Set Pieces, Part 5: Entertainment

January 30th, 2015 by

A series this week on set pieces: A scene or set of scenes with a big idea, feel and/or scope to them, oftentimes associated with major plot points, and always about entertainment.

Part 5: Entertainment.

Spin the plot. Emotional meaning. Stakes. Complications, Roadblocks and Reversals. All things you need to consider when brainstorming and crafting set pieces. But set pieces are best served when they are entertaining. Then you have trailer moments like this:

And this:

And this:

Takeaway: Never forget the entertainment value of set pieces.

For Part 1: Spin the plot, go here.

For Part 2: Emotional Meaning, go here.

For Part 3: Stakes, go here.

For Part 4: Complications, Roadblocks and Reversals, go here.

Why not head to comments and post your favorite set pieces? And while you’re at it, what have you learned this week about set pieces?

[Originally posted October 12, 2012]

Announcing: The Quest Writing Workshop, Santa Monica, March 12-15, 2015

January 29th, 2015 by

Studying the writing craft online is great. I’ve been teaching part-time that way since 2002 and have probably offered more online classes than anyone else, so I have a lot of experience. The convenience of doing the work snuggled in bed in your pajamas while savoring a cup of coffee or however you choose to engage the class is wonderful: You can do virtually everything in your own place and on your own time.

However there is something to be said for face-to-face interactions. And as satisfying as online education can be, at least the way I teach, over the years I have kept hearing this recurring refrain: “Will you ever do something in-person?”

So in October 2013, I hosted the first ever Quest Writing Workshop. It was an incredible success for participants, a four day immersion in the principles of storytelling, practices of writing, and wrangling of each writer’s original story.

Since then, I’ve run three more Quest Writing Workshops, each remarkable in its own way. Also remarkable is how the Workshop has evolved into a truly unique educational opportunity:

* There is the four day on-site workshop in Santa Monica that goes from 10AM-5PM Thursday-Sunday. In it, we learn screenwriting theory focusing on Character, Plot and Theme, then use a series of writing exercises and feedback sessions for each participant to develop an original story. This is all based on lectures and content I have used, created and taught for years.

* I added a 16 week online program which participants can use to build off the work they do in the workshop by prepping their original story (6 weeks) and writing a first draft (10 weeks). That is a free benefit for writers and an optional choice. Most use the 16 week program as a structure to motivate them to write a script, but others simply do the 4 day weekend.

* Then this: Many of the participants continue to stay in touch becoming in effect a writers group. This pleases me no end because for an individual to have other writers as a resource — critique loglines, give feedback on pages, provide emotional support — can be a huge boost to one’s productivity and psychological well-being.

Here are some thoughts on the Workshop from writers who participated in the most recent session:

“In the ten years I have been writing screenplays, the four days of the Quest Writing Workshop are by far the most valuable and intense days of learning I’ve had. In addition to the excellent instruction, the input from the small group of fellow writers was invaluable, especially as we all worked together to break our stories. My only regret was that the workshop was over so quickly; fortunately it continued over the internet and with conference calls as we prepared and completed our first drafts. I can’t recommend the workshop highly enough.” — Tom Peterson

“Scott and the Quest Workshop with Scott (or whatever the official title may be. I’m not into titles, man. I see people for who they are.) was a great experience. I came in with a nugget of an idea for a script and with the help of my fellow workshoppers I polished that nugget into a gleaming chunk of pure gold. All of this occurred under the watchful eye and bearded face of Scott. He led each of us down unexplored paths so our stories would come to life. But what is the benefit of an unexplored path if all of the sudden a giant bear or lizard jumps out and eats your confidence at the Act II turn? No, you need the proper tools and structure for that path. That’s what Scott gave us all. It was informative, fun and a fantastic way to spend that tax refund.” — Patrick Connelly

“Scott’s innovative exercises, tested techniques, and the amazing passion, talent, and energy, from both him, and our dynamic group, made this workshop easily the best investment I’ve made in my screenwriting. Scott pushed me, and my characters into brave new worlds, and because of that shove, I saw a drastic improvement in my writing after four amazing days.” — Kirsten Foe

The next Quest Writing Workshop in Santa Monica is scheduled for Thursday, March 12 through Sunday, March 15. We meet in a cool space called The Writers Junction where we can walk to any number of places to eat lunch together, then afterward a nice wine bar where we continue to talk story and the craft, as well as just have a great time. There are plenty of nearby places to stay via Airbnb. And there is this:

There is a special 10% discount for GITS readers who enroll early. To take advantage of that, when you do your transaction and are checking out, include the promo code Discount10 in the Apply Discount box. But jump on that soon because enrollment is limited.

