Screenwriting : Ask Me Anything AMA Wednesday 4/3 to Thursday 4/4- "How to Make the Most of Script Coverage, Consultations, and Feedback by Nick Phillips

Thanks for offering this Nick Phillips ! My question is where do you recommend seeking out quality coverage? Are coverage services such as the ones here, at Screencraft, at Wescreenplay, through competitions etc going to give us an adequate return on investment? My fear is since a majority of those coverage services are anonymous, I could potentially be receiving feedback from someone at the same skill level as myself, whereas I feel like the only way I'll continue to learn is to work with someone at a higher level, and there's really no way to know if someone reading my script anonymously (which I completely understand is a tool to protect them from unsolicited inquiries).

Hi Nick Phillips! Thanks for doing this AMA! I would love to know what is one thing you think up-and-coming writers misunderstand or get wrong about the industry?

Nick Phillips Can't wait for this!!

Thank you Nick Phillips my question is how many times should a script be redrafted before it is considered ready to seek coverage?

Hi Nick, thanks for answering questions.

My question is not ( completely) on topic, for that my apologies.

I think 'World building' in a script is very, very, very important, in one of the scripts that I'm working on I'm not satisfied, could it be a solution to almost literally build a DYSTOPIAN world, brick by brick, like for instance in "The Handmaid's Tale? Of course this world should be as original as possible, probably the right mix of previous feature films' dystopian worlds.

Problem with a lot of world building is, I think, you can only have enough action AND enough world building in your FIRST TEN PAGES, if you show/explain the absolute 'basics' of this world through first person narrator dialog, as Offred does in The Handmaid's Tale. So much great worldbuilding would never be possible in any other way.

But I often hear that precisely this 'dialog infodump' is an absolute nono; sure, when you see/hear the first episode, of The Handmaid's Tale, it worked well, but screenplay wise, I'm not sure if 'the Pope in the Pool' can save a (simple) spec screenwriter from to be burnt to the stake, or should I say spiked to the wall?!

Thanks for having this AMA and spending your day with us, Nick Phillips. Question: From a producer's standpoint, how do you gauge whether or not a script is ready, given that there will likely be changes made during production? Thanks in advance.

Hi Nick Phillips. I don't mean to be negative, but could you tell about some of the bad experiences you had with screenwriters and the pet peeves you have with screenwriters? Also, what can screenwriters do to prepare to work with producers?

Hey, Nick Phillips. Hope you're having a great week. Thanks for having this AMA. What are three of the most common script notes you give?

Thank you Nick for doing this AMA for us. I would appreciate your advice. I finished and polished my screenplay. I booked 30 minutes of consultation with a producer who I believe matches my genre. Next, I want to start doing pitches. I am a new screenwriter whose goal is to have my screenplay optioned and sold. I believe in my script, but I'm still learning because I'm new to the industry. How might I best prepare for this consultation? What should I ask? I will be grateful if you could give me some advice. Thank you.

Thanks for your time and heart, Nick Phillips! I'm really looking forward to hearing your advice on this topic and your answers to ALL of these great questions.

What advice do you have for us in finding the "right" coverage, rather than just "more" coverage? I find it all too easy to pay someone for coverage service these days, but as with anything else in this business, it really seems to be more about "who you know...". Your advice on targeting the right readers would be helpful, especially for those of us not living in LA or NYC and our networking efforts are almost all remote.

As I re-read my question, I wonder if I'm confusing script coverage with an actual pitch? Does coverage ever lead to partnership or optioning? Or is the term "coverage" specifically just for feedback?

Thanks for doing this AMA, Nick Phillips! I like one of your example questions, so I'll send it back your way! Do you have any tips for how a writer can impress an executive while in a meeting?

Thank you, Nick, for your time with this AMA. I would like to see answers to all of the sample questions you posted. I believe they're all relevant to a huge majority of newcomers in this profession. Thanks.

Thanks for doing this Nick Phillips ! What advice can you give on how to handle contradicting or opposing feedback? (Like when you get notes from two different people.)

Nick Phillips Thanks for the AMA. Can you speak a little on your thought process for project selection? There is often a wide gap between what contests/academia will look for versus what producers/executives/managers look for. Thanks.

Nick Phillips I've had several pitches and script requests through Stage32, but didn't get signed or optioned. What's the best way to leverage these meetings and requests for optimum results.

