A few years ago, screenwriter Craig Mazin wrote a blog post voicing his skepticism about “script consultants” — titled “Screenwriting is Free”. Craig (Chernobyl, Identity Thief, The Hangover Part II) was advocating for aspiring writers, who he felt could be ripped off by script consultants, especially those who charge the highest rates, and/or don’t have respectable professional credits as writers themselves.
This post still comes up right away when you Google “script consultants”, because it was re-posted on John August’s (Frankenweenie, Charlie’s Angels) very popular and useful blog. Though John disagreed with Craig about whether writers can learn from someone who hasn’t “done it” (but who perhaps professionally analyzed scripts or developed them, at some point), the post is titled “Don’t waste money on script consultants.”
My own professional arc from aspiring writer seeking guidance, to professional writer, to writer who also offers some teaching and script consulting myself, have led me to my own conclusions about the question of writers needing professional-level feedback and advice — and the costs of same.
Of course, it is totally self-serving for me to defend something that I myself do, but I also think this issue raises larger questions with relevance to everyone who writes. And like the esteemed Messrs. Mazin and August (and the many others who commented on these posts), it turns out that I also have an opinion to offer!
Now, it’s true that some writers seem to “get it” more quickly, and possess a seemingly innate ability to entertain and move readers without going through years and years of development. But I think for most of us, it’s a lengthy process of getting better at this.
I like what Akiva Goldsman (I Am Legend, A Beautiful Mind) said at a rally during the WGA strike, about how people all his life told him he wasn’t a very good writer, and for most of the time, he wasn’t. But eventually, because he just kept going despite that, he became “good.”
I personally think this is how it works for most of us. And so the question is, how does one do what he did? What are the resources needed to go from “not very good writer” with “little seeming talent” (which was definitely me when I started out) to a “professional” who obviously “has got it”?
I agree with Craig that there is no substitute for studying screenplays and movies, and doing one’s own internal self-learning through that. But I also believe there is usually something of value to be found in most books, classes, and software like Dramatica — which are the product of people seriously studying what makes good scripts “good”.
I myself was always hungry for any information I could get (and still am) about how to do this well — because I find that it’s hard and rare to really succeed with something in this business. It can be a lonely, cloudy path through the wilderness, and tough to quantify how far one’s work is from being marketable. So I always appreciate when others have charted some course through the craft that can be useful to me, whether they themselves were successful writers or not.
But no matter how many workshops, classes, writers’ groups, books, software, etc. I paid for, starting out (and there weren’t that many, for budgetary reasons), at the end of the day, I desperately needed one-on-one feedback from professionals who could apply real knowledge about the craft to my individual work. I think all writers need some form of this, including those who are already pros.
Of course, we all turn to friends and family for feedback, as well as other writers at our level of experience and success with whom we can barter free feedback — where both parties get something of value in the exchange. Maybe we also have a writing teacher or mentor of some sort who is willing to do some free reading and notes-giving, up to a point.
If we’re really fortunate, like I was when my career was first getting under way, we might have a manager or producer who is invested in our success — and partnered with us in such a way that giving ongoing feedback is part of their job.
But aside from those options, what are writers left with, if they want guidance from a professional who has a lot of experience and knowledge, but for whom the writer doesn’t have some kind of value exchange to offer? If you want an experienced professional screenwriter, producer, executive, manager/agent, etc. to give you ongoing mentoring, how do you arrange that?
Obviously one option is to pay for it — if you can find someone offering such services who fits your criteria for a good “coach.”
The prices for this vary wildly. At the low end, one can pay a “coverage service” to give a quick rating of how close your script comes to something that could move forward in the marketplace. This will usually be from a junior-level reader/assistant who can afford to charge such a rate.
I think this can definitely be valuable, for that function — because part of what writers are hungry for is someone to tell them how well their script seems to stack up against others. Some newer sites, like my friend Jason’ Scoggins’ “Spec Scout” or the “Black List” will “cover” your script, and also offer a chance for it to possibly be viewed by industry professionals who subscribe to their sites.
“Script consultants” tend to give deeper more extensive feedback to help the writer understand more about the craft, and improve their particular work. The rates for this tend to be higher — with the highest being from people who have published multiple books on screenwriting. (One of these particularly drew Craig Mazin’s ire, because of her lack of produced credits as a screenwriter herself).
Certainly it’s true that many writers who succeed never hired “script consultants”. But I would say virtually all of those writers had access to their equivalents at some point, as I did — to augment their ardent self-study.