You may learn more about the Quest Writing Workshop and sign up here.

Set Pieces, Part 4: Complications, Roadblocks and Reversals

January 29th, 2015 by

A series this week on set pieces: A scene or set of scenes with a big idea, feel and/or scope to them, oftentimes associated with major plot points, and always about entertainment.

Part 4: Complications, Roadblocks and Reversals.

For background on what I mean by these three ‘categories,’ go here.

The common link: There is an event that creates an obstacle for the Protagonist, inhibiting their ability to achieve their goal. Like this complication:

Or this roadblock:

Or this reversal:

The thing is we want our Protagonists to go to Hell and back. That makes for more drama. That makes for a more compelling story. And that makes their journey more meaningful.

Thus at a fundamental level, our task as writers is to take that straight line of a Protagonist’s progress toward their goal and muck it up.

How to do that? Complications, Roadblocks, and Reversals. A great way to look at set pieces.

For Part 1: Spin the plot, go here.

For Part 2: Emotional Meaning, go here.

For Part 3: Stakes, go here.

Tomorrow: More on set pieces.

What other set pieces can you think of that function as Complications, Roadblocks and Reversals?

[Originally posted October 11, 2012]

Twitter Rant: Geoff LaTulippe on Studio Script Development Process

January 28th, 2015 by

Last night screenwriter Geoff LaTulippe (Going the Distance) did a Twitter blast about what a screenplay can and often does go through in the Hollywood development process. Reprinted here by permission:

Because here’s the thing: you can’t take ANYTHING away from an in-development draft of a script, and I’m going to give you reasons why.

First of all, even though you might think you have “Draft four” of the script or “Draft twelve” of the script, you never really know.

Why? Here’s the first question: is it a draft for producers or is it a draft for the studio? Those can be and often are two different things.

When you’re doing drafts for producers, how you work on those drafts depends on the writer’s process and the producers’ demands.

So what might be one draft on the studio level could be five, six, twelve smaller or microdrafts for producers.

So let’s say you’ve written and sold a script with XYZ producers. Before it’s gone out, you’ve already done a few drafts.

When you finally get it into a place that you’re ready to take it out and it sells, THIS is, for all intents and purposes, Draft One.

OK, so now the studio has it! Big shit! They give you some notes (often extensive at this point), you powwow with the producers, and go!

You write that draft. You turn it into producers. They have notes. You do some tweaks. Then there are more notes, and some changing ideas.

In this phase, you might rewrite scenes or sections of the script JUST TO FIGURE OUT WHAT WORKS BEST. Pure experimentation sometimes.

Eventually – two, five, nine smaller drafts later – you now have something to turn into the studio again! YES! This draft…is Draft Two.

Meanwhile, it might be Draft Seven or Draft Twenty-six, but no: it’s fucking Draft Two.

You do several more microdrafts, and hand it back into the studio. This is now Draft Three. You’re closer to production than ever!

This is when you’re replaced with another writer, a near-100% probability if you’re working on a comedy or a tentpole.

No, seriously – you’ve done great work, but they want to go in a different direction, or bring in a new voice, or…WAIT!

Did a director come onto the project before this? An actor? Another producer? Sorry: before you’re fired, you have to address their notes!

So OK: now you’re working with producers, the studio, and a director and/or an actor(s) and/or more producers! That’s Draft Four!!!!

Have I mentioned yet how eternally lucky you are to be the only writer on the project in Draft Four (Draft 46?)? You’re a fucking unicorn.

OK: notes addressed. Draft Four turned in. Old producers, director, actors, new producers taken into account. Whew. NOW you’re fired.

So off your script goes to another writer or, more than likely, a couple more writers (again, especially in comedy/tentpoles).

There are so many fucking cooks now. SO MANY COOKS. Dare I say…Too Many Cooks? (Toooooooooooo many co-hoooks…)

But here’s the thing: while all those other writers are addressing more and more notes, YOUR NAME IS STILL ON THE SCRIPT.

