Kingart Pictures is a New York City metro resource for location scouting, management and production services.
Writes screenplays, too. Provides screenplay coverage, too.
And offers Dr. Script Coverage.
That's a winkin' nod to the Stanley Kubrick classic Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb: a gem of legendary dialogue and notable scenes. We lesser cinema scribes, however, may need other doctors to provide prescriptions, a check-up or surgery. Bring it on and over here.
You draft-write-evolve your Script for weeks and months. Years? One day, you consider It done, a crop for harvest. Maybe it is, or not. In any case, you likely need fresh eyes on it. Perhaps that should not be friends, family, colleagues or others; perhaps they can't or won't offer what you may need most:
Concise Honest Constructive and Prudent Criticism. CHCPC.
Hey, "Michael" or "Molly", you got a forest-and-trees problem.
Or: Needs A Distinctive Voice / A More Original Premise / Stronger Execution.
Or: get out of your own way.
Or: move over, rover, let a producer take over.
Or: something more fundamental or less obvious.
Or: Just As Possible: it's terrific. For your home run trot, may I suggest ...?
If your script has good potential for a business-and-art producer, an agent/ manager or actor, investors and other deal-makers, you could get ready for the main event sooner rather than later. That could be a Pitch Meeting with one or more such party. Which, for sure, is one essential goal of your endeavor.
If your doctor is a screenwriter, production veteran, book co-author, aspiring producer--like yours truly--it gets a ton of due diligence, tough love and camaraderie. Would you prefer mere well-wisher praise, or the analysis and affirmation from one who walks a similar road? I've Been There and Done That.
5 Rules of Healthy Screenplays (Surely not the only 5. Add some if you'd like)
1. A Passion for (the) Story - Like a Profound Movie, a Beloved Track of Music, A Love Affair, it should be setting your Heart and Soul Ablaze. It may do the same for others.
2. Character and Character Voices -- What They Say, What They Don't, and How. A Natural Fit vs. Synthetic, Insincere, Flat, Unrevealing or similar.
3. Structure -- Timeline/Tempo. Not All Acts Are Created Equal -- But All Are Vital
4. Genre Requirements and / or Vs. Audience Expectation.
5. Craftwork -- Brevity. Readability. Impact. Flow. The Most With More of Less. Write It As You'd Like the Reader (at first, the only audience you’ve got) To See It and Feel It.
I'll read anything. But help me to help you. As a basic, send 1 or more of these 3. All would be ideal.
1. a tight Log Line - 1 sentence, 2 lines, 30ish words
2. an Elevator Pitch - 1 sentence, 3 lines, 50ish words. A brief paragraph.
3. a Premise Line - 1 long sentence, 4 - 6 lines, 70ish words. A full paragraph.
These are key, vital slices of your writing, and should be precise and punchy, as they engage (or not) the initial interest of BUSY agents, producers and others. (You Need Them). Characters. Story. Genre. Arena/Setting(s). And more. They are optimal bait in limited bites.
Also, your summary of How My Script Is Different Than So Many Others.
In addition, you can send those all-important introductory first 3 - 10 pages. Or, if you're confident and are willing/able to pay for the whole 9 Yards, the Full Script.
Times and services vary. My rates are modest, depending on the turnaround you need, the length or status of the project in its current draft, etc. ASAP. Or, say, a month. You decide. I'll offer a due date for my homework: how quickly I can explain my P.O.V. and analysis.
I’ll reply with coverage notes, including: Originality or Sizzle of Premise, Characters, Genre, Voice, Structure, Craft, Timeliness, and More. Also, if relevant, a few words on production-related matters that may need to be in the feedback, such as scripted locations or budget expectations. All is intended to advise, motivate, reinforce, encourage, praise, explain, and so on. And no b.s. You'll see FADE IN what I’ll provide at THE END.
NOTE: I specialize in feature movie scripts of 80 - 120 pages, but I’ll also read TV, shorts and documentary, with the caveat that although there are many similarities there are also structural and content differences.
I have a Disclaimer, a form of NDA. 1) Your I.P. Is Your Baby. I Zip My Lips. 2) I read, analyze and advise. Period. I do my best to evaluate your work, to read subtext and between the lines, to ask questions, objectively suggest A/B/C, and support your efforts and choices. The Script Is Yours Alone.
Rates start low for reading one or more of Your Lines, a 1-page summary and/or the first 3 - 10 pages. Fees then rise incrementally. Again, the Menu depends on the length of your submission, how quickly you'd like an appraisal, and how in-depth you’d like that to be. A simple check-up, or serious surgery.
My e-mail and phone contact is on this site. At The End, we can walk the happy trails of screenwriting, over the rainbow to YES!