Q. How can I sell my script to a producer?

A. Answering this question is like asking “how does one become an astronaut.” There are entire books and careers based on answering this very question, so it’s not likely you’ll find ALL of the answers in a single response, but considering I provide this kind of information every working day through various outlets, I’ll do what I can here.

In this microwave world of instant gratification, text messaging, IM’s and 24-hour instant news cycles, the craft and business of screenwriting needs to catch up. Many writers are hesitant and fearful of starting their journey, knowing that there is no guarantee of success at the end of that journey, and it will probably result in years (not weeks or months) of time and dedication to the craft.

Anything worth doing and worth doing well is going to take a major investment of time and resources; of that, there is no question.

These are but a few points of helpful advice that I have learned and developed along the way that might — just might — help save YOU a significant amount of that time and those resources.

These points are in no particular order:

1) You must write something worthy of being purchased, or write with a fresh voice or style worthy of getting paid. This means that it is unique, fresh, perfectly formatted, grammatically and punctually correct, exciting and appealing to the masses.

2) You must write a perfectly constructed logline that highlights all of the elements, including the “hook”- the one element that separates your story from all others in that genre.

3) You must prepare an excellent query letter, preferably in the format that is now considered the best for a query letter (from recent polling data).

4) You need to develop a networking and marketing strategy and stick to it, spending a set amount of time each day to nurturing it, and as much time as your spend writing. You should do both concurrently.

5) You should explore multiples avenues for marketing and/or breaking in. This includes contests, offering assistance, writing assignments, adapting source materials, etc.

6) You must understand that there are many ways to achieve your goal (whatever goal that may be), and that your avenue to success is as different as there are goals. In other words, someone wanting to work as a script reader may have a different tact than someone wanting to sell spec scripts for a living.

7) You should understand that because one person wrote a script this way, doesn’t necessarily mean you should. Writing spec scripts are much different than the way QT or Cameron write theirs.

8) You need to develop your three completely separate support systems we like to call our “cheers”, “peers”, and “rocketeers”, and build that circle of trust around you.

9) People may offer constructive criticism and sound advice to your writing, but the vision is yours. Stick to the vision.

10) You have to be someone that others WANT to work with. Be polite and professional, and people will know you as such.

If you follow thescriptmentor blog, you’ll get a lot of other helpful articles along the way. Good luck!

Q. Why is selling a screenplay so difficult?

A. If it were easy, everyone would be doing it.


Q. As we are designing our online screenwriting classes, what Top Four things would you list that need to be learned by new screenwriters (remember – this is a writing course, not a filmmaking/production course)?

A. I find it odd that someone creating a course to “teach” screenwriting would look for input on what OTHER people consider to be important topics to cover. It seems a bit like going to a driving instructor, who then asks others “What does this foot pedal do?”

If you’re going to create a course, I would suggest that you first know the topic that you are teaching. Being that you’re designing it, it should come from YOUR theories and beliefs; this, in the long run, is what is going to separate you from the other thousand online screenwriting courses- most of which do not have it right. It’s all regurgitated pablum from other courses, famous quotes you find when you Google “screenwriting”, and arbitrary and random nonsense. Sorry to be so blunt, but that’s the way it is.

I read hundreds of scripts a year from writers who have never had a screenwriting lesson in their lives, and hundreds from those who have taken all of the courses and webinars, and read all of the recommended books. I can count on one hand how many were worthy of reading all of the way through- because the writer had never been taught how to write a basic spec script, and what gets their script read. You can’t sell a script if you can’t get it read.

If you were to create a course that dealt with how to write a spec script- and if you KNEW how to write a spec script well enough to create such a course- I guarantee your course would be the most popular- and profitable- course online today. It would be the ONLY online course to actually TEACH one how to begin to be successful in this business.

Most everything else is fodder, filler and bullshit.

Q. Does it matter how many camera directions you put in a script that is directed by you? Would this affect the ability to get it sold to a producer?

A. Yes, it matters, and outside of “FADE IN” and “FADE OUT”- as a spec script- there shouldn’t be any other camera directions. The one exception is that you NEED a particular camera direction to emphasize a key moment or the story is not properly told. Even then, I can’t think of a reason/situation to use as an example. Camera directions sound FX, title credits, etc. or NOT part of a spec script, although so many new writers want to include them. Camera directions will come later in the process when a “shooting script” is written.

Whether you direct it or not, is generally not up to you, unless it’s a deal-breaker regarding funding. Good luck in that case, unless you’re a recognized director of some acclaim. It also depends upon the expected budget- “The higher the budget, the bigger the names!” In other words, no one is going to fund a $50M movie with Joe, the neighborhood guy who videotaped my daughter’s wedding, “attached” as the director.

Assuming it’s a great script, perfectly written (sans camera directions and “beat” and a host of other spec script mistakes), your first concern should be getting it optioned or sold. In order to do that, it has to be damn near perfect. Camera directions are not part of that equation.

Q. How can I describe my girlfriend in one (1) movie title?

A. Hard to say. I don’t know your girlfriend.

If you want to describe her in a way that might MAKE a great movie title, keep it short (less than four words, so it’ll fit on a marque), pithy and make it have a double meaning, or “two-sided”. “American Beauty” was the name of the rose the wife obsessively grew in her yard, but it also aptly described the husband’s underage fantasy girl.

It would also help if you can find irony in the title, such as “The Book of Eli”. Eli possessed the last written works in his post-apocalyptic world, and protected it with his life. We come to learn (irony) that Eli is blind, and can’t read written words. The end reveals a twist that compounds the irony that much more.

Short, two-sided with a splash of irony. That would be your movie title.


Q. How much should I pay a ghostwriter for a 5000-6000 non-fiction word eBook?

A. The average word count per page for an eBook is approximately 250. At 6000 words, you’re looking at a 24–25 page non-fiction eBook.

Sounds more like a pamphlet.

Would the need for a ghostwriter be because you can’t write 25 pages, or is it that you don’t know how to create an eBook? If it’s the latter, it would behoove you to write the “book” first, then hire someone to create the eBook for you, or learn how to do it yourself, getting the right software, etc. If it’s the former, then you probably can get a decent writer- even a newer writer- and get it done for far less. Let’s be honest; you won’t need an established professional writer (My projects run between $20K-$40K, and I have plenty of work to keep my writers busy) to pen out a 25-pager. You just need someone who follows your direction, knows sentence structure, has a novel or two under their belt, and spells correctly. There are plenty of writers out there who would be THRILLED to do the project for you for $20-$50/a page. Good luck with the eBook!


Q. Should I take a screenplay class before writing my first screenplay?

A. Absolutely. You need a solid foundation of knowledge before even attempting to write a screenplay. A course at a local college or an on-line course/seminar/webinar will all be beneficial (just don’t waste your time or money with Hal Croasmun’s “ScreenwritingU” if you don’t know how to write first). But, keep this in mind; none of these courses will teach you how to write a SPEC script, which is what you’ll be doing most of the time should you continue in writing screenplays. The BEST tool is “The Screenwriter’s Bible” by Dave Trottier ($20–30), Read it through-and through, several times. If you like screenwriting, you’ll love to read it. Memorize it. Keep buying the updated editions, as these “rules” change on occasion.

If you put into practice what the book teaches, you will be miles ahead of almost everyone who writes spec screenplays.

Q. Is it popular to sell scripts to movie producers and executives and use that money to produce one’s own movie? I read that many screenwriters who are professors, lecturers and consultants sell scripts and concepts just so they can finance and produce their own movies. Is this popular? Can I do it? I have certain scripts and concepts I’d be happy to sell the complete rights to for decent cash.

A. Many people, at your level, finance their own projects. We’re talking short films, zero budget or extremely low budget projects (less than $10K), for film festivals, web projects, etc. Anything beyond that would – in all likelihood – need to be financed by others, and you may STILL be able to do it. Selling your current pile of screenplays is quite different than having a garage sale to raise money. If you’re sitting on a pile of scripts that you haven’t marketed to this point, I’d wonder why. Is there a diamond in the rough in that pile? Possibly, but not likely. You already know my strategy:

  • Get the scripts reviewed for notes;
  • Make the suggested fixes you agree with;
  • Enter as many screenplay competitions you can afford for that script;
  • Once wins and high finishes pile up, build your buzz and your network;
  • Market the script with a great logline, proper synopsis and proper query;
  • Use as many of the services, like “Ink Tip”, you can afford;
  • Review IMdb Pro for prodcos who have produced similar concept films;
  • Review IMdb Pro for actors and crew involved in similar concept films;
  • Target market those people;

If these scripts are good enough, you might get an option for $3500 or so, or a sale- but it won’t come from a studio. It’ll come from a small prodco or a producer interested in filming that kind of story.