I do agree that it is possible to “get there” on the cheap, with only a minimal amount spent on classes, books, etc. — and nothing at all for writers groups, bartering of feedback, and one’s own immersion in understanding the craft from produced scripts. I agree that screenwriting is, ultimately, free. And that success in it, in theory, can also be free. (And no “script consultant” should even hint at promising financial success, a sale, or a writing career. If they do, I agree that you should run away from them.)
But in my experience, for most aspiring writers who are really serious about moving forward, the really cheap or free resources don’t seem to be enough. And they don’t have access to free professional-level feedback on their work. But they seem to benefit the most from that — where someone who has done it (professionally written, produced, etc.) applies all they’ve learned to a writer’s work in a detailed, ongoing, one-on-one way.
If a writer can afford to purchase such a service, I believe it can be the most helpful and efficient thing they can do to move forward.
That doesn’t mean all the “script consultants” out there are equally valuable, or equally worth whatever they charge. Obviously there’s a “shopping around” component to this, and the buyer should “beware,” to some extent.
But I do think that most well-known script consultants do have something to offer. And if the writer is really open, they can probably benefit from many of them — even if they haven’t succeeded as writers themselves, but have seriously studied the craft. I find that most professional-level readers will have similar reactions to a piece of material from a writer, and similar reasons as to why they think it doesn’t work, or what it needs. And if a writer is open to that, and willing and able to learn and develop, such a person can be an essential guide.
I may be biased (and of course, self-serving), but I do think other writers are probably in the best position — if they are also good teachers — to help a writer actually do this. Because I have some well-known produced credits and a long-ish ongoing career doing it professionally, perhaps I’d fall into the small category of “script consultants” Craig Mazin would recommend, if pressed to recommend one.
But my larger point is that it can be a worthwhile exchange for serious aspiring writers to pay for objective feedback on their work from someone with a real background in the creative side of the business. Of course, there are no guarantees. And depending on what a writer does with that information, it might end up being a “waste,” in terms of dollars and cents. Especially given that so few writers, proportionally, ever do end up selling their work, or being employed in the industry.
But for those that do finally break through, “script consultants” can be a tool that helped them get there.
I want to endorse what Erik writes about the value a good script consultant can bring to a screenplay. I am a studio-produced writer and have been a screenplay consultant for more than fifteen years. During that time, I have been hired by people who have been nominated for and won Academy Awards, and the Grand Jury Prize at the Cannes Film Festival, as well as a number of film commissions. These people do not hire script consultants unless they bring value to a project. Note, of course, that all studios use script consultants in some form or another.
Paul Young
As a result of submitting a screenplay to several contests I have received notes from some of them. I also paid for coverage of the screenplay. I found the coverage I purchased to be quite helpful and have implemented many of the reader’s suggestions in rewriting the screenplay. The free notes that came from several of the entries varied in quality and utility, although even the worst of the bunch (from my perspective) led me to writing a new opening scene which I think helps the entire script. It is always useful to get varying visions of moonlight so long as the other perspectives are used judiciously. Thanks for the great blog and interesting replies.
Okay, a few thoughts.
First, Eric, nice post. Balanced and informative. Essentially: Yes, for some writers, script consultants are immensely helpful. And also: Buyer beware.
In the interests of full disclosure, I am also a script consultant. I am a screenwriter who has actually had stuff sold on spec as well as worked on assignment. While I do not have produced credits (Welcome to Hollywood, baby), all the checks cleared, so I guess that’s something.
Anyone who’s been in the business for longer than 5 minutes knows that a few hundred scripts are developed each year with only a handful getting made by studios.
At the same time, people who’ve been around know that ever since there were movies, there were people who knew how to help screenwriters make their stories stronger. Just ask any producer. Or D person. Or reader.
Hiring a screenwriter with impressive produced credits to help you make your script better is patently ridiculous. First, if that writer working right now, there’s no way a new or intermediate writer could afford them. Second, they wouldn’t be available. Third, I have personally hired Linda Seger on two of my scripts and – while she doesn’t have produced screenwriting credits – she was excellent. Fourth, there is an entire level of studio hires that have never written scripts but may be very helpful working with a writer to get the script to the next level. Fifth, every studio, production company, network and agency hires readers – who may also be unproduced screenwriters (or maybe not) – to write coverage on submissions. Sixth, sometimes it’s just an assistant who has never written anything aside from some choice emails who reads and evaluates material.
And Seventh – ask yourself: What are you looking for?
If a script consultant makes promises aside from doing their due diligence with your material, run. Run fast.
