Rates and Services performed by Story Builders Script Consulting Services.
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Writing Services for Screenwriters, TV Writers, Playwrights and Novelists: 

 

We assist screenwriters, TV writers, playwrights and novelists with their writing projects and writing process.  This may include: Story Analysis; Studio Level Script Coverage; Sole-writing; Re-writing; Co-writing; Dual Development; Page by Page Script Notes; Script Polish; Editing; Adaptation; Ghostwriting.

DETAILED ANALYSIS - $399

 

 

A great way to go when preparing to do your own revision or rewrite.  We Give Detailed Development Notes on the screenplay, script, or play.  The analysis includes a Cover Sheet, a Logline, a Grid Chart, 1-2 page Synopsis and 8-10 pages of Comments; specific notes on your script in the major areas that constitute a great screenplay The detailed notes clearly discern what is working in the manuscript/script and why, and what is not working and why not.  We then suggest several remedies and fixes and delineate just how to go about it and explain and embellish upon why it will work. 

 

We go into great depth and detail in the major, vital areas of Story, Structure, Character and Relationships; Dialogue; Premise/Themes; and Genre Considerations. 

 

 

 

STORY:  Does it hook the reader in the early pages?  Is it clear what the story is about?  Fresh, innovative, imaginative, original voice?  Stylistic?  Is the concept interesting and exciting?  Does it contain the elements that will draw an audience into a theater?  Is there a strong emotional pull?  Will it touch people, identify?  Does the story move and flow organically and naturally?  Is the protagonist interesting and follow-able?  Will viewers be intrigued and enchanted by the piece?  Does it have a beginning, middle and an end even if it starts in an odd place?  Has the writer created a vivid and specific world with characters inherent to this world?  Insightful?  A credible story?  Twists?  Surprises?

 

STRUCTURE - Is the structure appropriate to the genre?  Is it fully developed?  Are the components of good structure in place up and working: an active protagonist; equal and mounting antagonism; jeopardy; urgency; tension; rising stakes?  Does the script move, build, intensify, continually hold attention?  Are the subplots in place, up and working? Goals seen and followed through?  What do the characters want?  Are they taking measures to get it?  How does the First Major Plot Point spin the existing story, re-affirm and perhaps strengthen the goals?  And, just as important, what do the characters need (they may not think so)?  Does it flow?  Does it gel?  Does the resolution tie up the loose ends?  Does it pay off satisfactorily?  Are the structural devices appropriate and fitting for the genre and, the piece?  Is the tone consistent throughout? The setting makes sense for the piece and its genre and feel? Are the devices or conventions to be used seen and foreshadowed early enough as to remain credible and believable for the story being told?  Are the main conflicts foreshadowed?  Does it have a strong Central Conflict that will make the audience care how the story comes out?  Inner conflicts that are looked at and dealt with in some fashion?  Inner-scene conflict? Is the throughline strong and the story surrounding it related and taut? Even pacing or slow all the way through?  Does the pace pick up and quicken in the last third to increase the urgency tension and highlight the ever-rising stakes and antagonism, or is it episodic?  Are the climactic scenes stepped up leading into the Climactic sequences and climax?  Does it initiate and draw clear what must happen in the last third yet allow any surprises or twists to ring true because of the character’s development as well? Does it flow naturally and believable or are there scenes and sequences that feel forced or contrived? If appropriate, are the use of literary devices such as metaphor, simile, allegory and symbolism working and enriching the piece? 