But, it all starts with the script…OR a rich uncle.

Q. Is it true Marilyn Monroe had an IQ of 168?

A. Highly doubtful. Born to an unwed mother, she spent most of her childhood in foster homes, bouncing around in the Los Angeles area. She attended over ten different schools during that time, culminating in her dropping out of University High School at aged 16 and getting married. This is NOT conducive to a solid education, and IQ tests are largely based on learned knowledge.

What you see advertised as her reported IQ test is simply known as “click bait”, designed to get the reader of the ad to click on to the ad for marketing purposes. Names like Marilyn Monroe, Elvis Presley, John F. Kennedy and even Madonna and Kim Kardashian, have been proven to be among the most Googled people in history, both for name recognition and general knowledge. Therefore, it makes sense to attach an ad with someone as easily recognizable as MM. By claiming she had such an outrageously high IQ- with no proof to support or deny the claim- it’s safe to claim. Common sense will tell you that, while Marilyn was reported to have been “intelligent” (meaning she stood upright and could carry on a conversation), she probably was more wise than smart. If you want to learn about a particularly intelligent actress of that same time period, research the life of Hedy Lamarr.

Q. What was the best horror movie you’ve ever seen?

A. This is such a subjective question. While the original “The Exorcist” and “The Omen” were tops back in the day of my youth, horror movies have progressed further than any other genre except for science fiction. The word “horror” means different things to different people, too. In my book, if it’s outright scary, it IS horror- and it doesn’t necessarily need blood or creatures to be scary. Two movies come immediately to mind- “The Others” and “The Strangers”- neither of which I would watch alone at night. To scare the crap out of me, a movie has to be based in reality, as it relates to MY personal belief system. To someone who doesn’t believe in Heaven or Hell, movies about the Devil may not be as frightening. I am a believer, so if it includes the devil, chances are I’m going to be uptight about it. I’m not necessarily a “ghost” believer, but “The Others” had just a great story, it just made it that much more tense and suspenseful. Movies that involve particular crimes get me, as I lived this in my past. I’ve seen what some evil people in this world are capable of doing, and this is a thousand times more frightening than a giant gorilla, a blood-sucking man in a cape, or a burn victim with garden shears for hands.

Q. Since actors in movies that feature heavy CGI content know what was done behind the scenes, how do they feel when they watch their films?

A. Most actors understand that creating a film is a collaborative effort- from the make-up crew to the camera crew and all point in between. Most aren’t so vain as to think they’re the sole reason for the success- or failure- of a movie. As a result, when they see themselves interacting with a dinosaur on screen and know that, during filming, they were talking to a tennis ball hanging by a string to create an eye line, and regurgitating brilliantly funny dialogue that came from the mind of the talented screenwriter, they are as impressed as the rest of us. The FX people, like most people involved in the filmmaking process, are at the top of their profession and generally the best in the world at what they do.

If they aren’t, they don’t last long.

Q. Is talent a must in screenwriting? What are the core elements to be a good screenwriter?

A. I believe everyone has God-given talents in many areas; storytelling can be one. Screenwriting is a learned craft, and I believe one could do it with even the minimal amount of “creative writing” talent. I don’t believe you need to be a “talented writer”, per se, to be a successful screenwriter. I know many comedy screenwriters who write severely funny scripts, but are the most unfunny and least entertaining people in person. Ultimately, talent is probably going to be the factor that separates the wheat from the chaff at the professional level, but, like everything else in life, hard work at improving one’s skill often overcomes any lack of given talent.

As for the “core elements” to a good screenwriter:

a) Know HOW to tell a basic story.

b) When learning how to write a screenplay, get a solid foundation in knowing what is needed/wanted in a SPEC script. Dave Trottier’s “The Screenwriting Bible” is just $20–30, and it gives one everything they would need to learn how to write a basic spec script. Of any “online” course, Jeff Bollow’s “FAST Screenwriting” is the only one you should consider. The rest are garbage.

c) Develop a concept that has never been explored before. If you have a story that HAS been done before, than do it differently. The story of the three little pigs and the wolf who blew their houses down has been told- but it’s never been told from the wolf’s perspective! Stories like “The Mummy” have been told ad nauseum, but Tom Cruise has turned that tired, cliché-ridden concept on its ear! You’ll never think of “The Mummy” as some gauze-wrapped creature dragging his right foot as he “chases” his victims ever again!

Do these three things first, and you’ll be off to a very fast start; faster than 95% of your competition.

Q. How can I be attached to direct my own written screenplay financed by producers? Not a big budget picture…but more like an independent film trying to attach investors for a festival debut.

A. Producers are investors; they are not likely to risk millions of their dollars, or OPM (other people’s money) on the ego of a screenwriter who thinks he/she can also direct. If you have a proven track record, and have directed some good stuff, then your chances increase, but in all likelihood, if we’re talking about a multi-million dollar budget, then in order to secure financing at that level, the financiers are going to want a couple of “sure things”- be that a few name talents, a name director and probably a name cinematographer. The more money your film wants, the more names they’ll want, and it’s only practical. However, if the script is so good that they HAVE to have it, you’re in the driver’s seat and can make certain demands before selling it. Even then, you might have to be happy with an AD or 2nd Unit directing title.

Q. Why do people prefer new films instead of old films?

A. To a certain extent, they do, but “Gone With the Wind” and “Citizen Kane” continue to rank one and two as the greatest films ever made.

There will always be “new films”, as the original “Star Wars” is already 40 years old, and truthfully, that one hasn’t aged well. There are so many classic B&W films starring REAL stars, and not these Internet-created personalities. That’s one reason, actually. Back in the 40’s and 50’s, the stars were mysterious. The only time you actually saw them was in the film. Your imagination convinced you that John Wayne lived on a ranch branding cattle all day, when, in fact, he was in California on a boat most of the time. We didn’t have “paparazzi”, TMZ, websites devoted to nude celeb hacked phones, etc.

Today’s movie have the advantage of advanced technologies, which most people find more appealing, but it’s no mistake when critics and film historian continue to worship many of the great film of the old days. The writing, directing and actor were held and shoulders above today’s films. They know that even the crappiest of crap will make money in PPV, Red Box rentals or internationally.



The Pros and the “Cons”; WILDsound’s Toffolo Interview- “I Sucked!”, I and II

An article series based on one man’s opinion

This Week: Interview w/ Matthew Toffolo, WILDsound Owner

Recently, out of the blue, this blogger received a lengthy email from Matthew Toffolo, the current head of WILDsound Festival and website. You might be familiar with WILDsound, if not through their endless spamming, or their multiple LinkedIn and Facebook “employee” profiles, but perhaps through several articles written here, and elsewhere, describing some of their shady practices in operating screenwriting contests. The list of complainants about this company is practically endless, and many of those have chosen our various threads to air out some of those complaints.

Now, I haven’t had any contact with Mr. Toffolo for well over two years- and never on a personal basis- so his email did take me back.

“Hi Geno. Just wanted to reach out to you…but I wanted to talk with you before a column is posted about this site and yourself.”

What is this all about? As the email continued, he explained how he was contacted by Jacob Stuart of Screenwriting Staffing – telling him as wanting “revenge” – and was asked to join forces with them to have his WILDsound “website traffic to help respond to you”. This is Jacob Stuart and Sarah Stutsman, two thieves that I successfully sued, weak attempt to have as many “bad reports” out on the Internet, so anyone wishing to Google me or my various companies will see fake reports and claims of rip-offs and complaints. They’ve tried this several times in the past, and continue to fail epically. Matthew called me “amazing” but, apparently “polarizing”.


He also admitted to having heard/read all of the things I, and many other people, have been saying about WILDsound- presumable about their sleaziness, lies and questionable business practices- and stated, unequivocally;

“Your opinions of WILDsound have some validity.”


WILDsound has made its mark by operating over twenty contests (24, to be exact), which can easily be considered “money mills”. You’d be hard-pressed to find ANY announced winners of their “Poetry Contest”; their “First Ten Page Contest”; their “Best Novel Contest”. Yes- they have come up with a contest for just about every writing format.

We anxiously await the “Best Sanskrit Contest”.

While they promote these contests through a series of heavy spamming via emails, tweets and Facebook posts, one could assume they have professionals on staff who are “experts” in each of these formats. You can’t really verify this through their website; hell, you can’t even find a contact email on their site other than general information. They do expect the writer to submit their payment (from $10-$60 on up) depending on the contest, and await some results.