Aside from that, if what you’re looking for is guidance to make your script the best it can be, remember that no one – and by that I mean “no one” – knows what will actually sell. All script consultants can do is help you get your work to be its best.
That’s it.
If you believe in your own vision and want to get your material to the next level, hire a script consultant. Talk to them first. Ask questions. Listen to the answers. Trust your instincts on whether this is the right person for you. Know what your budget is before you talk to anyone. Stick to your budget.
Writing (as everyone who’s reading this knows) is a solitary existence, a solitary process. But it’s smart to get some feedback on your work before you hand it to your agent or manager.
There is an unending hunger for material in the film business. But very little forgiveness if your script isn’t “ready.”
For me, the question is; how many script consultants are any good? In my experience, the answer is – precious few. I’ve had to kiss a lot of frogs to find a couple of princesses / princes. Consequently, I’ve wasted a great deal of time, effort and money on people incapable of inspirational criticism. After a year of getting nowhere in screenplay competitions, I became a winner in the Los Angeles Screenplay Competition in January 2013. Less than a year later and with twenty six further successes (not all wins), I have four placings in the the Moviebytes Top Ten of Winning Scripts. Does that tempt me to become a script consultant? Certainly not!!! – I’m still learning from precious frogs.
Well… Thing of it is, the biz is so subjective, even A-List producers, directors, and actors may provide polar-opposite opinions about a single screenplay.
The goodness of a screenplay generally has nothing to do with getting it read, sold, produced, or released as a film. I just watched ‘Elysium’ on DVD (worldwide box office at around $250M) and there’s a story whose focus changes so many times it’s really hard to care about any of the characters in it.
One can easily forget that unproduced and unsold screenwriters are held to standards orders of magnitude greater than established screenwriters.
‘Script Consultants’ have a great gig. They really do. Why? They really have no accountability, do they. They give you some paid advice. You sell your screenplay. YAY! They helped. But… They give you some paid advice. Your screenplay languishes. Umm… Well, it’s probably your fault. Right? I’ve yet to see: “Your money back if you don’t sell your screenplay in six months.”
And if you’re now thinking, “Well, buddy, NO ONE can guarantee a sale. They’re just there to make your screenplay better.”
Okay, so, “Better than…?” Oh, better than it was.
Who says they’re right?
I think you’re right about the subjectivity, but I also think there are certain benchmarks in terms of what makes a script concept, structure and writing potentially viable in the marketplace, which most writers don’t start out totally understanding, and able to achieve, at a professional level. I think consultants, courses, books, writers groups, etc. can be helpful with pointing a way in the darkness and helping one move in that direction. I think the best approach is to not expect that a consultant “will help you sell your screenplay,” since that is such a one-in-a-million shot, for anyone. But instead, to treat them more as one resource in improving your abilities and work, like a writing teacher or writers group. To my mind, succeeding at screenwriting is very rare, and requires a long-term education, just like other high-paying competitive endeavors, but one can’t really just go to school and come out with a professional license enabling them to get employment. It’s a more entrepreneurial endeavor, where finding your way toward success requires a lot of work learning and developing on your own, hopefully with some helpers along the way…
I agree that new screenwriters are held to a higher standard, which is part of what makes this so hard! 🙂
I seriously doubt that Craig Mazin is dissing script consultants because he fears that they will successfully produce so many great writers that nobody will want anything from Craig Mazin anymore. The reality is that cooperation, not competition, drives the writing and directing arena — a success for Todd Phillips means more hunger in the audience for what Paul Feig might do. Mazin might have overstated the case, but it’s just silly to say that he wrote that because he fears competition.
For VERY BEGINNING script writers, a low cost consultant can be helpful. I had a prof from Columbia College (Paul Peditto) point out huge “beginner” errors — too much dialogue, scenes that went on for three pages that could be cut to one and a half, errors in formatting, passive language, taking too much time on back story, actions that were clear to me but confusing to a reader, characters not developed enough – these were all errors that I “knew” to avoid, having read lots of books on the subject, but it still took another set of eyes, attached to a good brain, to make me aware of that.
