We started as novelists. We, meaning my wife, Jennifer, and I, who met a mere six years ago as aspiring novelists. Then life stepped in. Then two kids stepped in. Then … I am sure a good number of people here understand. Last year we had the “we aren't getting any younger” talk. Viola’! We tightened our belts and last year wrote our first script based on our own content.

As a former technical consultant to a few production companies many years ago, I thought we would be invited with open arms. Far from reality. What we did get was feedback. And more feedback. And … rinse and repeat. The one point we got hit with over and over, “you write like novelists” (aka, too much detail).

We were at the point of seeking coverages from faceless readers (Black List, Screencraft, ISA, Inktip, etc.…). No offense, but we want to know and understand who is giving us their … opinion. We did find a couple coverages that were helpful. But it wasn’t enough. A friend and JACK RYAN staff writer sent us to STAGE 32.

We joined STAGE 32 in early 2021. So much content! It took us a couple months to figure out what was going to work for us. We tried pitches. Helpful, but not the sweet spot for us. We came across script consultation. This was where we found a home. This does require a significant amount of research (and nerves of steel), but when you find the right producer or manager, depending on what you are looking for, it’s like magic.

A little over a year and four scripts later (three Actions and one Fantasy), it was Nikki Terpilowski, owner of Holloway Literary + Talent, who gave us those three beautiful words, “I love this.”

Let’s dive a little deeper on that point. Nikki wrote her submission interests included: YA fantasy, small town, female-driven, southern fiction scripts and amazingly enough my wife’s script and novel was exactly that. Bullseye! I cannot stress how important this is.

Since we signed, we sharpened one of the action scripts which is now in the hands of an executive producer and we are currently in edits for Jennifer’s YA novel, The Fated. I love it, but I could be a bit biased.

Now, this is where I try to impart some useful advice. What I can do instead, is give you my observations after many pitches, and many, many consults with both producers and managers.

First and most important—do your research. Try to get as close to what someone is looking for as possible. Passion is what drives this industry and anything less than—“I love it!”—means keep looking.

Second is to do your best to separate those experts who are looking to just give advice from those who are actually capable of AND are ready to take action. If you are looking for advice, great, every expert can provide that. Only a portion of the experts are actually looking to put something on the screen.

And third, for those who are interested in spending thirty or sixty minutes with an expert—the first two sentences from that person will set the stage for rest of your time with that expert. If the expert says, “I love this!”, then the rest of your time will be spent listening and taking copious notes for your rewrite or discussing what next steps will be (ex., “I’ll have my team read it and I will get back to you.”).

However, anything less, you will receive invaluable feedback, take heed, and you will move on. Yes, disappointing, but scriptwriting is a long-term investment, and every piece of advice is one step closer to your goal.

All the best.

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