These results would rarely come, unfortunately.

After I began writing about my personal experience with WILDsound and my email exchanges with Mr. Toffolo, many, many people began speaking up, and I soon realized this wasn’t an aberration, but more of a pattern; a sleazy, disgusting pattern of scamming screenwriters.

As Matthew and I exchanged emails, I explained my original situation with their organization, which he quickly side-stepped, claiming that he did not come into control of WILDsound until May 2012. Now, here is where the confusion starts: my email exchange with him took place in February 2012. He quickly back-tracked and said that previous employees, who he claims were doing some “sketchy things”, including attaching HIS Twitter handle on all of their fake profiles (ahem), was now responsible for attaching his email signature on these communications, which he had never seen until now.

Where I come from (law enforcement), we call that “implausible deniability”- in other words, “the bullshit meter is off the chart”!

He sadly admitted also that winners of his various “contests” were not announced for as much as six months at a time. He ended this first email with a request for us to bury the hatchet, as he was “wondering if we could come up with some sort of arrangement”.

Tune in for the next posting to see EXACTLY what this “arrangement” entailed, as well as my very detailed and specific response to his letter.

Part II: WILDsound’s Toffolo- “We Made Mistakes…and I Sucked!”


After receiving an email from the owner of WILDsound Film Festival, Matthew Toffolo (see Part I), where he wanted to discuss my very public opinion about him and his organization, supported by many others as proven through their comments in various threads on the subject, he offered a “peace offering” of sorts. Calling it “an arrangement” he proposed the following:“I can always help you out with garnering more traffic to this site ( and your Facebook/Twitter pages.”

He added:

“And I LOVE, to give you a new set of notes on that script you sent us awhile back and forward them to a new set of reading. Free of charge, of course.” (This is verbatim, complete with the misspellings, sentence structure errors, and punctuation issues).

In return, he wanted to “chat” to give him the opportunity to explain some of the various “half-truths” in previous postings and articles. After his opening salvo, which I took as some sort of threat of writing some sort of “column” about me (I’d love the publicity, but does he really “know” me?), I responded with an email of my own. The email basically highlighted what I know are more lies from just his first email;

1) He claimed he had NOTHING to do with WILDsound prior to May, 2013, yet he sent a total of five emails, complete with his signature and from his email address, all in February 2012.

2) He admits that the previous employees were sleazy; he called them “sketchy”, and is at a loss as to why they all had fake profiles on many of the social sites, and why they all used his Twitter handle “matthewtoffolo” as their own.

3) Even while calling these employees “sketchy”, he would neither confirm nor deny whether they were STILL employed at WILDsound (we have since confirmed that many ARE still working there).

4) When presented with copies of the emails from 2012, he still denies sending them: “And the amazing thing is when you originally submitted to us and had the issue of coverage, I wasn’t around- but you think it was me!”

We exchanged our personal telephone numbers with one another, and I encouraged a Skype session, so I could look him straight in the eye as I offered up these facts. I’m pretty much an expert in interrogation, or in this case, simple “questioning”, and very few are able to bullshit me for too long. There are hundreds of felons still in prison as a result of this particular skill set.

Needless to say, I did not hear from him again.

I wrote back several days later, reminding him that he had failed to respond to my follow-up inquiries- after all, he reached out to ME initially. I received an onslaught of emails, explaining why he took so long to respond (“this is just my YouTube account”, even though I just hit “reply” to the email he sent ME). A second email minutes later attempted to explain how WILDsound has been advertising “winners” to their contests- over 70 in the last 18 months. The winning entry in any of their 24 contests results in having your script/novel/poem/first scene/TV script) read aloud by a table of (unknown) actors. He, once again, reiterated that he had “ZERO idea of who signed off” on those emails to me, adding “It angers me, actually!” Apparently, so angry, he’s not attempting to find out who did it. Truth is, he knows he did- “But why would you believe me? You don’t have a reason to.”

He’s right about that.

He continues to avoid any responsibility for any past misdeeds, and instead lives by the theory that if you say it long enough, people will eventually believe it. He claims that this is the “magic of the Internet, it’s free speech and you can say whatever you feel is right and the truth.” Actually, Matthew, you can’t, and I suspect you’re saying that as you and Jacob of SSU prepare yet another public relations attack on me and my family, or attempt to destroy my reputation. One cannot just “say what they believe” if it is damaging to one’s reputation. That is illegal. What I say is truth, as it is backed up by mounds of documentation. I suggest you have the same should you consider such a strategy.

Since his last email, dated 10/16/14, I have called him several times, and texted him at all of the available numbers provided by him. I have checked the site again, and noted recent announcement of “winners” who have had their “winning scripts” read. Perhaps he is making an effort in changing, but much more has to change in order to undo the damage he did to his reputation over the past several years. The list of unhappy customers or harassed writers is disturbingly long.

Most recently, I received an offer to network with an unnamed person from “Open World Toronto Film Festival”. Nowhere on their site is a name offered- anywhere. Before accepting the request (through Stage 32), I asked who was in charge, and have yet to receive a response. Now, I have no proof whatsoever; consider it a gut feeling; but I think there is a connection between this anonymous company that runs a number of contests- with the prize being a trophy and a certificate- and someone like Matthew Toffolo.

If I find out otherwise, I’ll make sure to update you.

Update: Be advised that WILDsound has created at least two additional twitter addresses from which to recruit additional victims to the number of (questionable) contests they run. These new address include “1st Scene Contest” and “Writing Festival“. We’ve taken the liberty of blocking both Twitter addresses, for fear of excessive spamming.


TSM Reviews Screenwriting Services- The Pros and the “Cons”; Part I


(a new article series based on one man’s opinion)


Our scam radar (“scamdar”) was alerted recently when we came across “Eccentric Stories Screenplay Contest” in a Craigslist ad (RED FLAG #1).

Eccentric Stories advertises writing contests for ALL of the following categories: Screenplay, TV script, Playwright, Novelist and Logline contests (RED FLAG #2). We’ve yet to come across a legitimate enterprise that successfully operates “contests” for all of these major categories. Through their Craigslist listing, enticing those to “take your chance to be the NEXT Academy Award winner discovered by Eccentric Stories”, they are implying that previous “Academy Award winners” have been discovered by Eccentric.

Interestingly, though, there is no mention of these previous Oscar winners…because they don’t exist (RED FLAG #3).

A review of their website reveals no names of ANY of the principals involved (RED FLAG #4), as they describe themselves as “a company run by and for writers and filmmakers”- purposely being vague and ambiguous. They also claim “Eccentric stories (sic) work with some very well-known and effective producers who are ready, willing and able to work with first time and aspiring writers”. Again, they fail to mention a single one of these producers (RED FLAG #5), not to mention failing to capitalize the second word in their own company title (“stories”, RED FLAG #6). For a company whose stock in trade appears to be “judging” others writing, errors in their own ad should raise serious concerns.

They claim that they will “pitch your script, manuscripts and treatment from your Log Line to companies such as CAA, ICM, William Morris Endeavor, ACME, The Gage Group, etc.”, yet no logos of these companies sponsoring the contest are anywhere to be found, and no quotes from one of these members to help substantiate this claim are found on the site.

Eccentric Stories goes further to claim that they “guarantee the winner representation” (RED FLAG #7). Again, they are ambiguous about the type of representation they guarantee; is it talent management? Perhaps career management? Maybe it’s agent representation? Maybe they are offering to manage your kid’s Little League baseball team- who knows?

“Eccentric Stories” does have a LinkedIn page, located in “United States” (RED FLAG #8) with an email address, but again, no specifics as to who is running this company. Their site currently offers no links to any of these major social marketing sites (RED FLAG #9). The same vague written description found on their website is repeated on their page, and they show that they’ve only been in operation since January 2015.

Their first monthly contest yielded four different winners:

Winning Screenplay; Austin Davies (Houston, TX);

Winning Novel: Cheryl Carter-Love (Baltimore, MD);

Winning Log Line: Judy Lattimore (Bakersfield, CA);

Winning Stage Play: Marques Sessoms (Atlanta, GA).

In an attempt to reach out to the winners, `we did a basic Google search for the winners. Coincidentally, none of the winner’s names came up matching the spelling as listed and/or the city of residence (Red Flag #10).


Four people, who are apparently in the creative arts, yet none of them have a web page, a Facebook account, a LinkedIn profile, a listed telephone number or mailing address, or any internet marketing of their projects. It seems that these four people simply wrote their projects and their one and only attempt at having it read or publicized in any way was through this particular contest!