Sometimes – SOMETIMES – there will be a little note at the bottom that’s like “Current revisions by Writer B”. Sure, why not?

But your name is still under “Written by”. Guess what? It’s now Draft Five. DRAFT. FIVE.


If they do, start multiplying in-between drafts exponentially. Start multiplying studio drafts by one.

I haven’t even gone over all the things that can or do happen in the midst of all this that affects the writing. There is MUCH more.

But hopefully you get the point now. Producer draft? Studio draft? From which writer? For which producers, director(s) or actor(s)?

Was this the official Studio Draft Four? Or are you reading Producer Draft Twenty-Six, where you were trying out that thing that DIDNT work?

Now: soak ALL of that in, and try to tell me if you can REALLY get any sense of what the finished film is going to be. Can you?

You can? GREAT! Because now we’re going to talk about constant on-set revisions and reshoots!!!!!!!!!

Just kidding. We’re not going to talk about those. That would be overkill. I think you get the point.

And it’s not just unfinished – it’s still in a nascent state. You’re trying everything, good bad or ugly, to find the story’s right shape.

That can take a long, long, long time. And most of the time it never even gets to a point where you can shoot it.

Hell, most of the time, it gets so overdeveloped that it’s not WORTH shooting. But that doesn’t mean you don’t try. Because some make it.

GHOSTBUSTERS is happening, and it’s happening with a kick-ass cast. But that script ain’t NEAR finished, whatever version is out there.

So if you see someone claiming a script sucks or a script is great or it’s just running in place, it doesn’t matter. It’s in-between.

It can go from any level to and other level of quality, and then it can go in the complete opposite direction once it’s filmed.

So take any script reviews – even those from “finished” scripts – with a MASSIVE grain of salt. People who “get” movies know this process.

BTW, all that shit I just described? I think I speak for most writers when I say we’d go through it infinitely if we had to.

Because screenwriting for a living is, seriously, the coolest fucking thing on the planet, and even with the headaches, we’re lucky as shit.

For context, today there was one of those classic Hollywood non-announcement announcements about the probably cast for the upcoming reboot of the Ghostbusters franchise. Then this:

Hence Geoff’s rant. Takeaways:

* If the thought of someone rewriting your story gives you virtual shingles, you probably want to focus on writing novels or plays. Because in Hollywood, everybody gets rewritten.

* If you think “Writing is rewriting” is a cute little phrase emerging from the Land of Hyperbole, wrong. What Geoff described is what writers expect going into every project. Unless the project’s director is Clint Eastwood and he intones, “We’ll shoot it as written.”

* Don’t critique scripts in development. Don’t support sites that engage in this type of activity. I have heard from writers who have told me a project of theirs has been deep-sixed by some negative buzz online about a script in development. Sadly many people who work in development are Weather Vanes, they blow with the virtual wind. It doesn’t take much for them to lose confidence in a project if some derisive comments emerge online about the script. As Geoff points out, they are works in progress, not reflective of the final product.

You should follow Geoff on Twitter: @DrGMLaTulippe.

For my May 2014 interview with Geoff, go here.

For all of the Screenwriting Twitter Rants, go here.

“Boyhood: 12 Moments That Seize You”

January 28th, 2015 by

I don’t know how I stumbled upon this article, but I really like it. From the website Write Out of L.A., Robin Write has posted an excellent take on one of my favorite movies of 2014 Boyhood.

From the opening frame of Mason staring up into the sky, through twelve years, to Mason being away from home and family with his potential new friends, Boyhood depicts parts of life. Moments we kind of often take for granted. Or remember differently to someone else. Moments you do not often see in cinema, but are around you all time. And always have been. Richard Linklater poignantly captures these significant life events of all shapes and sizes in the magnificent Boyhood. I’m sure you have all seen it by now, and all have your favorite scenes that touched you. Here are 12 (of course, twelve, but could easily have been forty) smaller moments in the film that lingered with me.

Here are three of the moments Robin selected:


When Mason’s mom hears he has not handed in many of his homework assignments, his response is that the teacher did not ask for them. It is an instant signal that our protagonist is merely a small boy at this point. And that children are likely more logical than we give them credit for.


The final scene with mom when she breaks down is the one most folks talk about (and likely Oscar nomination clip), but much earlier in the movie when they are finally rid of Bill, mom bursts into tears when she can’t answer her daughter’s concerns. You truly feel for a mother who is heartbroken that she does not have the answers right now.


