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What is your role as consultant?

I'm not content to just look at your script and point out your "mistakes" and take the money and run -- to me, that's not what a teacher does. It's easy to say, "This doesn't work -- fix it." A teacher, consultant or whatever you want to call them, should work with a student/client to find the answers to the script's problems and help solve its mysteries. I won't write it for you, but I will help you find the answers that already exist within you and the material.

How do you go about this?

1. First I read your script thoroughly, absorbing it much as an industry reader, agent or producer would, except I make notes along the way, recording my first impression to use later in my analysis. Then I go through it a second time very thoroughly marking the script up with my trusty red pen. (I only use red because it stands out well on the page and catches your eye. Don't confuse my red pen with the lethal red pen of grade school teachers the world over) In doing so, I make copy editing corrections (grammar, spelling and formatting errors) and indicate which scenes, dialogue, characters or moments I think work well (yes, positive feedback), those that don't work as well as they could, and suggestions for their improvement.
2. I type up an 8 - 10 page analysis with my overall thoughts, suggestions for a rewrite that I believe will maximize your script's potential. (And no, I don't think every script I consult needs to be completely rewritten. There have been some I thought worked very well as they were; I then helped the writer get the script ready to go out in the marketplace.)
3. I meet with you for an hour to an hour-and-a-half if you're in the New York City area, or via the telephone if you're not, to go over in person my thoughts and suggestions for improving your script.
4. I provide unlimited email support -- I'm always just an email away, no matter how long ago we worked on your script.

In short, I do everything possible to help you write what you want to write and make it the best it can be.

Do you have any sample analysis you can show me?

Yes, I do. Below is an analysis I did for Jeff Beres' script BOOD COUNT. Jeff was nice enough to let me show the world the complete and full analysis I did for his script ... but then, he's a very nice guy. He's also the webmaster of The Horror Screenwriter's Page, a wonderful resource for many things pertaining to writing, and not just horror pieces. And since the time I did the analysis for BLOOD COUNT, I also consulted with Jeff on his script TILL IT THUNDERS, which he recently optioned to Landfall Productions, Inc. in Burbank CA! Hopefully soon we'll all be able to see the completed movie.

BLOOD COUNT Analysis

And here are three pages I marked up of one of my own scripts as I prepared to do a big rewrite on it. It will give you an idea of what I'll write on your script's actual pages. The first example is a more along of the lines of what I will typically do for a client's script. The second two are more aggressively marked up with dialogue deletions and actual rewriting. Usually I won't be as ... "relentless" on your script, but this does show the kind of thoroughness I can apply.

And how much do you charge for all this?

For everything I mentioned above, I charge $275.00. This is based on a completed standard feature-length script, from 85 - 150 pages long. If you bring in a script that isn't completed yet but you still need input, we can talk about the price. If you bring in a four hour epic or mini-series, then we definitely have to talk about it! But I'm I'm a reasonable kind of guy, so it don't sweat it.

Is there anybody that'd recommend you?

Yes. Former students and clients of mine now have agents, have been finalists in such contests as the Chesterfield, Nicholl Fellowship and Sundance, have gotten producers & talent attached to their scripts and some have even went out and made the films themselves. A few of them are...

Jeff Beres
Jeff has gone on to write several more scripts since BLOOD COUNT, the script whose analysis I posted above. His unfailing dedication to his writing continues to impress me as he improves his craft with each project. A recent script placed in the quarterfinals of the Chesterfield screenwriting competition and a producer has expressed interest in another.
Jeff Beres, beres@TCNJ.EDU

Laura Paglin
Laura did one of the hardest things there is to do: she took a personal period idea, developed it into screenplay and then went on to produce and direct the movie herself! Recently finished and on the film festival circuit, her NIGHTOWLS OF COVENTRY documents a time in the early 1970's when, for a brief moment, the old generation and the new mingled (somewhat) peacefully in a Jewish deli.
Laura Paglin, lpaglin@en.com

THE NIGHT OWLS OF COVENTRY

Don Boe, Jr.
Don can't decide if he wants to be in L. A. or N. Y. C. (he's moved back and forth at least 3 times), but he knows what he's doing in terms of screenwriting. Recently he placed in the first rounds of the Project Greenlight competition with his script, THE GREAT PUMPKIN.
Don Boe Jr. dboejr@roadgoats.com

Feel free to contact any of these individuals in order to gain the "skinny" on what they think of me as a consultant. All I ask is that you be polite and mindful of the time they are granting you.

Anything else?

I eagerly await the day when a writer I worked with wins an Academy Award or any similar honor. I don't believe their parents will be any prouder than I will be!

If you want to write me for more info, please do so. I check my mail often and promise to respond promptly: Bill@ScripTeach.com

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