Now, there is a chance that, in its infancy, this company hasn’t yet worked out all of its hiccups and kinks. We would certainly allow for some of this oversight, and perhaps plans are being made to better improve the site, the information on the site, and more specifics about their contest. At this time, however, based on all of this information, easily gleaned when spending a few minutes of time conducting a cursory due diligence investigation, we believe this site to be a “Con”; a “money grab” operation. We’ve reached out on several occasions to the owners of the site for additional information, and have yet to receive any return contact.

We would also like to encourage ANY of the four listed winners to contact “The Script Mentor” and share with us their experiences with this contest, and if this should prove to be a legitimate enterprise, we will certainly follow-up with that information.


After posting my suspicions over an ad found on Craigslist from a “John Alexander” of Eccentric Stories, where he advertised various screenwriting services, including adapting books into screenplays and ghostwriting, I placed a call into Mr. Alexander, and within a few short minutes of time, it was fairly obvious he knew very little about the craft of screenwriting. He didn’t seem to have a grasp on the common terminology often used in screenwriting, and was less than forward with his pricing schedules and due dates, etc. It was clear to me this was a scam, and said as much in the article.

I was then contacted by Kenny Wilson, a most recent customer of Mr. Alexander, who expressed his sincere regrets of not having seen my article prior to signing on with Eccentric Stories and paying a hefty sum for a screenplay adaptation of his novel. Now, there were many red flags along the way, as Mr. Wilson now admits, but at the time, he was a bit more trusting of the man. As with many con artists, they have a skill to win people over and convince them they’re on the level, which is why they are so successful. Mr. Wilson paid John Alexander the sum of one thousand dollars ($1000) to adapt a 700+ page Action novel into a screenplay, and this transaction took place at the end of 2014. As of March 2016, he had yet to see a written word.

Mr. Wilson has managed to get a hold of Alexander during much of this time, and he was strung along, being told the project was coming along fine. Towards the end, when Mr. Wilson had had enough, and demanded his screenplay, he received a call from a “family member” of Mr. Alexander’s, claiming that he had a heart attack. Mr. Wilson was able to speak with him later still, when he was told that the script was done, and he (Alexander) was flying him (Mr. Wilson) out to Los Angeles- all expenses paid- where he had scheduled a number of meetings with various studio executives interested in purchasing the script. Mr. Wilson was highly skeptical, but he did re-arrange his work schedule to be on the safe side.

Mr. Wilson never heard back. We will be assisting Mr. Wilson as much as we can in helping him recover his money and recover his project.


There are some important points to consider when you’re looking to hire a screenwriter for a paid assignment such as an adaptation or a ghostwriting job. To read a 700-page book and then adapt it into a viable screenplay beyond a first draft is, at the minimum, a four-to- six month job (length of time varies depending on the writer, of course). I’ve done screenplays in six weeks, and I’ve done them in sixteen months. No one of any real skill level is going to charge $1000 to do that for you; that’s less than $1 an hour. I might charge $1000 just to READ a 700-page, self-published book, because I know what it’s probably going to read like!

Next, you should ALWAYS get a written contract, outlining EXACTLY what you’re going to get for your money. I will give you an idea of what I always provide in my contracts:

  1. A) The start and end date(s);
  2. B) The hourly rate;
  3. C) The number of hours expected for the project;
  4. D) Payment terms; half down prior to start; final pay prior to receipt of final draft;
  5. E) Guaranteed first forty pages for review;
  6. F) One (1) FREE rewrite

I should note that I will also tell you that I have friends in the business to whom that I can send your screenplay, because I do. I have a number of people who will read anything I send them because they not only trust my writing skills, but they also trust my judgment of projects I forward. There’s absolutely no guarantee of any option, purchase or production. Anyone who makes promises like that, or who tells you about all-expense paid trips to meet studio executives- take your money and run, because that’s what they’re going to do!

Ask The Script Mentor, #15: Ghostwriting and Mentoring Services


Q. I see you offer ghostwriting services. I started a novel, and really don’t have time to finish it. Is that something you might be able to do- finish a manuscript already started?

A. Hello, sir. Very impressive website you have. You had asked, in response my article on hiring a ghostwriter, if helping you finish your book is something we can do. The answer is “Yes”, although it’s a somewhat unusual and rare request. I have an excellent novelist on staff that would be perfect for this type of work. I’d have to know where you are in the project, how many pages you are hoping to have when finished, and a few smaller details in order to provide you an accurate quote for the project. I’d also need to know what kind of budget you’re working with. I can work within most budgets, but it does affect some of the decisions we’d make going forward.

Thank you for inquiring about helping you with the project, and I look forward to working with you soon!


ILoveLoglines  Q. Hi Geno, I hope you are doing well. I’ve been busy the last couple of weeks, mainly keeping my head down and re-writing my script based off of your excellent notes. I’d like to sign up for your mentoring services, and re-send the ACTUAL “first ten” pages of my script for you to review, if you have time. I also have a logline that is much better than the one that the reader from the contest wrote. I used you logline formula and it was easy after that!

A. Hi K! I’m flattered that you’ve thought enough about our services to inquire about additional assistance. The interactive workshop is not scheduled at the moment, but I hope to schedule some in the near future.

We basically did the “first ten” pages (even though, technically, it wasn’t the first ten). You were given an idea of some of the real issues the script has from a SPEC screenplay perspective, so I don’t see a need to pay for- and receive- more of the same. At this point, all that would be necessary would be The Script Mentor Package or The TSM One-On-One mentoring, which includes the money-back guarantee in writing!

The Script Mentor Package, at $399.00 (originally $799) would give you a full review of the concept, screenplay and structure, as well as advice on a proper logline, query letter and synopsis. These three areas (L/S/Q) are instrumental in your marketing approach. After the screenplay is as good as it can be, we would also assist you in a networking and marketing strategy. With this package, you can continue working with The Script Mentor for up to one month.

The TSM One-on-One exclusive service at $1499.00 (originally $7500.00), provides you with the above assistance, and we’d assist you in choosing a minimum of ten competitions we feel is best suited to your screenplay, writing level, and most helpful to your writing career at this point. With this package, you can work with The Script Mentor for up to three months- no matter how many projects you’d like to work on.

Also, with this service, we would provide you with a written money-back guarantee if a certain level of success is not established with this screenplay. No other service in the world offers a money-back guarantee- ever. This is how strongly we feel about our mentoring assistance and program. Now, neither of these programs is inexpensive, so it would be an investment on your behalf, but if you’re investing in a career that you want, it’s a small investment.

Q. Hey Geno! Thank you. My name is B.C. My father was the former Underboss of themanuscripttomoviescript1 Colombo Crime Family in NY. He disappeared on May 26th 1999, and with my help, the government was able to bring the killers to justice. After 8 long years, we found his remains. Geno, so many people are sending me screenplay examples along w/ NDA’S, but I have not read one that feels right. I was hoping that maybe we can collaborate or maybe you can help put me on the right track? I feel lost if that makes sense. Hope to speak with you if you are interested.

Thank YOU in Advance!

B. Jr.

A. Hi B! I read your profile during my due diligence prior to connecting, and I appreciate you reaching out to me- both on this, and just for linking in. I’ve watched all of those mob history shows, so I’ve seen several of the shows highlighting your Dad’s story, and I know it well. I’m from Staten Island, and let’s just say my family and I and our friends have had a “colorful” past with the families as well.

I came across a mention of a book; did that ever get completed and published? If so, usually, you’d be looking at adapting that book into a screenplay. Book adaptations are a very specific type of screenplay writing, and most writers will tell you they’ve done and they’re good at it- but they’re not. Most haven’t a clue. I’ve done nine (9) in the past two years. I know how to do them, and it’s not easy. As for collaborating, the closest we get as far as collaborations are the ghostwriting assignments. We write the screenplay you want- it’s under your name, and you get all of the credit and retain all of the rights. This is what we do for a living, and we do it well.

Many of my clients are in the industry- actors, celebrities- many who can’t read or write well at all, but want credits for screenplays or have a pet project they want to star in, etc. Because I’m a ghost, my identity- and that of my client- is almost ALWAYS secret, but last year, we did four screenplays, a TV reality show outline and a TV bible for a celebrity currently starring in TWO cable shows running concurrently. My other clients include several A-list actors and authors who have never written screenplays before.