Mason gets some male-bonding time with his dad as they go camping. They talk generally about kissing girls, Star Wars, and peeing on camp fires. The real magic of this sequence is how comfortable they appear to be as they catch up on the parts of their respective lives they may have missed thus far.

Boyhood is a marvel for a myriad of reasons, but Robin has zeroed in on the single biggest narrative dynamic: Moments. The final scene in the movie involves college freshman Mason out in the raw beauty of West Texas with some newly found friends.

One of them, Nicole, says this: “You know how everyone’s always saying, ‘Seize the moment’? I don’t know, I’m kinda thinkin’ it’s the other way around. You know, like, the moment seizes us.”

To which Mason responds: “Yeah, I know. It’s constant, the moments, it’s just… it’s like always right now, you know.”

And that is in some way the central theme of the movie, not only about human experience, but the way in which Boyhood tells its story. It drops into Mason and his family’s existence moment to moment. But unlike a movie that transpires over many years like Forrest Gump which focuses on big moments — winning college football games, meeting Presidents, Vietnam, Watergate — Boyhood does precisely the opposite. It highlights ordinary moments. That’s one of the beauties of the movie, how it takes us into these seemingly mundane slices of life and explores the emotional life flowing through them.

Author Anne Beattie has one of my favorite quotes: “People forget years and remember moments.” I think that applies to writing stories… watching movies… and living life.

Boyhood reminds us of that.

For the rest of Robin’s post to see his nine other favorite moments from the movie, go here.

Twitter: @WriteoutofLA.

Set Pieces, Part 3: Stakes

January 28th, 2015 by

A series this week on set pieces: A scene or set of scenes with a big idea, feel and/or scope to them, oftentimes associated with major plot points, and always about entertainment.

Part 3: Stakes.

Will Andy escape Shawshank prison?

Will Clarice prevail over Buffalo Bill?

Will Luke Skywalker successfully fire proton torpedoes into the tiny opening in the Death Star?

Stakes. The best set pieces have them. With these examples above, the stakes are huge. They can also be smaller and yet emotionally meaningful.

Will Gil’s son make the catch that wins the ball game?

Will Lester quit his job?

Will Fran leave Sheldrake for Baxter?

Takeaway: When you are working with a set piece, determine what stakes might be involved with it.

For Part 1: Spin the plot, go here.

For Part 2: Emotional Meaning, go here.

Tomorrow: More on set pieces.

What other set pieces can you think of that have stakes, big or small?

[Originally posted October 12, 2012]

Question: Is there a better term to use than “aspiring screenwriter”?

January 27th, 2015 by

The most common term I see used to describe someone who is working to become a professional Hollywood writer is “aspiring screenwriter.” Yet there are some folks I have run across in the online writing community who take umbrage at that description. I’m not sure precisely why that is the case, but I suppose it’s not surprising that some would offer up a different term: “pre-pro”.

I can see why that might appeal to writers because a “pre-pro screenwriter” sounds like they would be further along in their journey than an “aspiring screenwriter”. However “pre-pro” carries with it an implication that the writer is just one step away from becoming a “pro” writer. In some ways, that is true: All it takes is a great spec script falling in front of the right set of eyeballs to make that happen. Conversely, as we all know, there are no guarantees anyone will successfully make that transition. In other words, it’s not like a “prep-pro screenwriter” is in college and once they graduate, they become a “pro screenwriter.” It just doesn’t work that way, the path to becoming a Hollywood writer is much more about creativity, talent, voice and persistence than anything else.

So my question: Is there a better term to use than “aspiring screenwriter”? And given the long odds against becoming a “pro screenwriter,” something other than “pre-pro” as well. Has anyone run into a better description? Or perhaps folks will generate one in comments. Maybe someone will offer an argument why “aspiring screenwriter” works just fine. Or defend “pre-pro”.

Let me end with an anecdote. Years ago, I was teaching a four day writing workshop at UCLA. My featured guest was Lisa Joy, who had taken two online screenwriting classes with me, then gone on to considerable success in TV and feature films. In the workshop, Lisa made an interesting point. She told the group that before she had landed a gig writing for the ABC series “Pushing Daisies,” the job that launched her Hollywood career, she had stopped thinking she was an aspiring screenwriter and began to act like a professional. That is, she thought of the ways she imagined how a pro writer would approach the craft, then adopted those practices into her writing life even when she was outside looking in.

