That’s the secret to getting a scriptwriting agent
If you’re taking a script reading course to ‘make money’ or ‘earn a living as a script reader’ you might as well buy a few scratch cards instead
This is the first in a series of post by clients who have used my script coverage service. This is a useful post written by screenwriter Adele Smaill… Take it away Adele…
MARGIN NOTES / SCRIPT EDIT is now available and it costs £199 (and is only currently available to writers who have already taken up my services via a script report.
Recently, a number of UK literary agents have started asking new scriptwriters for an industry introduction letter or a written introduction from someone in the industry. This is something that I have done in the past for clients who have used my UK script reading service
My script reports include a detailed page-by–page read of your script (with notes and suggestions on how to improve your work) as well as detailed ‘business aspects’ advice, including: Where to send scripts in the UK – Advice on agents and how to approach them-
Actual war stories about the reality of being a working scriptwriter in the UK
I wrote the episode where ‘Alfie’ told ‘Kat’ he loved her, for the first time in EastEnders (all the way back in June 2003).
Now, one of my major bugbears and a very common error by scriptwriters learning their craft is not understanding the difference between a shooting script and a regular sample (or spec) script.
Hey, as a UK script consultant and BAFTA shortlisted script writer for hire I get a surprising amount of emails from people with no industry experience who have decide that their idea, script or life story would make a great series on Netflix and that all they need to do is find a way of getting that idea, script or life story in front of the bigwigs at Netflix (or Amazon or the BBC). So, that they can agree what a fab story it is, while they hand over bundles of cash to get it made.