Normally, we would discuss the project, decide the actual story line, genre, etc. and as we write it, you would receive ten (10) pages at a time to review and suggest changes in direction, if any. We would do this for up to fifty (50) pages. When the project is completed, you’ll have an opportunity to review the screenplay in total.

You also have one FREE rewrite should you decide you do not like how something turned out, etc. We would work very closely most of the time, as the service is not inexpensive. I don’t charge the WGA rate, but as highly-recognized and multi-awarded writers, we ain’t cheap! We HAVE been able to work within almost any budget, though, and if I can’t, I can usually refer you to someone who can. We get at least 50% down payment to start and the balance prior to receiving the finished project. There will be a signed contract with strict deadlines, and we’ve never missed a deadline yet.

I also stay with the client through the marketing and networking strategy as well, which I also provide to them, and I GUARANTEE a certain level of success in the screenwriting contest world- a great way to gain exposure for the project. I also have hundreds of my own connections that I would help forward the project to, if it fits their interest. If this sounds about what you’d be interested in, hit me back. My email is You can find my website(s) at and I look forward to talking in the near future!



Q. Hi Geno! I was going to contact you regarding adapting my novel into a screenplay. I saw that clicked on the book on Amazon, but didn’t buy it. I was hoping to get your feedback and evaluation of the story BEFORE I contacted you.

It probably wouldn’t break you to spend the three bucks to purchase the Kindle version of my book.  If you’re familiar with eBooks, you surely realize there’s an simpler way to distinguish good writing from all the crap that’s self-published every day.  All you need to do is click on the book cover, and you can read the first 10% of the book.

Since I saw no sign you’ve done the due diligence that could start an informed discussion about adapting my thriller, I’ve decided AGAINST using your services.

A. Hi, “D”- I’m really not IN the evaluation business, so it’s irrelevant to me HOW a novelist writes. Trust me when I tell you, most of the self-published “novels” and manuscripts/screenplays I’ve received from authors or celebrities who THINK they’re writers are practically unreadable.

Truth be told, I DID go to Amazon and I DID read the reviews, and your bio, and I DID read the Preface and the first couple of chapters. I even thought about buying the eBook, but I have about 70 eBooks on my Kindle that I’ve never read. Why? Because the dang screen is like a 3 x 5 postcard, and I can hardly see any of it. Adding “another” to that stack wouldn’t do me any good.

I am very busy myself, and said as much in my first email. We’ve been very fortunate to have started the year so strongly, and as of last night, we land a couple of more adaptation clients. As a rule, however, I don’t “buy” original source material and spend the time to read it. Time is money. As part of any contract, the original source material is always provided to us- free of charge- and we charge $250 for the reading of that material. This money is then applied towards the contracted total. It’s during this reading time where we actually evaluate and outline a potential screenplay, including characters, locations, main plot, subplots, develop a logline, a general synopsis, etc.

My only concern is CONCEPT; whether or not a particular story would make a good movie. If the author thinks so, that’s a starting point. Going simply by the title, I thought it was an awesome title and the genre sounded like it was right up my ally. In fact, I have a screenplay that, based solely on your title, I see as possibly having some similarities. They may be 180 degree different but, again, I’m basing it only on the title.

Another thought that goes into the process of selecting a project is overall SALES. I have no idea what your sales are, but I can tell you, based on your LinkedIn profile, you don’t make it easy for someone to simply click and get to the book. It shouldn’t take that much to attach a link to the Amazon posting to you profile, or post it as an update. If you notice on several of my client’s work, I am part of their team in promotion as well. I post their book link, their audio link; I tweet out announcements. I probably do more marketing on social media on their books than they do!

I’m hoping, in the future, you might reconsider using our services.



Q. Hello! I’m interested in having the first 10 pages of my in-the-works screenplay reviewed, and would like to also have my one-page synopsis (and logline) evaluated. Would you be willing to do that? If so, what would you charge?

Thanks for your time!


A. Hi Rob! Thank you for contacting us at The Script Mentor. If you go to our website at, you’ll see our services for our first ten-page review. I will include the logline and synopsis review as part of that first ten page review, at no extra charge.

Simply pay for the First Ten-page review ($19.99) and then send the first ten pages (or more) in PDF or Final Draft, if you are using Final Draft software, to thescriptmentor@hotmail dot com. I am also sending you a short questionnaire that you can complete and send back as well. It’ll provide a bit more information about yourself and your writing background, and give us an idea of your baseline writing skills at this point, as well as some additional info on the script that we’ll need to provide a better analysis (such AS the logline).

We know it’s a lot to trust someone to allow them to read your screenplay, and we’re honored to do it. It’s an honor we do not take lightly. Give us 24-48 hours after receiving this information back from you and I hope we can get a solid review in your hands, with notes that will help guide you to the next step in your project.

quote-Muhammad-Ali-its-not-bragging-if-you-can-back-104890 Q. Thank you Geno for your honesty, and your interest in my project. You won’t get bored with this project. There’s a lot more to come when you consider I spent 28 years putting this project together….

Looking at your credentials I would assume that you have your shit together. Obviously this is probably one of the biggest projects that could ever be developed in the entire United States based on the fact that it’s been a cover-up for 30+ years are you ready for some sort of that kind of entertainment?

A. Whether I have my shit together or not, is not for me to say; I’m successful in my chosen third career and businesses and putting two (months away from three) children through college doing what I’m good at; writing screenplays and teaching screenwriting through my mentorship. I do question anyone’s claim that says “biggest project ever developed”, and that alone raises concerns of being realistic or having realistic goals for the project. I think you’d understand where I’m coming from if you knew how many scripts I’ve received as a producer from people claiming their script was the next “Star Wars” or “will win 10 Academy Awards when completed”, blah, blah, blah. I’ll reserve judgment until I read and watch all of your videos, but you’ve piqued my interest thus far. Again, I know nothing about THIS project, but looking forward to learn more. You’ve written books, and had a documentary done; what’s next?

Q. (CONT’D) Thanks for sharing your thoughts. My goal is to clear my name. Next I’mscreenplayjunkie5 going to prove how easy it was to use fabricated evidence to try and send me to prison for 67 years. Then we’re going to prove why this was done to me. I have one book published and 2 done and ready for ink. I’ll be chatting with our investigation team about your experience and offers. We’re going to make history with this investigation 28 years in the making. You will be part of our project; three (3) books and three (3) movies.

A. Adapting one of the three books (eventually, all three) into feature film screenplays DOUBLES your potential revenue stream. While you’re marketing the novel, the screenplay competitions and network/marketing strategy for the script makes inroads in that industry. The marketing of the screenplay, and any success it will achieve, helps the book sales, and the book sales help advertise the script.

To form the novel(s) into a marketable script is where the real talent comes from; THAT’S what you’re paying for, mostly. I’ll also need to know what kind of (realistic) budget you have to work with for these projects. You mentioned several different projects, so we could put together a package deal. This doesn’t include the research (I have a research assistant on staff), reading the original source material, outlines, loglines, query letters, synopsis, AND my 30-year Rolodex of contacts that would take ANY project I’m involved in and read it- no questions asked.

Now, if you’re looking for a writer for $1,000 or $1500, you will end up with a nice pile of paper for your bookcase. No one charging that amount knows how to write, and doesn’t have one fraction of the network I have. Most likely, they don’t know how to correctly adapt a novel INTO a screenplay, but they’ll tell you they do. Writing adaptations is a learned craft; I wrote four in 2016; nine in total. All of the authors saw a spike in the book sales as a result of the marketing strategy and publicity the scripts brought. The contests these scripts were entered into should start choosing winners soon.

One client really wanted his project in George Lucas’ hands to read. We knew someone who used to work for him, and were able to get it to him. That guy read it, and thought the script adaptation was great! We only hope YOU have the same reaction to YOUR screenplay adaptation once we write it!


Ask THE SCRIPT MENTOR, No. 14: Cheers, Peers, Rocketeers and Reindeers

Q: Geno, I’ve been poking around your articles on LinkedIn. You have some great insight, and I found your profile interesting. I have to say, I’ve never had any luck finding “real” jobs, film work, or screenwriting work via LinkedIn. Considering one of the points in the article you posted last week, if I’ve only got 2 hours to spend networking, is LinkedIn where it should go?

 Thanks in advance for any insight.


Script Analyst and Department Head

A: Hi Bill! Thank you for the kind words. The only “work” I’ve looked for thru LinkedIn was new clientele for my mentoring, and now, ghost screenwriting services, and I can say that a large percentage of them came from LinkedIn, as I do have a strong presence here. I run a few groups; been active in about 30 others (I’ve since cut back to less than five or six now), and built up a network of over 25,000 industry-related people.