But once someone reaches “intermediate” stage or beyond, it is more a question of the quality or suitability of the story, and that is in the eye of the beholder (the script reader/producer, whoever). I do believe that there is a lot of hype that plays on the hopes, dreams, and fears of writers — not unlike the diet infomercials or religious fundraisers on cable TV. I won’t call anyone out, and I don’t mean to smear everyone, but when someone promises you “the moon”, be careful. The odds that a “consultant” will get you access is very, very small. Have a good story, plot it well (call it structure or whatever) with a rhythm of ups and downs and a tone that suits the story, make sure it is formatted perfectly, cut down another 10% or more, and then have it read by industry pros who are NOT planning to buy it, so that it won’t get passed around by producers until it is ready. What industry pros? Actors in your town, small producers, anyone connected to the business even locally — network, network, network. Someone you know knows someone. Sure, you can pay a consultant also, but if they want tons of money or if they are promising you access or other variations on “the moon”, be careful. Fear of being left behind can cause someone to make impulsive decisions that are not life-destroying, but might waste your time. And money.
I think you raise a good point. Danny Manus says consulting is a lot like “Pre-managing,” and I think it tends to make the most sense for writers who don’t have a manager yet (which is usually the first significant step into the business these days for writers). A good consultant might do a lot of what a manager does — provide detailed, specific, ongoing feedback as an objective professional. Once a writer has a manager (and has reached a higher level, presumably, in their craft and marketability), they might use the manager for those things. Of course, having other professionals whose taste and knowledge you respect look at your work can always be good, but if one has to pay for it up front, budgetary limitations can be a consideration. Managers only get paid when you do…
I agree that it takes other, objective eyes to find things in one’s work that even an experienced professional writer will tend to miss. It’s always easier to apply knowledge to other people’s work. 🙂
I’m personally really against the “hype” you mention, and agree that one shouldn’t expect a consultant will somehow catapult them to professional success — and I definitely don’t think “promising access” is a good or realistic thing to expect or look for. The goal is improving one’s craft and letting a great script open doors — which I think it generally will, without someone “promising access”. The hard part is arriving at a great script — for all writers.
Such very few people ever make money at screenwriting, that one ideally would have open eyes about that going in, and realize they’re putting a lot of time, energy, and possibly money into something that has a small chance of ever paying them back. But we wouldn’t have gotten into this if we were looking for a solid, predictable income stream where the odds of financial profit are good. 🙂
Great points, Arnold. I agree that Mazin is completely sincere in his dislike of screenplay consultants with no ulterior motives. I could be wrong about this but I would suspect, at Mazin’s level, the only real screenwriting fear is of being over-written by another screenwriter on a studio project and your work never making it into the film. I agree with you though, that it’s probably a stretch to connect the two. And I don’t think either of them (Mazin/August) are advocating anyone go without some kind of script coach, just that this service and/or advice should be from someone with good credentials and free of charge. That’s obviously possible in rare cases, but not practical for all cases.
Good blog, Erik.
Although I have written only five screenplays, it is my experience – as a lit agent, programming exec and producer – that has seriously honed my skills as a consultant/adjunct professor. It was these demanding jobs that illuminated my understanding of visual story. So, one should consider the resume of the person they hire to consult.
I would say that a good consultant should ask specific questions about a writer’s work, what he/she believe their work needs and their goals. A good consultant may even ask to read a script or at least a number of pages to determine what the script and the writer may need before quoting a price.
So, look at the credentials of who you are hiring and don’t be afraid to ask questions yourself.
Craig Mazin has every incentive to look unfavorably at screenplay consultants in the same way rival sports teams have every incentive to look unfavorably on the coaches that are coaching their rivals to victory.
Less competent competitors are great for those that are already on top.
If you want to know what is not working in your script, just about anyone can point that out in the same way anyone can look at a sports teams stats and tell you whether or not their headed to the Superbowl.
But that doesn’t negate the power of the coach. The coach knows what is wrong and more importantly, how to fix it.
So find someone (or a few people) you like working with. Nobody in the sports world is arguing over the value of good coaches. And good teams still need a good coach, even after they’ve won the Superbowl.
Hey Eric, great blog post. Discovered it as I was writing my own opinion on the subject — http://narrativefirst.com/articles/story-consultants-the-snake-oil-salesmen-of-screenwriting
I agree that you have to be able to take criticism, but be careful to take it from the right people. I have had some downright terrible notes on past scripts of mine from people who are ‘qualified readers’. Well, I was qualified to read before I left primary school, I want feedback from qualified writers! I think if you haven’t had something professionally produced (not your mate Dave’s experimental short film) then you shouldn’t be charging to give your advice. Getting notes from someone who is no further forward in their career than me, is, in many cases, like the blind leading the partially sighted.
Great point.
Real good blog, Eric. If I could afford one I would definitely seek out a script consultant to help stimulate my career. Until then, I’ll still have to keep my eyes out for a mentor who is willing to invest his/her time on my writing potential.