The ABCs of Power-Lines and Cover Material for Your Script: You’ll need it, so here’s what you need to know about the script review process for getting your material noticed by the brass.multimedia/blog-ideas/
The ABCs of Power-Lines and Cover Material for Your Script: You’ll need it, so here’s what you need to know about the script review process for getting your material noticed by the brass.multimedia/blog-ideas/
The ABCs of Power-Lines and Cover Material for Your Script: You’ll need it, so here’s what you need to know about the script review process for getting your material noticed by the brass.multimedia/blog-ideas/
The ABCs of Power-Lines and Cover Material for Your Script: You’ll need it, so here’s what you need to know about the script review process for getting your material noticed by the brass.multimedia/blog-ideas/
If you want to be a success in Hollywood, you need to understand the ABCs of Power-Lines and Cover Material for Your Script. You’ll need it, so here’s what you need to know about the script review process for getting your material noticed by the brass.
First thing to know about the script review process is that it’s very rarely based on the merit of your actual writing. It would be nice if someone could read over your work and tell you how to fix it so it sells, but that’s not how things are done. Instead, a reader will give you a rating from 1-5 based on how they felt while they were reading. This rating is then used by agents and managers to decide whether or not they should take a chance on you.
Many companies have their own standards for what makes a good script. But there are some things that are pretty universal when it comes to rating scripts:
• 1 – Unreadable
• 2 – Boring
• 3 – Not worth publishing yet
• 4 – Interesting but inconsistent
• 5 – Amazing!
If your script gets a 1 or 2 from any company, don’t take it personally. They may
The day you decide to write a script is the day you should start thinking about cover material for your screenplay. You’ve probably heard about this before, but what is it?
Cover material for your script is the binder or cover page for your screenplay. It should contain a one-page synopsis of your story and a well-written logline. It should also include a short bio that highlights your film achievements and experience in the industry.
Sounds easy enough, right? Not quite. This can be a lot harder than it sounds, but if you want to get an agent, manager, or producer to read your script, you will need something to send them other than just the script itself. The reason for this is simple: most people are simply too busy to read every script that comes across their desk. If they can’t tell from the synopsis or logline that your script is worth reading, they won’t take the time out of their busy day to do so.
The best way to compose effective cover material is by first writing a concise one-page synopsis of your story and then two versions of a logline. The first version should be no longer than five sentences long; the second version no longer than one sentence long (
You’ve probably heard the term “Think globally, act locally” at least once in your lifetime. And while the phrase is often used to describe a form of community activism, it can also be applied to your script development process.
When I’m developing a script and trying to get my bearings on a story, it’s always helpful to “think globally” and re-read the entire script before diving into a specific scene. However, when I sit down to write or revise a scene, I like to focus on small details. In other words, I “act locally” after thinking globally. This approach allows me to make sure that each scene is moving the story forward while also staying true to the overall narrative arc of the film.
Focusing on this global/local dynamic can be helpful during the script review process as well. It will help you stay focused on your story as a whole and make sure that each individual scene is serving its purpose in pushing that story forward in an effective and entertaining way.
When approaching any kind of script review, keep these two things in mind:
It’s a cliché, but there’s a reason why it’s a cliché. There is no better time to be an independent filmmaker than right now.
You can shoot on an iPhone, edit in the Cloud and have your movie seen by millions – all without even leaving your home.
Anyone with a decent idea and the ability to tell a story can make a movie. But with so many films being produced every day, how do you get noticed?
There is an old adage that says, “Think globally, act locally.” It may be a cliché, but it describes a fundamental approach to life that is sound and effective.
The first part of the adage, “think globally” means to be aware of the world around you. To think globally is to have an understanding of the world and your place in it.
The second part of the adage, “act locally” means that you should take action in your own community and neighborhood, where you live and work.
So I was sitting in my office last week and I noticed something. Actually, I didn’t notice it. What happened is that my assistant came into my office and said, “Hey, is that your dog?”
“Uh, no,” I replied.
“Well,” she said, “there’s a dog in the parking lot.”
“Hmm,” I said. “I wonder who that could be.” Then I went back to work.
A few minutes later my assistant came back into my office with a worried expression on her face. “I think we have a problem,” she said.
“What’s wrong?” I asked.
She pointed out the window and said, “There’s a stray dog wondering around in the parking lot, but he looks okay to me.”
Now this is a big problem because if there’s one thing we can’t have around here it’s stray animals. They get into all sorts of trouble and they can be dangerous too. So I got up from my desk and went over to the window to take a look for myself. Sure enough there was the dog sitting in the parking lot just staring at me with this goofy looking grin on his face.