There was a period of time a few years ago that LinkedIn was far behind technology-wise, and at the same time, my account had been hacked, so I was experiencing about a year of real issues. I mirrored some of the groups on Facebook, and started marketing outside more. I now know many of my connections quite well and these have led to many writing assignments and some truly amazing opportunities. It’s also allowed ME to help others achieve THEIR goals, which I find more exciting (I’m 56, so I’m not moving BACK to Hollywood again any time soon); I’ve helped many writers get their first paid writing assignments, their first script sale or option, their screenplays produced; I’ve helped eleven writers get representation, and got one writer her agent! I even got credit for helping a writer get her animated screenplay sold to 20th Century Fox, where she is now an Exec. Producer!

As for your own personal networking, I suppose it’s dependent on what kind of networking you hope to be doing. Being a Script Analyst with one of the most recognizable and prestigious competitions in the game provides INSTANT credibility to you (congratulations, btw), but I don’t see where you are operating your own “consulting” business. If this is what you’re planning to do, let me know, as I believe I can help you some more.

My suggestion is to use LI to help with your main goal of looking for that all-important main job; obviously it won’t be your only source for job search (Careerbuilders, HotJobs, and hundreds of other sites and avenues). I would also use it to network with those who can help you in your writing career, as well. The “best use of time” question is for you to decide. It’s helped me tremendously, but probably not everyone. Managing one’s time with a real job outside of the home, writing on their own, and networking looking for paid gigs, is a TON of work, which seems to separate the contenders from the pretenders; the writers from the hobbyists. Add to that family obligations, or medical issues, or keeping up a house or a farm or caring for a sick parent- I know people in each of those situations- and you’ve got nearly impossible challenges against nearly impossible odds, but some don’t give up. People have seen enough in your skills to give you positions, so I think that says something. I wish you nothing but success moving forward!

Q: Geno- You asked why I used “CAPS” so often in my teleplay. The reason caps are used for a TV script is that those are effects and that helps producers get an idea of the costs associated with scenes as they’re putting a budget together. The people I’ve been dealing with at Netflix are quite adamant about it.

Thanks for your feedback!




A: Hi Nicholas! I understand WHY some of those things would be capitalized – in a SHOOTING script – but this looked like a spec script to me. I didn’t know you were writing ON ASSIGNMENT from a producer from Netflix. That’s a major “get”; outstanding! I’m very proud and happy for you! You can get a lot of mileage with such an announcement by including that information with that post. Everyone would be very impressed to know that!


I brought it up in my post because these are the more common errors made by writers when writing spec scripts and it merely highlights their amateurism as opposed to showing their professionalism. A shooting script is the last thing written, and, most likely, it won’t even be written by you. What capitalizing 43 of the first 80 words on the first page does is make it VERY difficult for a PRODUCER to READ if HE chose to SIT down one DAY and READ the SCRIPT with the INTENTION of DECIDING WHETHER or not TO buy the SCREENPLAY. IT makes FOR a VERY SLOW and DELIBERATE read WHICH is the LAST thing A PRODUCER wants WHEN reading SPEC scripts.


Q: Hello, I have just completed a screenplay called (Title Withheld) that I would like to submit for your consideration. This screenplay won the Park Avenue Award (New York Screenplay Contest). Genre: Comedy Get ready for an absurd comedy of the likes you’ve never seen before…(Screenplay) takes us on a hilarious journey through the world of organized crime and foolish criminals. This is a movie that audiences will never forget… not even in their wildest dreams. Watching this movie, you will see reference to slapstick/absurd comedy classics like Hot Shots and Naked Gun throughout this movie. Yet, the overall tone of the movie and the dialog and quirky characters are something right out of a Coen brothers’ movie. Imagine a cross between Raising Arizona and Burn After Reading and you have (Screenplay)—a movie full of greed, fools, fun and laugh out loud absurdity. I also submitted this screenplay for professional analysis and review and received the following feedback: “A highly recommended script. A story full of highly original off-beat characters and wonderfully absurd situations. Potential to be a cult favorite and a worthy financial investment with low risk and high profit potential.” I believe this captivating yet humorous story will attract a wide audience and entertain people in a way they’ve never seen before. I hope you will give me the opportunity to share my screenplay with you. My script is registered and I’m happy to sign a release form.

Kind regards,




A: Hi Peter! Please take a moment and read my most recent (and appropriate) Pulse article regarding notes like these. I can tell you that query letter will do more damage to you that help you; you say many of the WRONG things in that letter that you may wish to reconsider saying in future query letters. I’ve seen “recommends” before, but this is the first “highly recommend” I’ve ever seen or heard. That’s an amazing accomplishment; sounds like a “can’t miss” future success story! It does sound like you’ve received ONE feedback review thus far, so I would encourage you to get at least two more. If I can of any additional help, don’t hesitate to ask, once you introduce yourself and tell me a little bit about you that I can’t find on your LinkedIn profile! 😉

Q- Hi, what is wrong with my query letter, because this query made for me company – I can also send you professional analysis of my screenplay also from this company. If you are interested I can send you my curriculum vitae. I would be more than happy if I could you send my screenplay and then you can send me feedback and your opinion. Please send me what is so wrong in my query.


A: I can tell you two things about that query letter. First, it’s not good at all. The concept itself is not good, but the query is poorly put together; whoever did it hasn’t a clue what they’re doing. Second, by writing me, asking to “link in”, then sending me a direct query, violated the exact protocol I just wrote an article about the day before, so it wouldn’t have mattered to me if the query letter was absolutely perfect, and the concept was perfect- I wouldn’t have responded anyway. You don’t reach out to someone, ask to join their network, then immediately hit them up for a favor. Can I borrow $50? I know you don’t know me, but we’re in the same network now- send me fifty bucks. Come on, we’re ol’ buds now. No- you just don’t do that, at least, not with me. That is why I sent you the link to the article, which I hope you read. More importantly, however, is this site, THE SCRIPT MAILER, with Jennifer Sloane, the owner. For someone in sales – and supposedly a registered agent – you can’t find ANYTHING out there on the Internet about her. Very strange- and suspicious to me. She doesn’t have profiles in IMdb, LinkedIn, or Facebook that I could find, based on the information I uncovered. I found plenty of Jennifer Sloanes, and any one of them may just be her, but beyond the name, none of them are agents, have anything to do with screenplays, live in Los Angeles or Nashville. As for those “testimonials”- I found several of the names to be quite ordinary- “C. Rodriguez”, “Jane Williams”, “Sarah Williams, “Jess Evans”, “Mike Richards”, etc. Most of these people could not be narrowed down and/or verified either, which makes these testimonials also very suspicious to me.



I’m quite familiar with emailing services- there’s many of them, and most of them are a waste of money. Why? Because the companies that receive these emails block them and they go straight to the trash file. I signed up for THE SCRIPT MAILER newsletter, and mine went straight to the junk file! Chances are the 800 or so emails that were sent out for you, less than 50 reached their destination. Have you received responses, beyond an auto response, to any of them? More than ten percent of them? Thirty-three percent?  How about fifty percent?

You can buy books- and now software- every year with these email addresses (which they do), and they’re simply loading it into their database and with your payment and a push of a button, off goes a terribly written query to 800 people, 90% of which will never see it. Sorry to break the news to you, but that’s the truth as I see it. At least they offer you a money-back guarantee, and if I were you, I’d take it and never look back. There are hundreds, if not thousands, of companies like these out there, and most of them are shams and scams. Read my blog; I try to uncover as many as I can. I was in law enforcement for several years, and have experience blowing the lid off of frauds. I’m reaching out to some of these successful “clients on the testimonials to determine if, in fact, they were instrumental in helping them secure an “agent”. I’ve gotten 11 writers literary management representation, and one I got agent representation. I also helped get a writer her animated feature sold and produced at 20th Century Fox, where she is currently an executive producer- but I’ve taken no money for this. I do it because they earned it. Anyway, you can believe what I say, or ignore it. I’m okay with it either way.

There are better, more effective ways are marketing and networking. Yes, it takes work, but it doesn’t cost you anything but your time and effort, and in the end, you gain a lifetime contact. Good luck!

(From my blog article


Q: Needing some advice on investors looking for ADV/touch of SCI/Thriller, screenplays (2), market viable, ready to go… know anyone, Geno?


I know lots, but who says they’re “market viable” screenplays? Here are some things you’ll need to have IN PLACE before you begin your marketing strategy:

1) Do you have minimum three (3) “Recommends” or at least “Consider” from reputable coverage readers or established cover companies?