Nick Phillips, thank you for sharing your time with us today! As someone who came up in the industry when access to things like consultations or pitch practice sessions was unheard of, what elements of these opportunities do you feel writers and aspiring producers should most lean into? Or I guess more specifically, if you could have had these opportunities for feedback and practice at the early stages of your career, what would you have hoped to get out of those experiences? In what ways do you think that could have helped you grow in your career more quickly?

Appreciate you taking the time Nick Phillips :) how many reads for coverage/notes/feedback (from pros, friends, or peers) should a writer get before submitting a script to execs or entering contests? do you think there's a number there that could be a useful guidepost for emerging writers? or a point of critical mass with feedback where it's likely every note's been given?

@NickPhillips I'm new here! I'm learning to write coverage and would love to know what qualities/skills you value in a reader and any tips for providing quality coverage. Thank you!

Nick Phillips Question from the Deconstructing Oppenheimer webinar - Do you write prelapses into the script? Or does that happen during shooting?

Hey There, Everybody! I'm just writing to let you know that all of your questions have been seen and heard on the AMA! I got a bit jammed up yesterday with the Oppenheimer script breakdown, my apologies. I'll be answering all of your questions in a couple of hours. Some great ones in there, i look forward to getting back to you all!

No problem, Nick Phillips. Thanks.

@racheltroche Clearly the coverage service I'm most familiar with is Stage 32, I haven't used or been a part of any of the services you mentioned. But in general I would trust the process and feel good about your work being read by quality people who are vetted. From what I've seen here at least, there is definitely a standard by which readers are measured. Personally speaking, traits that should be looked for in a reader are familiarity and experience with screenwriting and screenplays, a knowledge of and passion for movies, aptitude for analytical thought, a good sense of story and structure etc. I got my start as a reader back in 1996 (????), so at one point I was that person on the other end of the process, the one who the writer was hoping wasn't just some young doofus kid. I can tell you that i, and the people I came up with as readers, took that responsibility very seriously. If you put in the time and effort to write a script, we'd give you the time and effort to provide quality feedback.

@emilyj One thing that I've encountered throughout my time in this business is writers who want to know why you passed on their script. It's a fair question, sure, but much more often than not it's just not something you can articulate. And while the phrase "it just wasn't for me" can seem frustratingly vague and reductive, sometimes that is 100% the best way to say it. It doesn't mean it was bad or poorly written, it just means that I subjectively couldn't see it as a movie, I couldn't envision how to make it or why. I just didn't connect with it, it's that simple. Now, there are times when I might have a note or two of feedback, it depends on the script. And even if I did send notes or reasons as to why I passed on every single script, I hope you wouldn't then change the script accordingly. I mean, I'm not going to make the movie either way, and some other producer might love the script just the way you have it. Long story short, don't read too much into it. Having someone read and then ultimately pass on your script is never a waste of time, it's part of the process, albeit not a fun one. You took a shot and didn't connect, it happens all day every day in this business.

@ashleyottesen It all depends on the script. Sometimes it takes several drafts and it's still not ready (development hell), other times it's great as it is and needs no work and you just go make it. I tend to work in the latter realm. Whenever it has been fully or partially my decision to greenlight a movie, it usually involves a script that needs very little to no work, that's part of why you're choosing it. But again that's just a subjective reaction that i am having to the material. I watched too many projects get revised into unrecognizable mush during my studio days.

@rutgeroosterhoff Info dumps aren't always a bad thing for world building. Star Wars did it, Blade Runner did it, (David Lynch's) Dune did it. It all depends on how you weave in the info. Is it dialogue, is it action, is it news reports, a speech by a character in the movie? There are all kinds of ways to integrate the info so it doesn't seem to overwhelming.

Leonardo Ramirez I don't mean to sound like a broken record, but it all depends. As I mentioned above, when it has been partially or fully my decision to make a movie, it's a script that I just loved and connected with, full stop. Needs no work, it's the prefect fit. That's obviously very subjective and of course outside "market factors" might contribute to the decision, but for the most part i read something i love and go with my gut. If a script has a good concept but needs too much revision, i tend to stay away, because development doesn't always yield a better result.

