While Blotman didn’t get the instant gratification of performing in front of a live audience, she learned she loves the process of writing a script, chipping away at it, getting feedback, and making it better. 

Taking Part in Coverfly’s Pitch Week

After participating in Coverfly’s Pitch Week, Blotman's writing career began moving forward in a big way. She met with an executive from Hallmark Channel at the end of 2021 to pitch her Jewish romantic comedy, Made for Each Other. 

“The exec really liked the concept even though it was definitely not a Hallmark movie at that point,” Blotman said. She signed a contract to develop the script and began rewriting. In less than a year, they shot the film. “It was a year and a half from the meeting to a finished movie, it was insane!" says Blotman. 

The film was released in Feb. 2023 on Hallmark Channel and Peacock. Her experience was exciting and life-changing. “This was like a bolt of lightning which I did not anticipate at all. It happened very fast and I’m just hoping I can replicate it."  

Read More: 8 Coverfly Writers That Made It Onto The Black List

Adi Blotman’s Notes on Networking

Though pitch meetings can be nerve-wracking, Blotman’s advice is to play it cool. “I really see it as just trying to get to know someone. I mean, I’m a nervous wreck! But I try to be as casual as I can possibly be,” she says.  

She relies on her natural talents to make an impression during the meeting. “Since I write comedy, I try to make jokes and show them my personality,” Blotman says. It’s good advice, especially for someone skilled at performing.

Sometimes, it all comes down to chemistry. “Some people you’re just going to really click with and you’re not going to know why but you just have this connection. When that happens definitely stay in touch with these people. It took a few months from this pitch meeting to when I learned they were interested in the script, so just stay in touch!” she says.   

'Made for Each Other'

Adi Blotman's Advice for Pitch Meetings

Writers may be intimidated to ask questions in a pitch meeting, but it’s a great idea if the questions are relevant to the conversation. “I always ask, ‘Is there a project on my Coverfly profile that interests you?’” says Blotman. “And that’s when this project was brought up.” 

She says that while she didn’t have a prepared pitch, per se, she trusted her instincts and knew enough about her project to speak casually about it. Though some pitch meetings require having something prepared to pitch, Blotman says this meeting felt different.

“In the Coverfly pitch meetings I’ve had, they were just more of a conversation,” Blotman reveals. If you can chat with a relaxed vibe while letting your enthusiasm come through, that’s a solid way to go.  

Read More: A Screenwriters Guide to Nailing Pitches, Generals, and Meetings

Benefits of Using Coverfly

Coverfly takes the complexity out of navigating the industry, paving the way for writers to tell their stories. “I like that it’s just one platform to submit stuff through. If it does well in several contests, it definitely makes my project more visible. The platform is very easy to use and easy to update. I’ve had some projects on the [Coverfly] Red List, and it’s just an easier way to do things,” says Blotman.

She also shares a simple thing every writer can do for free: “I always tell people to create a Coverfly profile. It doesn’t cost you anything, and there are free resources you can submit to. You can submit things early, which is always what I try to do. It’s a good way to get feedback and get eyes on it from someone who might want to do something with it,” Blotman says. 

'Made for Each Other'

Overall Advice From Adi Blotman

Adi Blotman wants to emphasize the creative, changing nature of the business. “Keep an open mind about your projects. You might think this project would never fit in this network or this place. But if someone’s interested in your work, you can adjust it, and it could be a really rewarding process," Blotman says. "I thought [Made for Each Other] came out much better than the original script and it’s not something I was expecting. Say yes to opportunities, keep an open mind, work hard, and having a writer’s group is really beneficial–I can’t recommend that enough!”

We wish Adi Blotman the best of luck with her career and hope she continues to use Coverfly. 

Read More: Pitch Week Prep: What to Do With Your 12 Minutes

The post How Writer Adi Blotman Brought Her Script to Screen in a Year appeared first on Coverfly.

We are particularly thrilled to see new offerings such as our WGA Writer Benefits Program and newly-launched Industry Direct Notes lead directly to professional results. Seeing achievements like these is a testament to the quality of writers we get the privilege of working with and the investment and dedication of our writer development team.

Read on to find out how Coverfly worked for them, and explore the resources available to most, if not all, Coverfly writers. 

Kurt McLeod

Kurt McLeod, was introduced to his reps at Grandview through our WGA Writer Benefits Program. 

In speaking with Kurt about his career, he offered this perspective:

“Aspiring writers I speak to often seem fixated on connections and representation at the expense of working on their material. All that peripheral stuff matters, but if you focus on the material first and foremost, the other stuff becomes a lot easier. All you can do is write stories you care about, as many as you can, as well as you can. And when it comes time to email your logline to your curated list of 1000 producers or reps or friends of friends who might know someone who knows someone, at least you know you gave yourself the best chance to get that elusive nibble."

He went on:

"With a wide net of connections to industry players, Coverfly acts like a high-end matchmaker, taking time to thoughtfully select the contacts who make the most sense for your material and goals.

[I can’t] tell you how grateful I am for your help connecting me to the right people. Pretty incredible how much easier this job is when you have reps working hard for you.” 

Nick Hurwitch

Nick Hurwitch signed with Heroes & Villains Entertainment after the Coverfly team introduced them.

