What is story consulting / script editing?

I am always happy to chat to writers and find out what they need and how best I can help, but my standard process is as follows:

I read the script (treatment, etc) several times and make notes.

From these notes, I write a report. The report is normally 6-10 pages long, but can vary depending on the needs of the project. Topics covered include premise, the protagonist’s arc, structure, story tensions, scene construction, style, etc.

Then, I have a call with the writer / creative team to talk through the script and my report. This is normally about 2 hours, but I always try to be flexible on this if it feels we’re really getting places and we need longer!

After the call, I add some finishing touches to the report based on our conversation, and email the final report to the writer / creative team.

How much does it cost?

The first thing to say here is: it does depend. If you are a new, emerging, or unrepresented writer, and you don’t have much money, I will try to help you if I can.

That being said, these are my current standard rates:

Notes on Short Film Script (up to 25 pages) + Meeting €200

Notes on Treatment / Beatsheet / Character Worksheet + Meeting €250

Notes on Half-hour Series Script (up to 40 pages) + Meeting €300

Notes on Hour-long Series Script (up to 60 pages) + Meeting €400

Notes on Feature Script (up to 120 pages) + Meeting €500

Notes on Hour-long Series Script & Treatment / Beatsheet / Character Worksheet + Meeting €500

How do I know that you are any good?

Good question! There are 3 ways!

First, you can read some testimonials!

Second, you can listen to my podcast, Mark Overanalyses Film, and decide for yourself if I know what I’m talking about and if I sound like someone that can help you.

Third, you can always try the introductory 20 minute chat / consultation. I get to know a bit about you, you get to know a bit about me, and we can see from there if it seems like a good fit.

What kind of writers do you work with?

I have worked with writers of: shorts, feature length screenplays, literary fiction, literary non-fiction, articles, and blogs. I have also worked with directors and producers to help them with material.

I mostly write character-driven comedy myself, in a variety of shapes and sizes and tones and hues. However, there are three main reasons I believe I am good at this:

1) I love all kinds of stories.

2) I love working with writers and creators on their stories.

3) My background in education taught me to focus on the needs of the client who has hired me. Unless very directly told otherwise, I am not here to tell you what to do. I am here to provide the writer or creative team with the right questions and a framework from which they themselves can decide what they want or need to do.