I think that is great advice. The more you act like a pro in the daily practice of being a writer, the more you will be prepared if you do make the transition from outside to insider.

Write every day. Track the business. Stack projects. Generate story ideas. Network. Read scripts. Watch movies. Analyze them both.

Establishing those ‘pro’ habits will not only set you up to succeed once Hollywood calls, they should also help you to be more productive and enhance your odds at breaking in.

Sounds like a great time to remind people of my 1, 2, 7, 14 plan: A simple formula to be a more productive and better screenwriter.

Bottom line, no matter what you call yourself — aspiring, pre-pro, or something else — get those solid work habits in place.

And if you do have an alternative descriptor for writers who have yet to break into Hollywood, I’d love to see your suggestions in comments.

UPDATE: Go to Geoff LaTulippe’s twitter feed (@DrGMLaTulippe) to Wednesday, January 28 at around 1PM Pacific to catch his thoughts on why a writer should not use the term “pre-pro”.

Set Pieces, Part 2: Emotional Meaning

January 27th, 2015 by

A series this week on set pieces: A scene or set of scenes with a big idea, feel and/or scope to them, oftentimes associated with major plot points, and always about entertainment.

Part 2: Emotional Meaning.

Set pieces can be all sorts of fun and involve major visuals such as this:

Or this:

Or this:

Set pieces involve characters. Those characters have personal histories. We would not be telling their story unless something compelling was going on in the psychological realm of the narrative. The connection of a character’s emotional life to the events give meaning to the events.

Otherwise it’s all just noise.

However when imbued with emotional meaning, we get a set piece like this:

Takeaway: As you brainstorm and develop set pieces, be sure to consider what is or can be going on with the emotional life of the characters involved in the events.

For Part 1: Spin the plot, go here.

Tomorrow: More on set pieces.

What set pieces can you recall that convey emotional meaning in a memorable way?

[Originally posted October 9, 2012]

Story Summaries: From Loglines to Beat Sheets

January 26th, 2015 by

From elevator pitches to development meetings to conference calls with talent, a screenwriter’s ability to share stories in a variety of narrative forms is both a valuable and necessary skillset. In the upcoming 1-week Screenwriting Master Class online course “Story Summaries: From Loglines to Beat Sheets” [February 2-8], you will learn six different story summaries that are critical assets for any screenwriter.

A screenwriter not only needs to know how to write a script, we also have to be able to convey our stories in multiple other ways. Beyond that, every time we shape a story in a different way, we learn something about it. As such, summaries can be helpful tools in developing, understanding, and crafting our scripts.

This 1-week online course that I will be teaching covers multiple story summaries: Logline, Synopsis, Breakdown, Treatment, Scriptment, and Beat Sheet.

Learn the ins and outs of six different story summaries including using them to help you craft your stories.

Plus you will have the opportunity to craft a logline of your own story with an optional workshop exercise.

The course consists of:

Seven lectures written by Scott Myers

Daily forum Q&As

Optional workshop writing assignments with instructor and class feedback.

A live teleconference between instructor and class members.

In the past, the response from participants in this course has been extremely positive. Here’s one reaction:

The prepared lectures alone are worth the price of this class.  But, the added bonus of discussing the lectures as well as being able to workshop my loglines with Scott and my classmates was a fantastic learning experience that really helped me develop my ability to whittle an idea down to one intriguing sentence.  If your manager, agent, guru, mother, or favorite reader asks you for a synopsis, treatment, beat sheet, or logline and you have no idea what any of those are then this class is for you. — Calvin Starnes

If you haven’t tried an online course before, this is a great and simple way to do it. You can download lectures any time and read them at your leisure. Peruse forum comments from your fellow classmates and respond whenever you want. The teleconference is on Skype and recorded so you can have access to it for transcription purposes. It’s amazing how convenient and effective online education is.

So why don’t you join me for “Story Summaries: From Loglines to Beat Sheets”? You can find out more about this 1-week online screenwriting class here.

I hope you can join me starting next Monday for this important and informative class!

Set-Pieces, Part 1: Spin the Plot

January 26th, 2015 by

One of the most valuable pieces of brainstorming a screenwriter can do with regard to a story is conjure up some good set pieces.

