they're good they'll tell you what needs fixing and how to fix it.
You can pay 50-70 bucks for script coverage. Any decent consultant is going to start at 300 bucks for a read and some notes and head upwards from there.
Will coverage or consulting help you "market" the script? It depends. The nice thing about paying for coverage is that you get some indication of how your script is likely to be received by studios and agencies. But if the coverage comes back negative, you won't get any ideas for how to fix things or make them more marketable.
In theory a script consultant is going to work with you to make your script more marketable. But it's not a science. Some consultants are better than others. Some scripts simply aren't marketable, no matter how much they are polished. Buyer beware.
1) Script "coverage" and script "consulting" are two different things. Script coverage is what your script will get when it's submitted anywhere in town; a professional reader will write a summary of your plot, a logline, break down what he thinks does or doesn't work in the script, and then give it a rating that rises in a four-step gradient from "pass" to "recommend." Know that at least 90% of scripts that come into top agencies and studios get a "pass"--and those scripts have already cleared a bar.
A script consultant is someone you hire to give you substantial feedback on the work. They aren't there to just tell you what works and what doesn't work--if they're good they'll tell you what needs fixing and how to fix it.
You can pay 50-70 bucks for script coverage. Any decent consultant is going to start at 300 bucks for a read and some notes and head upwards from there.
Will coverage or consulting help you "market" the script? It depends. The nice thing about paying for coverage is that you get some indication of how your script is likely to be received by studios and agencies. But if the coverage comes back negative, you won't get any ideas for how to fix things or make them more marketable.
In theory a script consultant is going to work with you to make your script more marketable. But it's not a science. Some consultants are better than others. Some scripts simply aren't marketable, no matter how much they are polished. Buyer beware.
MrEarbrass, thank you. I think I'll first hire a script consultant to see if anything needs to be fixed and then perhaps get a coverage, either from the same guy (probably for an additional fee) or from someone else. Craig Kellem runs a monthly contest and the winners get a free coverage, so if my script wins, I can get the coverage as well. Otherwise, I'll have to look for someone who can do it for a reasonable fee.
If you go that route, I'd definitely suggest getting your coverage from someone other than the consultant. You want fresh eyes and an unbiased read.
I think the best way to get coverage is to call an agency, say that you're a producer, and ask if they can give you the names of a few freelance readers. Contact the reader and offer to pay a couple bucks more than the going rate (maybe 60 bucks). That way you ensure that you're getting someone who is currently working at the heart of the market.
I think the best way to get coverage is to call an agency, say that you're a producer, and ask if they can give you the names of a few freelance readers. Contact the reader and offer to pay a couple bucks more than the going rate (maybe 60 bucks). That way you ensure that you're getting someone who is currently working at the heart of the market.
Lack of screen credits does not necessarily equal lack of knowledge.
Some working writers never wind up with screen credits because the projects they are involved with for one reason or another don't make it into production (this often has nothing to do with the quality of the writing or knowledge or the writer).
Some writers don't wind up with screen credits because of the way credits are allotted. The shooting draft must include a certain percentage of a particular draft in order for the writer or writers of that draft to get credit.
Many of the top tier consultants come from the development / studio side - development pros who understand story and structure and know what level a script needs to be at in order to get greenlit but are not writers themselves.
And just because you are a writer doesn't mean you have the ability to provide good feedback to other writers.
I'm not familiar with Craig Kellem, His site's a little cheesy, but I'd trust Joe's take on him.
Dev
Some working writers never wind up with screen credits because the projects they are involved with for one reason or another don't make it into production (this often has nothing to do with the quality of the writing or knowledge or the writer).
Some writers don't wind up with screen credits because of the way credits are allotted. The shooting draft must include a certain percentage of a particular draft in order for the writer or writers of that draft to get credit.
Many of the top tier consultants come from the development / studio side - development pros who understand story and structure and know what level a script needs to be at in order to get greenlit but are not writers themselves.
And just because you are a writer doesn't mean you have the ability to provide good feedback to other writers.
I'm not familiar with Craig Kellem, His site's a little cheesy, but I'd trust Joe's take on him.
Dev
- Joined
- Feb 13, 2005
- Messages
- 2,068
- Reaction score
- 130
- Location
- NYC area
- Website
- www.josephcalabrese.com
I do not officially endorse Mr. Kellem's services per-se. I have used him once in the past and he did have some good comments.
With that out of the way, let me say that any script consultant can provide you with feedback, just as writers in a screenwriting group or even people here on the board can. A writer can give you a good idea on making your story better, but that can be subjective. A good consultant does the same, however, has (they should have) insight into the business and may be able to give you more of an idea on making your script more appealing to producers. They may also tell you which type of producer would be more inclined to read that script.
Whether it makes your work more marketable is another story. Marketability is somewhat subjective and is almost solely based on your concept and not on your execution.
In a perfect world, the best person to critique your work is a producer who loves your concept and is willing to work with you on making it more to his or her liking or to secure financing. In other words... options it.
Since this isn't a perfect world then do whatever you feel (and can afford) serves the best interest of your script.
With that out of the way, let me say that any script consultant can provide you with feedback, just as writers in a screenwriting group or even people here on the board can. A writer can give you a good idea on making your story better, but that can be subjective. A good consultant does the same, however, has (they should have) insight into the business and may be able to give you more of an idea on making your script more appealing to producers. They may also tell you which type of producer would be more inclined to read that script.
Whether it makes your work more marketable is another story. Marketability is somewhat subjective and is almost solely based on your concept and not on your execution.
In a perfect world, the best person to critique your work is a producer who loves your concept and is willing to work with you on making it more to his or her liking or to secure financing. In other words... options it.
Since this isn't a perfect world then do whatever you feel (and can afford) serves the best interest of your script.