2) How many, and which, contests did either of the scripts win/place/show?

3) What feedback have you received regarding logline, query letter and one-page? Are they up to current professional standards?

4) What marketing have you done to date, and for how long?

The answers to these questions will help determine your next step. I don’t deal heavily with investors to date, but I network like crazy, and they’re out there when that time comes. If you are ONLY looking for the investors, I’d get busy in some angel investor network groups. I can’t give any feedback on the loglines or queries since I’ve not read them. Usually, when it comes to the lack of interest in a viable, marketable concept/screenplay, the marketing material is flawed. Since we’re only dealing in generalities, as I know nothing about the story or even the genre, there are two things that you should do to generate buzz and interest:

a) If you believe your script is ready, find a handful of mid-to-upper-level contests with great reputations and start submitting them. You can check my blog at for more info on contests, which to submit to, what to look for, etc. Don’t waste your money if the screenplay is NOT ready. The benefit to contests is that many of the judges at the higher levels tend to be agents, managers, producers, studio readers or studio executives. Even if you don’t win, place or show, you will most likely get substantial sets of eyes on the script, which can lead to several great things.

b) The second thing I’d do is to make a list of the movies in the past 5-10 years that were similar to yours: in genre, style, subject matter, budget, etc. Perhaps you envision a certain actor as your lead. I would take this list, go to IMdbPro and start researching these other movies. Like Steven and TC, in many situations, producers, directors, cinematographers and even actors tend to work together over and over again. I would seek out their reps through IMdb and contact them with your story. It’s a needle in the haystack-type of process, but it beats waiting for someone walking up to your door and knocking, looking for a script! Beyond that, I would recommend networking every day; if you write 8-10 hours a day, you should network another 4-5.

Other articles include:

Query Letters:

E-blast Query:


Q: Hello, my name is Alston and I’ve wanted to write scripts for movies as long as I can remember, but I live in a not-so-popular city. I’m still young and I am wondering on what the best way to get my scripts noticed. I can create a script for almost any genre ranging from horror to love stories. While I think they are good, I can’t trust friends or family to be brutally honest with me to help me get better. I’m not trying to get famous and rich, but I am trying to bring my imagination to the screen to make as many people happy and entertained as possible. Any way that you can give me tips on helping would be appreciated. No hard feelings if you don’t respond, I’m sure you get many emails like this all of the time, so I won’t be too upset. Thank you for reading.


A: Hi Alston! You say you think the scripts are good, but you don’t provide a logical basis for this; you seem to write well (this letter), better than most, I’d say, but it’s a small sample size, with basic wording and sentence structure. It doesn’t sound as if you’ve had any kind of formal “screenwriting” training, which makes it virtually impossible to be good at it. You might “write well” but screenplays are an extremely specific type of writing style and format. You can be self- taught- up to a point. With professional feedback, you would KNOW if you were good because so and so told you, or producer so and so hired you to write this or that.

You ARE right NOT to trust the opinions of your friends and family, though; very wise. They are your “cheers”, who will love you no matter what. Your “peers” will help give you an honest assessment, but some are also your direct competitors, so be aware of that. Your “rocketeers” are those in the industry who, by virtue of their assistance, or a hand out to help, or a solid recommendation or a referral, can rocket your career upward and forward. So, you’ll need to start creating a network and mentally dividing these people into these sections, and knowing who’s who.

While it’s sometimes fun to write in different genres, at some point down the line, it’s best to determine which genre you like best or write best in, and settle on that and stay in your lane. You want to be known as the “guy who writes _____ better than anyone else!” You want to be that go-to guy. Don’t chase a genre that’s hot now, because in two years, whenever a script you’re starting today might ever be ready to produce, it’ll be two years down the road, and “found footage” movies might be passe by then. Write what you relate to the most, what you enjoy the most. You want to have fun doing this because you’ll be doing this ALL OF THE TIME- talking about it, reading about it, posting and networking and promoting it. So, if you write rom/coms but find them stupid, personally, it’s not going to end well for you! I prefer Mafia-based crime stories, hostage stories, real cops and robbers stuff. No surprise, considering I was a police and private detective, so it’s in my blood and has been for 36 years now. I like comedies too, and feel I can write all genres. These days I do, because I’m paid to do so; I don’t stick to one genre, but when I write my own material, you can bet it is good versus evil, with a lot of blood, body parts, secrets, guilt, conflict, and a mean twist no one sees coming (I hope). If you want an “opinion” on your writing, I’ll read the first ten pages of anything you have and give you my opinion. If you want feedback with constructive notes, go to my website at, and look under services for the first ten page read. Good luck to you, and I appreciate you reaching out!


Q: Hi, Geno, It’s Candy. I just read your 10 things NOT to do. Good advice, as usual! Question; I have spent two months now on LinkedIn Pro and made several valuable contacts. What would you think if I posted the first two pages of my script, (which contain the inciting incident) indirectly on my profile page, (A reader would need to click to it.) Then I would let all my contacts know my profile has changed. Good idea or not good?


A: Hi Candy! You would post the pages of the script (not a bad idea), then let everyone know your profile changed (sounds unnecessary to me, but if you want to drive them to read the script, sounds like a good tactic). Is that the gist- getting your contacts- presumably a lot of producers and decision-makers- to read these pages, and hopefully request to read the rest? I don’t see an issue with that as a strategy. It’s non-invasive, still gives them the choice to continue. I would want those two pages to be absolutely PERFECT; above all scrutiny, but I like the idea. I’d be curious if it leads to anything beyond. Keep me in the loop, if you can. Good job!


Q: What is the standard fee, if there is one, for an entertainment lawyer to review a contract for script purchase?

Thanks! Deen


A: Hi Deen! Like any service industry, their fees change from attorney to attorney. They’ll probably charge hourly, but I would guess you’re looking at $200-300, depending on the size of the contract. I wish I could be more helpful.


Q: Hi Geno, Please know that you post great information and I appreciate it. It’s been a while since we last touched base. Since then, I hired a professional service for a Script Coverage Report for my TV drama pilot as I know that this is part of the process. They recommended my script for series, now they want me to pay them for additional consulting services to “tweak” it. If I gave you the name of the company, would you give me feedback as to their credibility? I paid $500.00 and now they want more money. I don’t want to get taken, but know I need the direction to move the project forward. Thanks, Geno! Please know that I respect your opinion as I know you’ve been in the industry for a long time.



A: Hi Dana!  It sounds like you may have put the cart before the horse; doing the due diligence AFTER paying them $500. That’s too bad. I praying that it wasn’t $500 for coverage or analysis on the TV pilot. That’s 2-3 times what it the average cost would normally be. Of course, I could tell you what I know about them, recommend and refer others to you specifically for TV and look at it myself, and just give you informal feedback notes, nothing official as I won’t charge you anything, if you want. It’s up to you. If you’re on Facebook at all, you can check out my latest post on The Script Mentor Facebook page, regarding the notes I got when we recently pitched out TV pilot, “Bad Priest”. I knew it was good, but I didn’t know it was received that well. I hope you can check it out!

Dana Follow-up: I fear I may have been taken for $500 bucks. The company is [EDITED OUT]. Please let me know if you have any feedback for them. Thanks you. I’ll get back with you after your response.


A: I see their Pulse articles every week, which are just the same ads for their services. The site is terribly confusing to me. Personally, I wouldn’t make any changes until I got the three feedbacks, then compared the notes. If there was a common theme to the feedback (for example- poor formatting, or dialogue issues), I would concentrate on those fixes. If these suggestions are based on one’s personal “taste” and NOT technique or story, then ignore it. Sometimes it’s hard to give notes and NOT express personal preferences. As for [COMPANY], if you are pleased with what they provided, and depending on how much the next charge is, it might be worth it to have them “fix” it. If you no longer want to go with [COMPANY], send me the script in PDF and their notes and I’ll look them over this weekend. I have two deadlines coming up on two screenplays, but I can find time for this- if you want me to.