         

Character and Relationships - Is the protagonist likable, sympathetic, empathetic, identifiable?  Is he or she an engaging, credible, dynamic character who can carry a picture?  Is the main character active or reactive, passive?  Will the audience root for the main character, care?  Do the main characters grow and change s a result of the events in the story and how they react and adapt to them?  Do the main characters sufficiently “arc” during the story and change in some manner by the end of the piece, even if they are anti-heroes, which could include a downward spiral?  Or is the character growth non-transformative, meaning the character, convinced he/she is right, holds steadfast to their convictions and the changing of them is seen in how they continue to fight and hurdle the obstacles--about characters who realize that the way they have been doing things is in fact the right way to approach their problems. Can you get down on paper and delineate the difference between growth and change? Is the villain a formidable foe?  Are the forces of antagonism strong enough to challenge and change the main characters?  What about Inner antagonism, environmental, social…? Are all of the players unique in some fashion and three dimensional demonstrating both an outer want and an inner life?

Dialogue - Is it believable, suited to character?  Do the words flow naturally out of their mouth?  Is it conceivable that this character would say that?  Does the dialogue vary as per character, dimension and worldliness of same?  Does it compliment the situation implying subtext and other subject matter or does it simply reiterate what is already known and seen?  Crisp, well-paced, consistent?  Does the dialogue artfully and seamlessly reveal character and illustrate the character development as the story moves on? Does it move the story and situation, create conflict and heighten the scene?  Is the use of subtext being seen, rather heard?  Are the conventions of sarcasm, double-meaning, inflection, misrepresentation and other dialectical tools being employed where fitting to the character, situation and story? Are you avoiding the trap of “on the nose”, wooden, expository and needless speeches in the dialogue?  Are we saying what isn’t seen and thus adding to the story and the scene?

PREMISE/THEMES:  Is the premise laid out and then proven by the story’s end?  Are the themes up and running, playing out?  Are the themes universal and identifiable yet specific to the character and their world? Is the handling of them unique even though the subject matter is well-known and maybe seen a hundred times?  Good or bad, is there a lesson learned, seen and proven by story’s end?

Genre considerations - Does it adhere to the conventions and devices of the genre?  Comedy, is it funny?  Does the humor come from the story itself or from canned one-liners?  If it is a drama is it moving, involving, gripping, powerful?  If it is a thriller are they devices in place that will keep audiences on the edge of their seat? Are you making sure not to jump genres and mix metaphors?

 

 

STUDIO LEVEL SCRIPT COVERAGE:  $175 – Coverage is the name given to the brief report on a screenplay/play that the studio readers’ write up for the producers who are looking at scripts for consideration.  It includes:  A Cover Page; Logline; Grid-chart; 1-2 page Synopsis and 2-3 pages of comments. The comments are given exactly as a professional reader would writer them to a producer, film company or agent and although they still emphasize the main and vital areas of the script, they are remarked on generally and in a ballpark fashion yet still highlighting the strengths and weaknesses of the screenplay or play. Although what is remarked on is general in nature it would still give the writer of what needs attention and to be addressed in the piece.

 

 

dual development:  $1999 

This is the process in which, by E-mail, fax and/or phone conversations we would work closely with the writer, 10-15 pages at a time to keep the work and the story on course.  From an Outline, Treatment or Idea Sequence, that we initiate and then is agreed to by the client (writer), the writer then proceeds to go about the now laid-out task of writing of the script.  He works 15-20 pages at a time and then submits back to us for notes on those pages as to correct, revise and keep on course.  Changes and revisions are made on the current pages and we then move on 20 pages at a time until the First Draft is complete. We set a timeline and a deadline for the readied script of anywhere from 10 weeks to 20 and we stick to the business of getting it done. NOTE:  This is different than my “co-writing” service as the writer takes the ball for the main job of the script-writing himself, and we are there to guide his own creative process incrementally and not write the script, play, novel with him or her.  

 

write it:  rate determined as per project.     We write the Idea Sequence/Treatment from the client’s idea, notes or other materials, and, when content and story are agreed upon by client, we do the actual writing of the script working in agreement concert with client 15-20 pages at a time to make sure it is in line with client’s vision of the script and story

         

Co-write: Rate determined as per project specifications.        Using the agreed upon Treatment, Outline or Idea Sequence that the writer and I create and define, we both then work 15-20 pages or 2 chapters (novel) at a time to create the First Draft. 

