I am torn as to whether I should pay for feedback on scripts, does it ever lead anywhere? Am I just throwing money away? If my script or scripts are good enough, then what? If they require more work ( which in all honesty they most likely do ) is it then a case of write and repeat? If so, can I afford to go down that path?
Peer reviews are fine and very much appreciated but, again then what? (Sighs heavily)
All of the above is completely rhetorical, answers are not required, I'm just typing out loud.
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There are several contests that give feedback a part of the entry fee. (Bluecat for example.) Plus you get a chance to win some cash and be recognized. Be aware that this route is not for everyone and you should do your research before entering any contest. Good luck.
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If this is a hobby, you’re fine, but if you’re gonna make this into a profession (a job), then you need to spend money.
Yeah, but the key is where to spend.
Kevin Bolger You nailed it.
Example; I went to script coverage services and they basically told me to give up on my project.
It's now in consideration in four festivals and just made semis. No, that's not going to pay the rent, but it's getting read. WHO reads your work is almost as important as WHAT you wrote.
At least before production.
BUT... Even that is a valid viewpoint... IF you know what you are getting.
"Script Coverage" (AFAIK) is typically done by MFA grads that have read hundreds and hundreds of scripts... really good ones and really bad ones. Their job is to find five out of every hundred that they THINK would be greenlighted SOMEWHERE. Everything else is marked "PASS".
Yes, they will give you "NOTES" - BUT the notes are usually why your project would never get greenlighted. Which, if those are what you want, fine.
If you want notes on how to make your script better, that's harder - it usually involves finding a research specialist and a consultant. IMHO.
Or, you dig out your rolodex and find help.
I was totally against paying, but after coming very close in contest and pitches, I decided to give it a try. Went with a recommendation that didn’t cost a lost, but got great feedback. Nothing eart shattering, but technical bits is the term. Working on rewrite now.
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I never did get feedback but it seems getting coverage from someone qualified would be a good investment. It may help you improve your screenplay but make sure you have someone with a lot more experience to read it and tell you what if anything you are doing wrong. Most aspiring screenwriters make the same mistakes so that might help you improve your screenplays. As far as breaking in goes nobody knows what will work for anyone. I invested in one how to book and screenwriting software and it took me a few years and writing a lot of screenplays before I saw a return on my investment. However I did just take this crap up to give me something to do in my spare time.
I put some money in feedback from two coverage services--one of them did my first script twice. I really needed professional help--I had brought the script as far as I could on my own. That money was well-spent, and the notes really helped. Then, when I read "Save the Cat" after the notes and understood the beat sheet, I finally got it.
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I hand my scripts over to an optioned screenwriter who offers me feedback. I pay her because, well, she requires it, and because she knows what it takes to write a selling script. Her feedback, I feel, can only serve me.
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Get the feedback. Another pair of eyes from someone in the business at whatever level is worth it. Family members blow smoke.
Read the review. If yer pissed put it down. Read it three days later. Copy and paste every critique in your notes and rewrite.
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Never pay anyone for professional advice who has not been successful in that field. You wouldn't pay a fashion consultant who shows up in a t-shirt that says "Who Farted?"
If you find someone who is successful in the field and is willing to help, great. If they don't have a proven history for either their own or someone else's productions, then you may as well put the money in a blender.
Laurie, the coverage i giot came with 7 pages of detailed notes and a full script make up. I think a lot of people use the “term” notes to create a higher price level.
Phil, last I saw there are 8 div 1a college football coaches who never played a down - all have winning records (very good records) the ability to do and the ability to teach and lead one to his goals are two different things. As they say those that can play - those that cant teach, but i do think you need to be very careful in choosing out there. I look for the success of the people who came to the coverage person not his success.
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John Iannucci, I agree. That is why I said a history of either their own or someone else's projects that they have helped get to a level of success. If they aren't writing their own work, then they need to be able to demonstrate some level of their advice having paid off for someone else. Remember, the Division 1A coaches didn't just show up one day and say "I've seen a lot of games, I'm pretty sure I can do this." They had to work their way up and prove they knew what they were talking about. What you don't see at that level are a lot of coaches who can't win games but still want to tell everyone else they know what they're doing. Unfortunately, there is some of that going on in this field.
The key difference is that, in the coaching aspect is that it's pretty easy to check an applicant's record and history. It becomes much more difficult when dealing with the internet. We would all like to believe that the people who offer to help are not simply helping themselves. I have personally known a couple of writers who paid for coverage from someone who blew a lot of smoke about how good the story was, but that they needed someone to consult on the script, and then charged them for several sessions. The writer followed every piece of advice, made every edit, and wound up with nothing to show. One of the consultants even turned around as said "I did the best I could. The problem is it's really not a very good story." They had fleeced the sheep long enough that there was nothing left but skin, so they jumped ship.
I like to use the analogy that, if I fail at something 200 times, I have a significant amount of experience. The problem is, I can't advise someone on how to be successful at the task. The most I can offer is "Here's the 200 ways I went wrong. Please try to learn from my mistakes." I have found that there is an infinitely smaller market for that kind of advice than you might think.
I paid for coverage from someone that listed their credentials as "Producer, Script Coordinator," and then named a network of great significance. My assumption was that, based on the way it was listed, they had served in both capacities for that network. Turns out their only experience as a director or producer was actually on their own material, which received much less acclaim than would be desirable for someone giving advice. (I unfortunately found this out after the fact.) But, they still offered their services as an authority. I equate this to the guy who buys a lawnmower and cuts grass in the neighborhood, and gets business cards that say he is CEO of a landscaping company. There is unfortunately more of that than we would like to think. So I now fall back to the "If they aren't successful with their work or someone else's" theory.
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Phil. Nobody can teach anyone how to succeed.
Dan, I agree. But if you want to learn how to cook an egg, asking someone who has never seen one is an exercise in futility.
Phil, I agree. I never ask anyone for feedback but if I did I would want to make sure they had a few screenplays under their belt.