Script Consultant
I work on all kinds of films, but I am often brought in to help with films that are having problems, particularly films that have structural issues, because I have a special and internationally-recognized expertise in structure of all kinds. In particular, I have a specialty in non-linear and parallel narrative films, which most consultants do not deal with. Normally I work only on one draft per consultancy. In some special cases however I will work as a script editor on projects, that is, I stay on board, helping you for the whole life of the project.
No reader's reports, coverage or critiques
My approach is different from that of most consultants. I no longer provide reader's reports, coverage or critiques – by which I mean short reports providing feedback after one reading of the script and little or no discussion with the film-makers. While there can be value in getting an expert's first impressions on your script via a reader's report, it can be dangerous to change your script on the basis of opinions expressed in such a report, indeed, much of the consultancy work I do consists of fixing scripts that have been altered on the advice of hasty single readings. With script reading as with all professions, time is money. Hence, if you are paying your reader a low fee it usually means they have only the time to read your script once, perhaps with a quick second scan.
With the best will in the world, if you read a script only once you can very easily miss the writer's intent. This is not necessarily because you are incompetent or inexperienced (although I'm told there was a famous case of one online script reader and career consultant who charged a tiny price but turned out to be a woman located somewhere in the mid-West of the USA with zero practical experience). It is simply that often, in early drafts, the writer's intention is unclear, or in scripts that have gone through many drafts, the through-line is no longer clear or vital clues have been lost and the reader can easily misread what’s on the page. Alternatively, particularly with writer-directors, vital directions and explanations are often written in a kind of shorthand (or often not written in at all) because the director, who can see the film so clearly, is unaware that the vision isn’t at all clear to others. Another common problem, particularly in films that have gone through many drafts, is that no one involved in the project has noticed when, through many drafts, vital information is cut out.
In my experience working with many, many writers, quite often I only understand fully what a writer intends when I've read the script several times and spoken to the writer, director and producer. And that is a scary experience for all of us – because what it means is that other readers – producers, directors, financiers – will also miss the point.
How I work
My method is complex and springs from experience in both giving and receiving writing advice across decades. It's too extensive to describe in detail, so I'll just provide an overview. I never comment on a script after only one reading. I do at least four and often more. I work in a very detailed methodical fashion on your script for a number of weeks in a way that involves the whole creative team (if these are already on board), asking and answering questions to establish intentions, isolate problems and find possible solutions. I find that the detailed and rigorous approach I've created saves time and money down the track, reduces the number of drafts (hence the risk of writer-burnout) and puts the film makers firmly in control of their project. At the end of the process I present a report on how in my view the script can be made better. All of my consultancies involve one or more conference calls in which we discuss the script. My report can be delivered entirely verbally by conference call (with the team recording it for later use, this being the cheapest option), or I can write a report which we discuss during our call. My reports can be everything from very detailed report (over 10,000 words) through to a list of headings which I use as the basis for our conference call discussion.
Fees
Price varies according to the complexity of the report (whether it is verbal only or in one of the range of detailed written forms) and whether you have complex nonlinear or ensemble narrative structure that needs fixing. All consultancies involve multiple readings, marginal comments in the script, comments on your questions and mine, a report about the script and at least one conference call. The starting price is $US1000. Please note that I am very busy as a consultant, so there is usually a queue. If you want me to work with you it's best to give me as much warning as possible.
Screen Credit
I also ask for a credit of ‘dramaturg' or 'script consultant' placed in accordance with how much work I have done on your script.
If you would like any more information, please contact me
I work on all kinds of films, but I am often brought in to help with films that are having problems, particularly films that have structural issues, because I have a special and internationally-recognized expertise in structure of all kinds. In particular, I have a specialty in non-linear and parallel narrative films, which most consultants do not deal with. Normally I work only on one draft per consultancy. In some special cases however I will work as a script editor on projects, that is, I stay on board, helping you for the whole life of the project.
No reader's reports, coverage or critiques
My approach is different from that of most consultants. I no longer provide reader's reports, coverage or critiques – by which I mean short reports providing feedback after one reading of the script and little or no discussion with the film-makers. While there can be value in getting an expert's first impressions on your script via a reader's report, it can be dangerous to change your script on the basis of opinions expressed in such a report, indeed, much of the consultancy work I do consists of fixing scripts that have been altered on the advice of hasty single readings. With script reading as with all professions, time is money. Hence, if you are paying your reader a low fee it usually means they have only the time to read your script once, perhaps with a quick second scan.
With the best will in the world, if you read a script only once you can very easily miss the writer's intent. This is not necessarily because you are incompetent or inexperienced (although I'm told there was a famous case of one online script reader and career consultant who charged a tiny price but turned out to be a woman located somewhere in the mid-West of the USA with zero practical experience). It is simply that often, in early drafts, the writer's intention is unclear, or in scripts that have gone through many drafts, the through-line is no longer clear or vital clues have been lost and the reader can easily misread what’s on the page. Alternatively, particularly with writer-directors, vital directions and explanations are often written in a kind of shorthand (or often not written in at all) because the director, who can see the film so clearly, is unaware that the vision isn’t at all clear to others. Another common problem, particularly in films that have gone through many drafts, is that no one involved in the project has noticed when, through many drafts, vital information is cut out.
In my experience working with many, many writers, quite often I only understand fully what a writer intends when I've read the script several times and spoken to the writer, director and producer. And that is a scary experience for all of us – because what it means is that other readers – producers, directors, financiers – will also miss the point.
How I work
My method is complex and springs from experience in both giving and receiving writing advice across decades. It's too extensive to describe in detail, so I'll just provide an overview. I never comment on a script after only one reading. I do at least four and often more. I work in a very detailed methodical fashion on your script for a number of weeks in a way that involves the whole creative team (if these are already on board), asking and answering questions to establish intentions, isolate problems and find possible solutions. I find that the detailed and rigorous approach I've created saves time and money down the track, reduces the number of drafts (hence the risk of writer-burnout) and puts the film makers firmly in control of their project. At the end of the process I present a report on how in my view the script can be made better. All of my consultancies involve one or more conference calls in which we discuss the script. My report can be delivered entirely verbally by conference call (with the team recording it for later use, this being the cheapest option), or I can write a report which we discuss during our call. My reports can be everything from very detailed report (over 10,000 words) through to a list of headings which I use as the basis for our conference call discussion.
Fees
Price varies according to the complexity of the report (whether it is verbal only or in one of the range of detailed written forms) and whether you have complex nonlinear or ensemble narrative structure that needs fixing. All consultancies involve multiple readings, marginal comments in the script, comments on your questions and mine, a report about the script and at least one conference call. The starting price is $US1000. Please note that I am very busy as a consultant, so there is usually a queue. If you want me to work with you it's best to give me as much warning as possible.
Screen Credit
I also ask for a credit of ‘dramaturg' or 'script consultant' placed in accordance with how much work I have done on your script.
If you would like any more information, please contact me
Teaching and Mentoring
Chatting to writers after my talk at the London Screenwriters' Festival
I really enjoy teaching and mentoring, with groups of writers and with individuals.
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