WRITER’S BIO: Geno Scala has over two dozen completed feature film screenplays and television pilots. This year, he’s completed five ghostwriting adaptation projects; novels-into-screenplays, and counts many celebrities among his vast clientele. His most recent television project, “Bad Priest“, was pitched to and reviewed by several executives, who provided the following feedback: “Overall, this pilot is compelling and clear and offers just enough to tease us with where these stories and characters might go. It begs for a full season, which is a huge accomplishment.” Two other TV projects, (“Hell Hath No Fury”, “Sextracurriculum”) are under consideration by SPIKE TV for an upcoming line-up. His feature film screenplay, “BANKING ON BETTY” was the winner of the StoryPros, the Script Pipeline and a top finalist in the Scriptapalooza. Mr. Scala spent twenty-two years- plus in the Hollywood community, and during 1999-2000, was the executive director for the 72nd Annual Academy Awards. He held similar positions with The Soul Train, Grammys and Blockbuster and Saturn Awards shows. You can find his IMdb page at

He currently resides in Huntsville, Alabama, with his wife and four children.

From our family to yours, we wish you all a merry Christmas, happy holiday season, and a happy and safe New Year!


10 Important Screenwriting “Rules” You Really Should Follow… (No Matter How Much of a Rebel You Want To Be)

As a screenwriting mentor at The Script Mentor ( and producer with Shark-Eating Man Productions (, I review over 300 original speculative screenplays annually, and dozens of first-ten pages a month. In fact, we offer a service that includes first-ten page reads, complete with constructive and thorough feedback notes on those all-important opening pages.

One thing I’ve found during this review process is the commonality of errors spanning the screenwriting experience spectrum: newbies and experienced writers alike make the same mistakes over and over again. In general, I call most of these formatting errors, since formatting is not exclusively about setting margin anymore. In screenwriting, we are talking about the proper way to write slug lines, as just one example of formatting. Other repetitive errors may include poor spelling, grammar, lack of punctuation, and overuse or misuse of a variety of acceptable screenwriting techniques.

Many of these are also considered “screenwriting rules”, but some don’t like to refer to them as such. You see, they’re the “rebels” of the screenwriting world. They are the ones with whom “rules” don’t apply- you know, like Hillary Clinton and the law, or Donald and basic manners. I call them “rebels without a clue”!


However, if these rules are consistently violated throughout the first ten pages – and beyond-  no one of any authority will ever get past the first THREE pages, much less the first ten. They won’t even consider purchasing or producing your screenplay until they’ve read the entire thing, so you’re basically shooting yourself in the foot before you even get out to the dance floor.

If YOU want to be taken seriously as a spec screenwriter, here are ten RULES of basic SPEC screenwriting that you need to know and adhere to going forward:


  1. Scene Headings (a.k.a Master Scene Headings, slug lines, or slugs):
  • You MUST write a proper Master Scene Heading. These include camera location (INT, EXT, INT/EXT), scene location (BEDROOM, BUSY STREET, etc.) and time of day, or TOD (DAY, NIGHT).
  • Do NOT use any other TOD unless absolutely imperative in telling the story (if the killer only kills at midnight, and the killer is about to kill, then say “MIDNIGHT”).
  • Always keep these to one typed line.


       2. Descriptions:

  • Provide enough scene description to allow the reader to imagine scene, and exclude details that do not add to the story.
  • You must also describe your characters. The descriptions do not need to read like a police report; blue eyes may be described as “blue eyes”, “like the deep pools of a Caribbean inlet”, or simply “Newman-esque”.
  • Limit this to major characters; often those with more than one line of dialogue and more than one scene. It is not necessary to go into detail describing the grocery store and the check-out girl if they are basic “set pieces” in a scene that your character stops in and out of briefly, and one time.
  • Try to keep all descriptions to two lines or less.



      3. Camera Directions (CUT TO, DISSOLVE, etc.):

  • EXCLUDE all technical camera directions in your spec script unless IMPERATIVE to the IMPACT of the story. Limit yourself to “FADE IN:”, and “FADE OUT:”. If it’s imperative to use a “BLACK SCREEN” midway through the script, then show a slow FADE IN: into the next scene, because this will improve the storytelling dramatically, then that would be the exception. Unfortunately, many people think their exception IS an exception when it is not. It’s better to err on the side of caution and NOT include an unnecessary camera direction, then to include one.


4. Action Text:

  • When writing you action text, avoid repeats of words, such as “walks”, “laughs”, “looks”, etc.
  • Write in the active tense; “He knocks”, as opposed the passive “He is knocking” (-ing words).
  • Try to keep your action text to three typed lines or less, on average.


5. Dialogue:

  • Avoid expositional dialogue; having one character impart information to another character; information that they should already know; for the sole purpose of informing the audience (“You know Mom died when I was only eight, so…”).
  • Keep dialogue to four typed lines or less whenever possible.




  6. “More white than black”:

  • Target 150-180 words per page, and you’ll have a nice balance between blank space and ink.
  • Anything over 200 words seems heavy; long paragraph blocks are deadly.
  • Keep scenes short; anything longer than three pages seems too long.


      7. Actor Directions (“beat”):

  • Do NOT include (beat) in dialogue. The actor is trained to act. Think of beats as “dialogue speed bumps”, and it slows the read considerably. Do NOT confuse this “beat” with a “Save the Cat” beat, or a beat sheet. You’re marching to the beat of a different drummer there.




       8. Screenwriting Technique/ Style:

  • Do NOT get carried away with parentheticals, CAPITALIZATIONS, flashbacks, montages, hyphens, ellipses and exclamation marks. If you need to use them, use them in moderation (sparingly), and only if you know how to use these techniques properly. If you don’t, do not try them.




       9. Punctuation:

  • Rules of punctuation still apply in a screenplay. Learn them.
  • If you can afford an editor to check for grammar, punctuation and spelling errors, you should make the effort to hire one.
  • Do not rely on spellchecking programs to do your spelling work for you.





     10. First Ten Pages:

  • Make sure the first ten pages capture the reader’s attention
  • Make sure that the Inciting Incident is in these first ten pages, or close to it.
  • Make sure the tone and genre of the story is clear by these ten pages.
  • Make sure most, if not all, of the major characters, have been introduced to the audience in some fashion in these ten pages.


If you follow these ten rules to the letter, I guarantee you will have a well-written screenplay on your hands!



Debunking Screenwriting Myths, Pt.XII: We Don’t Need No Stinking Rules!

This is one of the more common exclamations bantered about on screenwriting boards every day, and those usually spouting this one are the writers who like to consider themselves “different”, and “above the norm”. I think they actually BELIEVE this platitude, and how could they not, after a lifetime of winning tenth place participation trophies in junior soccer or bell-curved C’s when scoring a 69 on a mid-term. I don’t blame them, but I do just want to open their eyes – and their minds – a little wider and be more accepting of the truth.

You’re NOT different.

You’re NOT above the rules.

You’re NOT the exception to these rules.

And yes, my little screenwriting snowflake, there are rules.58499170

What other profession are you aware of that attracts so many potential members across the globe, lives by a set of standards and practices, yet denies the existence of these standards and practices to such a degree that most of the “members” swear that no standards of practice exist? Why the secrecy? Why do writers, gurus, and many consultants go to great lengths to tell you that, to be successful, you need to stand out and break convention, but then refuse you entry into their “club”, largely based on the fact that you defied that very convention?

Because there ARE rules, and those in Hollywood – especially writers – would prefer to think of themselves as “rebels”, when they’re really just “Rebels without a Clue”. Unfortunately, you can’t go online and download a PDF of these “rules”, nor can you order the rule book on Amazon, like you can for the International Rules on Competitive Wife Carrying.

You can do the next best thing, however; The Screenwriter’s Bible by Dave Trottier. These are the expected guidelines for writing a spec screenplay and, by now, you should have these committed to memory.

Most of these screenwriting rules are picked up along the way, although The Script Mentor tries hard to share these rules with fellow screenwriters through blog articles and script reviews in hopes of enlightening a few along the way.

Many of these foolhardy souls believe that ancient platitude “great writing trumps all”. You might have the next “Chinatown” on your desk right now, but if you’re writing on spec, and you’re ignoring the accepted standards and practices of writing a spec screenplay, who on earth is going to read it? No one with any significant pull or power in the community is going to sit down and waste valuable time to read through a draft overstuffed with wordweight, boring characters, poorly formatted slug lines, and an unstructured story. It is just not happening. That pile of crap on your desk may contain the greatest lines in the history of cinema…

… but no one will ever know it.

So, do yourselves a favor before you start typing your new “Star Wars” concept: learn the rules, of which there are many.

Learn what a marketable concept entails;

Learn which genres sell faster and easier, and why;

Learn the art of a great opening, character development, structure, formatting, and dozens of more.

If you are writing on spec, to get read, to get noticed and to be appreciated and respected, you need to know the basic rules of the game.

Only then, will great writing trump all.

*In my next article, we’ll address the more important rules of spec screenwriting and provide tips on how to achieve them every time out!