 

 

Re-write/Revise: Rate determined as per project specifications.  We read and do a Detailed Analysis on the manuscript.  We then submit to the producer, Film Company, client or writer our recommendations, that is, what we would do with in our re-writing/revision of this script to make it shine and become marketable.  Upon approval and amendments of the client we then rewrite and revise the script.

 

Ghostwrite:  Rate determined as per project specifications.  We write the Idea Sequence/Treatment from the client’s idea, notes or other materials, and, when content and story are agreed upon by client, I do the actual writing of the script.  I submit to the client 20 pages at a time for approval until we complete a Rough Draft.  I then revise and polish the First Draft.  I work only for financial compensation and take no record or credit for the script.

 

Adaptation:  Rate determined as per project specifications.  From a novel to a play or screenplay; from a play to a screenplay:  We write the Idea Sequence/Treatment from the completed work in the other form and perhaps genre converting what is vital to the form and genre for the adaptation.  We then submit the Treatment/Idea Sequence to the client for revision and approval.  When that is approved I work 20 pages at a time for constant comment, revision concerns and approval from client until we arrive at a Rough Draft.  We then revise and polish the First Draft. 

 

FULL SCRIPT POLISH: Rate determined as per project specifications.  I read and do a Detailed Analysis on the manuscript while sticking strictly to the concept and direction of the draft.  We then submit to the producer, film company, client or writer my recommendations on making it tighter, cleaner, better and more marketable.  With the approval and consent of only what the client wants I add and polish the piece. 

         PITCHES, SYNOPSIS: $199 From the screenplay or play.  We would synopsize and/ or write a dazzling pitch for the piece suitable to read, send or pitch to interested producers, publishers, agents, film companies in order to gain interest in the script and/or projects themselves.   

TREATMENTS/IDEA SEQUENCE:  Rate determined as per project specifications. From the client’s ideas, notes or concept we would write a descriptive paragraph in present tense description of what goes on in the scene, each scene; including introductions and action of major characters, events, story and structural concerns as to making the actual writing of the script by the client fluid, roughly defined and more readily executable. 

DETAILED ANALYSIS FOR TELEPLAYS, SITCOMS, PILOTS, ONE HOUR DRAMAS:  $299  Using the techniques and practices of our “Detailed Analysis” (above) combined with the industry accepted conventions and standards as per genre, type of show, and standards of TV formatting, we would make sure that your script covers and includes them, as well as tightening up your original concept. 

TREATMENT ANALYSIS: $199  3-4 pages diagnosing the implied or direct use of story, structural and character elements and suggestions therein as to make sure the writing of the actual script is inclusive of them.  A great development tool.

CONSULTATION – Personal or Phone : $100.00  You have a great idea and you want to run it by a pro for feedback and brainstorming, we will suggest what is needed in keeping story and elemental ideas in place as you do.  

FOLLOW-UPS:  A meeting including unlimited brainstorming, discussions and advice on the script since last critique, marketing and agent-ing advice and writing support.  In person, Phone and/or E-mail correspondences.

 

RATES FOR NOVELS:

Reading of novel and Detailed Analysis/Notes: $599.00

Includes phone conference and 3 E-mail correspondences.   300 pages or less.  Additional $150.00 for every 100 pages over 300 with a minimum
of $150.00.

Reading of re-written Novel:  $399.00

Per manuscript of 300 pages or less, that we have already work with writer on.  Additional $100 for every 100 pages over 300 with a minimum of $100

Editing/Proofreading/Corrections:  Rate to be determined by pages, genre and specific requests of author.  All rates include notes, phone, and Electronic correspondence

Page by page script notes:  $450 – Finite direct notes using the techniques of “Detailed Analysis” but breaking it down to the individual page as to highlight the suggested revisions and remedies.  I specify the exact page and adjustment needed defining how and why it is suggested.