What’s a set piece, you ask? Believe it or not, I posted this about the subject all the way back in July 2008. Here is Wikipedia’s take on the subject:

In film production, a setpiece is a scene or sequence of scenes whose execution requires serious logistical planning and considerable expenditure of money. The term setpiece is often used more broadly to describe any important dramatic or comedic highpoint in a film or story, particularly those that provide some kind of dramatic payoff, resolution, or transition. Thus the term is often used to describe any scenes that are so essential to a film that they cannot be edited out or skipped in the shooting schedule without seriously damaging the integrity of the finished product. Often, screenplays are written around a list of such setpieces, particularly in high-budget “event movies“.

It’s this last point that is particularly relevant to a screenwriter. If we expand the definition to include any big, significant scenes, then even writers working on a small indie drama can think in terms of set pieces around which they can construct a plot.

This is what John August has to say set pieces:

A scene or sequence with escalated stakes and production values, as appropriate to the genre. For instance, in an action film, a set-piece might be a helicopter chase amid skyscrapers. In a musical, a set-piece might be a roller-blade dance number. In a high-concept comedy, a set piece might find the claustrophobic hero on an increasingly crowded bus, until he can’t take it anymore. Done right, set-pieces are moments you remember weeks after seeing a movie.

So this week, I thought I’d do a series on set pieces, focusing each day on one aspect common to them.

Today: Spin the plot.

A set piece doesn’t always have to hook into the plot and shift it in a significant way or new direction, but often they do.

In Apocalypse Now, one of the most memorable set pieces is the “Ride of the Valyries” Huey assault:

Not to be lost amidst the pyrotechnics, the set piece spins the plot in that it ushers Willard [Martin Sheen] into the chaos and insanity of his journey into darkness.

In Psycho, arguably the most famous scene in the movie is the shower set piece:

This represents a major spin in the plot in that it marks the demise of Marion Crane [Janet Leigh] and introduces Norman Bates’ mother.

How about this set piece from E.T.:

Chase scenes make for good set pieces, especially if kids on bikes manage to go airborne, enabling E.T. to – finally – go home.

Sometimes, however, a set piece works just because… well… it’s flat-out entertaining. Take this famous example from Ferris Bueller’s Day Off:

Yes, there is some meaningful dialogue between Cameron [Alan Ruck] and Sloane [Mia Sara], but it’s not like it represents a major shift in the plot, only a slight focusing of perspective. No, this set piece exists to let Ferris [Matthew Broderick] cut loose in a most memorable way.

But generally it’s smart to think of set pieces as they tie into the plot. And why not? Events that spin the plot qualify as plot points, and give a writer a set of significant occurrences to put together the spine of the Plotline. Moreover set pieces can qualify as trailer moments, big visuals that a studio can cut together for purposes of marketing a movie. Like this:

By the way, set pieces are a great way to assess the potential of any story concept. Let’s say you come up with a promising idea. Challenge yourself to come up with a half-dozen possible set pieces. If you can, you may have something promising. If not, maybe not.

Tomorrow: More on set pieces.

What memorable set pieces can you think of that spin a movie’s plot?

UPDATE: In comments, Christina Ferguson provided this link to a post on set pieces by Billy Mernit at his excellent blog “Living the Romantic Comedy.” Here’s how that post begins:

Given that it’s one of the first (and maybe only) things most movie execs learn in Movie Executive School, along with the Lightbulb Theory (Q: How many movie development execs does it take to screw in a lightbulb? A: Does it have to be a lightbulb?), seeing that the term’s so screenwriting-ubiquitous that it’s become a cliche, I was startled when I recently asked a roomful of screenwriting students to define the term set piece, and only a couple of them were able to give it a shot.

C’mon, people! Especially if you’re writing comedy, having at least one set piece in your script is absolute necessity. Because Movie Exec School teaches its acolytes that the most fail-proof response to being pitched anything, to convince anyone that you are, in fact, a legitimate movie executive, is to ask: Where are the set pieces?

Billy drives home the subtext of my post which is the entertainment value of a set piece can have an explicit impact on a buyer: Set pieces = Trailer moments. That’s a huge asset in marketing a movie. And therefore, set pieces are a huge asset for you selling a spec script, pitch, project…

[Originally posted October 8, 2012]