Screenplays, Novels, & Stories
The problem with most rough screenplays I read is that they aren’t about anything. The problem with most rough manuscripts is that nothing happens. And the problem with most every work-in-progress is that the author is buried so deep in the mud of creation that he or she can no longer see what they're doing.
Sometimes you need a fresh pair of eyes. Someone to read what you've done and tell you, honestly, how it plays. But beware: Fresh eyes come with their own blind spots.
Everybody's got an opinion. Everybody knows exactly what your story should be. What style you should tell it in. How it should end. And what you need to do to make it absolutely, positively, bulletproof and guaranteed to sell worldwide.
Except me.
I have no idea what the best way to tell your story is.
I mean, I can tell you how I'd do it, but that's not really the point, is it? After all, there's nothing worse than being lost in the middle of a rewrite, following someone else's arbitrary, self aggrandizing map (but enough about studio notes).
What I can do is talk to you. I'll read your script (or manuscript, or treatment, or haiku), jot down my notes and tell you how it hit me, but the important work happens after, when we discuss it.
Together we'll find the essence of your story, and then work inward, investigating how you feel about it, your gut reactions to the characters and themes and how you imagined the story would unfold. Then we'll compare all those grand ambitions and deep insights to what is actually on the page.
And build from there.
Sometimes you need a fresh pair of eyes. Someone to read what you've done and tell you, honestly, how it plays. But beware: Fresh eyes come with their own blind spots.
Everybody's got an opinion. Everybody knows exactly what your story should be. What style you should tell it in. How it should end. And what you need to do to make it absolutely, positively, bulletproof and guaranteed to sell worldwide.
Except me.
I have no idea what the best way to tell your story is.
I mean, I can tell you how I'd do it, but that's not really the point, is it? After all, there's nothing worse than being lost in the middle of a rewrite, following someone else's arbitrary, self aggrandizing map (but enough about studio notes).
What I can do is talk to you. I'll read your script (or manuscript, or treatment, or haiku), jot down my notes and tell you how it hit me, but the important work happens after, when we discuss it.
Together we'll find the essence of your story, and then work inward, investigating how you feel about it, your gut reactions to the characters and themes and how you imagined the story would unfold. Then we'll compare all those grand ambitions and deep insights to what is actually on the page.
And build from there.