The Reading Experience >


At the beginning of the filmmaking process, it's all about a good reading experience with the screenplay. A good story, well-told, exists in print before anyone considers it. A screenplay that is uniquely envisioned, solidly structured, cleverly written, and properly formatted can, and often does, make the difference in whether a story moves forward into development. The reader is engaged, connects and responds. Concept may be king, but deliver a poor execution and you haven't proven your story concept will work.

It should be your goal as a screenwriter to give the reader, whether that be a producer, director or funding source the confidence that they have a proven concept and a solid foundation on which to build a film project.

I work with both established professional and ambitious amateur screenwriters and count screen-credited producers and directors from Hollywood, Europe, Southeast Asia and Australia among my list of returning clients. As a working screenwriter, I've been through the process of writing, submitting and revising many times. I have a solid track record when it comes to evaluating, articulating and solving problems with all aspects of a screen story.

Please contact me if you have any questions.
roberama@icloud.com

Consulting Fees >



Treatment Notes: $75
Notes on concept, story and execution provided on treatments 10 pages or less.

Script Coverage & Story Notes: $200 A screenplay coverage similar to studio & agency analyst models but with 2-4 pages of more detailed, constructive notes. For scripts up to 130 pages.

Coverage, Evaluation & Marked Script: $300 Along with coverage & story notes, this service returns a PDF file of your script with in-line marks and margin notes. For scripts up to 130 pages.

Story Editing & Consultation: $50/hr Developing the physical execution of your script, restructuring the story, consulting on drafts of a synopsis, creating a logline, etc.

READ THE SUBMISSION RELEASE BEFORE SUBMITTING SCREENPLAYS, TREATMENTS OR IDEAS

Submission Info >


Copyright or Register Your Script:
Both the Library of Congress Copyright Office and the Writer’s Guild of America, West accept submissions on-line.

Read the SUBMISSION RELEASE. Also known as a standard release, this agreement protects both parties (you and me) when intellectual property is exchanged. More in FAQs section.

File Formats Accepted: Final Draft, Celtx and PDF files preferred. Any other formats, please convert to PDF before submitting.

Contact Me: When you’re ready to schedule a read or have any questions regarding my services, please email to the address link provided in the sidebar.

Payment: Once scheduled, you’ll receive an invoice from PayPal via email. Payment must be received prior to work for work to begin; refunds not considered for completed work. Payment constitutes agreement with the terms of the SUBMISSION RELEASE.

DO NOT SEND UNSOLICITED MATERIAL: With any professional submission, never send your creative work without getting permission to do so - that includes to this service. Please don't send your script then ask me if I could read it.

More on this and other topics in the
FAQs section.

FAQs >


What is a Coverage?
Hollywood executives and agents are often too busy with other aspects of their schedule to read and evaluate each and every script that's submitted to them. So they hand the job of filtering the good from the bad to a reader with orders that only the best scripts get passed up the ladder. more...

What does a Story Editor do? The title of story editor has many definitions depending on the venue in which it's used. In the world of episodic television, a story editor functions as a manager, compiling notes and revisions from writers working on an active script or from a team of writers working on several scripts. more...

As an un-produced screenwriter, why should I get my script "covered?" Even at the professional level, actual studio or agency coverage of your screenplay is not usually intended for the screenwriter. It's basically an inner-office memo. If your work is rejected, you will never see the notes; you’ll never know why your script was turned away. Worse, your screenplay may not get another chance once it has received poor coverage. For un-produced screenwriters working on spec screenplays, a set of story notes from an experienced story editor - a.k.a. script reader or story analyst - is the best way to prepare for a professional screenplay submission. You get frank, objective notes and a sense of how your screenplay is reading before the submission counts.

What is "unsolicited material" and why shouldn't I send it? Unsolicited material is a term often heard when a writer sends work and it's rejected outright with the warning, "We don't accept unsolicited material." The term simply means material that hasn't been cleared for submission. It's all about professional etiquette. If you want to send your script around, you have to query and receive permission to send it. In many cases, any entity that accepts creative material will request that you sign a release, a.k.a. a standard release.

What is a release / standard release and why should I sign it? A standard release serves several functions, but mainly its to protect the entity that receives your work against claims that they stole your idea. Agents, directors, actors, producers - anyone that receives screenplays - usually receive a lot of them. There's a good chance that they see the same idea more than once from different writers. If they decide to develop a script from one writer that resembles the idea another writer or writers, they need to be protected. more...