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In another posting about script coverage several people spoke glowingly of Barb Doyon's coverage service.
Who is she and what makes her coverage so worthy?
Does she work professionally? And has her coverage meant anything to your projects?
Sorry if this has been discussed a hundred times before. It's the first time I've seen her name mentioned here.
Barb Doyon is the best $50 you'll ever spend. She is fabulous. She works in the industry and is a screenwriter. You can contact her at firstname.lastname@example.org. She will provide you with all the information you will require. Good luck!
She's also made a really good move from a business perspective. Instead of marketing and hype, which create costs that must be passed on to the customer, she's simply built what is probably a pretty steady business built on great service, an ultra-fair price, and word of mouth.
I absolutely recommend her. One critique will double your knowledge of screenwriting. Plus, you will have a contact (and professional friend) for life.
Ditto all of the above.
I just can't say enough good things about Barb.
If Barb Doyon only charges $50, and if she is, as all accounts indicate, terrific at her job, then you ARE getting a bargain. I'd jump at the chance for pro coverage in a minute at that rate. What a deal!
You will not regret it! She is reliable and goes the extra mile. I have learned much from working with her. I also consider her a contact and professional friend.
I'll echo those sentiments. I just sent her an action comedy she's reviewed before. I believe it's ready to send out now but I'd like her seal of approval before it goes. You're missing a golden opportunity if you don't use her.
I rarely get a chance to read the boards, but wanted to thank everyone for the nice comments. As most of you know I’m a Professional Hollywood Reader who contracts with 19 production companies, a handful of directors, actors and screenwriters (professional and aspiring). I’m also a screenwriter/TV writer. I’ve sold several TV episodes, have a deal w/ HBO and am currently peddling a script around town, among other projects.
I know it’s not easy out there. Sometimes it may seem like you’re more likely to get hit by lightning than make a sell, but hang in there! As a special “thanks” I’m going to list 4 areas that stop even the best writers from making a sell. I hope you’ll find them helpful. These are in the actual order of production company consideration:
1) No commercial edge. Commercial edge (high concept) doesn’t mean big explosions and car chases. Far too often screenwriters create well-written stories that aren’t compelling enough for the big screen. A well-written script is less like to sell without commercial edge because that’s what draws in the audience and helps the studio make a return on their investment. Advice: If your story is a-typical then look up similar films that have been made, determine the “edge” and then proceed to give yours enough twist to give it a better chance on the market.
2) Little or no subtext. Subtext is what draws the audience (the reader) into the film. It’s what creates “emotional involvement” and 99% of all scripts do not deliver on this level. Most scripts I’ve read contain subtext via the dialogue, but a professional screenwriter’s script will deliver subtext on all levels: characterization, plot, dialogue and scenes.
3) Lack of understanding of how internal/external conflict works in film. There are plenty of scripts with exceptional internal conflicts established for the protagonist, but far too many fail to create an external conflict (driving force) that will force the character’s internal conflict to the surface leaving them no choice but to resolve the issue. Secondly, in film, the character MUST resolve their internal conflict before they’re strong enough (emotionally) to confront and defeat the external conflict of the film. Yet I repeatedly see scripts where the external conflict is resolved first! Advice: Film’s a visual medium – an internal journey with no external conflict work best as a novel. The external/internal conflict should be the most important event/moment in the character’s life, not just another trip to the supermarket.
4) Lack of market know-how. Every screenwriter seems to want the big studios or a big named actor for their script and virtually ignore the smaller, lucrative cable markets and straight-to-video. Advice: Know the market! Research every film that’s even remotely similar to your story. Find out who made it, why and how. There’s a wealth of possibilities out there!
Best to all, Barb Doyon
Thanks to Ms. Doyon would seem empty without at least a token of our deep appreciation for the priceless advice she's given. I think it would be more fitting if we create a pool and each of us throws in a thousand dollars, to give her an idea of how we value her worth. Fifty dollars for an evaluation of a feature-length script? She'd doing it practically for free!
So, here's my thanks, Barb, and I'll get the check in the mail as soon as I'm financially able. Hope it's sooner than later. Ellum
Wow...!! Very much appreciated..!!!
Great to open a string and find this kind of thing.
You've instantly made alot of new friends/clients..
Thanks & Very Best,
Thanks for the great info. Hopefully, we'll all benefit by putting it to use.
Thank you very, very much!!!
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