I recently had an experience that I'd like to hear feedback on. In November I purchased 'feature script premium development notes' from an exeutive/agent. Afer 3 weeks I checked in with Stage 32 and they said they would give him a nudge. I reached out again in December where it was suggested I consider another industry professional. I continued to wait until January (because I thought this agent was a great fit for my script), and then went with another reviewer who got back to me within a few days - with excellent notes.
In the past, other reviewers I contacted also got back to me within days. Has this happened to anyone else? What do you think is an appropriate time to wait on a review before cancelling?
Thanks.
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Sounds like you were right to wait the three weeks (that's how much time I think they have to respond), but also right to escalate when not hearing back. I wonder if there is an internal Stage 32 score for each exec on the value they bring? I've had all good experiences so far, so the exec list seems to be curated pretty well overall.
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I would be fine waiting 3 weeks, Lori Jones. And if it's around the holidays, I would wait longer.
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Lori Jones Getting scripts reviewed is a bit of a lucky dip. Some reviewers put in real constructive effort, others use AI and cut and paste some standard text around being positive. A good, honest review can add value, but many are just a "take the money and run" situation.
Stage32 struggles to help you spot the difference, they are also in the same situation of revenue raising.
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Trust in your gut, Lori Jones. They always prove you were right :))
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Yikes! I didn't think about anyone using AI to review. The good news is that the agent who finally read my script gave me excellent notes. I do like Patrick's suggestion that would give Stage 32 screenwriters the opportuinty to score the reviewer. After putting our heart and souls into our writing, I think we all want our work to be taken seriously.
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greenlight is actually pretty decent coverage. I wouldn't qoute from it but it's reviews have been fairly accurate and have helped me with professional reviews like blacklist
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Lori Jones : Getting AI to review your work is as good a feedback as many, at no cost.
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I will try AI for that, however, since I don't know anyone in the business, when I reach out to industry professionals for a review, I'm also looking for contacts or interest in my screenplay.
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"I'm also looking for contacts or interest in my screenplay." Getting a review gone, does not gain a contact, or interest in your work. Two different processes. You make contacts by chatting to people. (Like this)
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I do appreciate the feedback.
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https://docs.google.com/presentation/u/0/d/e/2PACX-1vQcZvVy0gIvmdnGAE_sZ...
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Patrick Hale Pitch in presentation form is a great idea.
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Patrick Hale and Lori Jones Perhaps an AI generated trailer is the ultimate pitch?
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Produce it yourself Lori Jones
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This was AI generated based on my original screenplay. It was very very very difficult to keep it looking like a cohesive piece and you almost certainly have to have skills as an editor (I Do) and be a graphic artist that is able to parse information quickly and discard the fat. I can see why people don't do this but I found it faster than doing the puppets or after effects heavy trailer... still using AI in the sentence preceding this means that even though it looks fine and gets the point across its dead on arrival in the current climate. This is about 50 hours of work and a month worth of credits.
Let me know what you think!
ROLL MODELS:
Childrens 4+/ Live Action with Puppets / Women in History
https://youtu.be/UO6Z7ipqatg
what do you use if at all? where do your projects live?
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I have the same experience... I purchased a Script Premium Development Notes from an executive - seven weeks ago. I guess they are busy... between patience and doubt, we have to learn how to deal this aspect of the job.
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Patrick, your project looks interesting. What if there was a voiceover to explain the characters and story? The clip left me wanting to know more about the story.
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Erik, It makes sense for Stage 32 to ask reviewers if they have the time to honor the 3 week turn around before offering their services to writers.
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Thats the real trick. The AI stuff is fine for shots that don't require people talking but lacks sophistication in camera movements and speech. So a narration is needed.
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I think the real power of the AI tools come from stoory board creation and not as teasers. Here's another example from my LAKE OF DEAD EMPIRES script which I made storyboards for then did a teaser cut down: https://www.stage32.com/media/3978037042205437714?ref=search&autoplay=1
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I'm thinking I would pay good money for some Wizkid to come up with an AI trailer for my book.
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versus a cut I did of another screenplay that I used Filmsupply.com stock footage for which I think is a fundamentally better teaser without AI:
DARK SPOT - https://www.stage32.com/media/3804243998684488861
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AI tools give everything a weird plactic-y veneer that just screams inauthentic. I think- and when you have non-filmmakers or people that didn't go to school for camera op or have any idea about aesthetic and ask them to design their own stuff with AI it's just a god damn mess.
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Thank you for sharing your experience, Lori! I've been waiting far too long. I will reach out to the Stage 32 today. I've only submitted once so I don't have any other experiences to share. To answer your question, I am okay with waiting a few weeks so the reader can spend time with my work providing solid coverage.
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I think the way forward for anyone without a direct tie to a producer or director or money is to associate a an actor with your script with a LETTER OF INTENT then secure a distribution deal and negotiate with a larger production company with that leverage. In so doing I have come up with an experiment where instead of funding a whole movie I want to fund a single actors time with the production in return for a letter of intent. I've put up a kickstarter which goes live on monday and I will test it. I'm trying it on the most popular of my scripts which also happens to be the cheapest and most accessible. Let me know what you think!
Dark Spot
https://www.kickstarter.com/projects/rooksproductions/dark-spot
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Hi Douglas. I have submitted several times with a 2-4 day turn around so waiting almost 6 weeks seemed unprofessional. I decided to stop waiting and cancelled the original submission. The new agent it was submitted to sent it back within days, with well thought out notes. A much better experience that I think all screenwriters deserve.
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Agreed. My first and only submission sat idle for 2 months. S32 gave me a resubmission code which I used today. So, we shall see...
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Yeah, it happened a few times. The reality I hear again and again is producers, agents and managers are super busy people. This maybe true but after pitching someone live and then in private and hearing them say I like to keep in contact with your "projects". It sounded like a sure thing! It seems it sometimes is lip-service after hearing I want to keep in contact from them because of my attitude rather than one pitch for 5 minutes. I would say move on. You can re-pitch them again but moving on might be a better solution in the short term. Hope you find another person who appreciates what you got and will follow up on it.
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I think all screenwriters have to be creative and determined when it comes to getting their stories read (in a timely manner), heard in a pitch, and catching the interest of an agent willing to read their script. Without having any of the required referrals needed to get past agent, producer, and director gatekeepers, Stage 32 still seems the best bet.
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I tried kickstarter and got my first super backer today-for 2% of the project total! https://www.kickstarter.com/projects/rooksproductions/dark-spot
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Congratulations!!
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Lori Jones I did the same x2 and am at 24 weeks on one and 14 weeks on the other (both have been re-assigned).
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Stage 32 should definitely create a rating system that gives writers the opportunity to share their review experience regarding the person they chose with other writers interested in script services.
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Perhaps the idea of a limited window of Time would be great but the problem I heard is that producers are in their own orbit. And can fit even in a 3-week window. In your premium package I think waiting for notes vs. pitching a producer live and hearing from him/her at the moment is better than waiting for notes. I found the producer and I can connect better. I may suggest you try out the $35 ones from hungry producers willing to talk to you in person. Sorry if you lost money on this one. You may ask for a partial refund or credit toward a live pitch.
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My thought is that if an industry professional does not have the time to read a script, they should not be offering their script services until they do have the time. I also think receving notes to make script changes is important before scheduling a ptich so that the material discussed is as close to perfect as possible. If not, the producers may end up passing.