Anthony McBride Haha, good question. I'd say it's a writer who just refuses to even listen to or incorporate notes. They're too close to the material or too stubborn etc. I'm not saying that you have to incorporate every single note, it's always a discussion, at least for me, and if you can intelligently defend your thought process i'll gladly relent. But to just refuse to make any changes simply isn't constructive or collaborative. As for preparing to meet with a producer, I'd say familiarize yourself with their work, see if you have anything in common, and just come ready to talk movies and scripts!

Maurice Vaughan I'd say the 3 most common notes would be 1) Lean more into subext, don't overwrite your scripts. Alot of times, some writers have their characters say exactly what's on their mind, in a way that doesn't feel natural and feels expository 2) the third act feels rushed. I think sometimes (and ive been there myself) that by the time you come to your ending, you just want to wrap up the draft and close the loop. this sometimes leads to finales that feel very truncated or forced 3) don't over complicate stage direction. You don't need to describe every inch of the room or what the character is wearing, and please don't include a song in their that you'll never be able to afford. Only Wes Anderson and Scorcese could potentially get away with that.

@sandraisabellacorreia Prepare for the meeting by coming to it with questions and answers. Questions like are there any areas that could use improvement or where anything was unclear? Did the script flow nicely? Things like that. And decide beforehand what kind of feedback you want. Constructive notes? An analysis of its commercial potential? Both? And if you want to start doing pitches, start practicing today, like now. No seriously stop reading this and go practice. You need to have a command of your story and your script and have it down cold.

Neil Gowan Yes for the most part coverage is just for feedback. However i used to work for executives who used it as their filtering system for what to read or at least put at the front of the line. Positive coverage can make someone go oh wait maybe i should give this a look. As for the right coverage, as i said before I'm only familiar with Stage 32 so i'm not able to give a fully informed answer!

Dustin Richardson Just know your stuff. Love movies, be passionate. Be totally in control of your pitch and your handle on your own materials, and also speak to comparable films as well. Do some research on the person/company you're talking to, see if you like any of their previous work etc.

Gerald Smith i think I've covered or will end up covering all of the questions in my original post. Let me know if i've missed any!

Niki H I'd say pick the note you think works best for the story and the script, and/or decide who's notes you trust more and go with that person's.

Christopher Phillips I've touched on a little bit above, but the main thing is a central idea or theme that i connect with in some way. Then of course you have to consider if audiences will connect with it as well, and sometimes you ignore that and say fuck it let's make it anyway. Does it contain roles that will attract great cast and crew and director etc? and just good solid writing. If all those things coalesce before, during and after i read the script, my interest is piqued!

Anthony McBride the best way to leverage is to just keep moving forward. Learn what you can from the previous experiences, if anything, and file them away and continue to do the work. If you have a direct line with the person who passed, maybe check in with them once in a while. Again don't harp on why they passed on the previous projects, just keep yourself on their radar every so often.

Ashley Renee Smith If i had something like this when i was starting out, i'd utilize it for constructive feedback on my work, to network and to forge connections, maybe even to find collaborators!

Pat Alexander Interesting question, i've never considered that before, but i'd say 5 is a safe number.

"Don't over complicate stage direction." I used to overwrite a lot, Nick Phillips. I got a note about it, and I cut back on my action lines. Thanks for the answer and thanks for all the answers. They're helpful!

Diane Fluin a good reader should have a working knowledge of screenwriting, screenplays themselves and of course story. Be able to present the coverage as positive and supportive even when offering criticism. And of course a kick ass vocabulary!

Jordan James Christopher A pre-lap can be written into the script for sure, but fear not, they can also be added during editorial and sound mix if everyone feels like the scenes or the transitions need something.

Thank youuu Nick Phillips you helped me a lot :)) thanxxxx

Nick Phillips Can you speak to your process of collaborating with directors on the script development process? Are you bringing them onboard before initial notes to see if they like the concept/script? Or do you get the script into shape first and then share with directors? Thanks.

Christopher Phillips Well sometimes the person that wrote it is also the person who is directing, so if you think their script is great and just want to go make it, I don't think you'll get much push back from them. : ). Other times you develop it to the satisfaction of all involved so far and then take it out to attach a director. And other times the director will come in with their own notes and you work through that process to implement some of not so much others. In some instances you are bringing in a director partially because they are known for and expected to breathe some new life into the script. And then once you get into prep, you might do what are called "production rewrites" which are changes necessitated by things you discover during prep. Maybe a better location presented itself, perhaps a two scenes can be streamlined into one location, things like that.

A great AMA, Nick!!