Nick’s advice for screenwriters:

“A year ago I was coming off a series of great contest placements for one of my feature scripts. It was the latest in a series of "Hey, I think this might be it!" moments in my long, winding journey toward doing this for a living. I even had a producer and a director attached. Ultimately, it didn't go anywhere. No reps, no sale. But my network and my confidence had grown. So I wrote the next one, which was cool but needed more work, and the one after that, which people really responded to. And when that one started to get attention, I was already writing the one after that. As a screenwriter, the only place you're in total control is with the words on the page. More finished scripts means more opportunities. Eventually, something good is going to come of it.”

About his experience with Coverfly, Nick told us:

“Coverfly was instrumental in my signing with a manager. Earlier this year, they made me an "Endorsed Writer." Independently of that, I earned a Mentorship with Michael Sherman through their Act Two program, who was gracious and helped me chart a course from where I was to where I wanted to go. Meanwhile, [the team] worked behind the scenes to submit my best work to select managers."

Congrats, Nick! Well deserved.

Tricia Lee

After a record-breaking 12 meetings at Pitch Week, Tricia Lee signed with a literary manager at Neon Kite after Coverfly set up the meeting.

“Through the Coverfly Pitch Week opportunity, I was introduced to my now manager, Jay Glazer at Neon Kite. Without their introduction, I never would have otherwise met him, but I'm super excited for where my career is going to go from here!” 

We think she’s on the right path!

Russell Goldman

Russell Goldman was on the 2021 Coverfly Best Unrepped Writers List, and since signed with a team of agents at Verve! We picked up on Russell's talent before he had a manager, and after being featured on our list, he quickly took off.

"Coverfly gave me confidence in how to present my interests, priorities and the path I want for myself." 

Russell told us:

"The script has been over two years in the making and I’ll be editing pieces of it until well after the feature wraps. The biggest thing circling my head this week has been believing in a concept, in characters, and in the kind of story I want to tell so much that I’d work on it for the next two years. Yet I’ve learned to not be afraid to keep seeing my story through the eyes of new readers, from department heads to executives. There’s always a better articulation to be found of the idea you fell in love with in the first place."

Jeremy Marwick

Coverfly writer Jeremy Marwick met Daniel Seco, literary manager/partner at Empirical Evidence, after requesting notes from him through the Coverfly Industry Direct Notes program. They hit it off and Jeremy signed with Daniel! Here's what Daniel said about this experience:

“Jeremy's success, both in terms of PROPEL making the 2023 Black List and its prospects going forward as a viable film project, is a reflection of the caliber of writer utilizing Coverfly's coverage services.”

---

More successes from this year’s Black List include:

• Arun Croll who signed with a manager at Writ Large after our introduction. 
• Shanrah Wakefield who is one of the featured mentors from our Act Two Writers Podcast partnership program. 
• Ryan Hoang Williams who was featured on the 2022 Next List by Tracking Board

We are so proud to be a small part of these writers’ journeys. Congrats to all! 

The post 8 Coverfly Writers That Made It Onto The Black List appeared first on Coverfly.

With the release of our List of Lists every December, we usually celebrate the successes and accomplishments of the preceding calendar year. While there was much to be proud of in the last twelve months, such a reflection did not feel appropriate for 2023. Instead, we wanted to take this time and this forum to reflect on the sacrifices that brought us here and look ahead to a more equitable future in 2024 and beyond.

Through the trials of the strike, writers emerged with historic wins: wage increases, room minimums, second step payments for feature writers, better residuals for career sustainability, and protections against artificial intelligence. While the gap between the ending of the WGA and SAG strikes delayed a full-fledged return to work, the industry seems poised to hit the ground running in a new frontier next year.

To coincide with the release of the 2023 List of Lists, we reached out to writers featured on previous years' lists to share their perspective, wisdom, experience, and cause for optimism ahead.

"I've been so inspired by the awesome and supportive community of writers, artists, and people who want a bright future for this industry -- I've got high hopes for 2024. Looking forward to hearing about all of the new projects and stories and art people are working on. A major highlight for me will be writing and directing a new short horror film. I love working on a set and getting to collaborate with a team, so I'm excited to hopefully be filming something in the new year."

— Maria Wilson

"I’m evolving and maturing as a writer. I can feel it! My writing goals continue to shift a bit more towards moving the needle on representation for my community, and elevating those topics that are considered taboo, with the intention of educating and enlightening, while entertaining of course."

— Rachel Strauss Muniz

"Oftentimes when it comes to writing and being stuck, it's due to what immediately comes next. The key is to always write what you can see. The order can be sussed out at any time."

— Jill Robi

"Whether a script is “good or bad” is subjective, and personally, the wrong line of thinking. Most people writing at this level know how to craft story. More often than not, the ability to “make” your work is dependent upon finding people in the industry with the connections and power that also distinctly resonate with you and/or the work you’ve presented them with. That’s a planet-aligning event and then you need a multitude more planet-aligning events to happen. That’s independent of talent and skill."

— Xavier Burgin

"The strike offered me an opportunity to reconnect with my process as a writer. With the business aspect of show business on hold—no generals, no pitches, no lunches—I could focus on the writing. Though I am sure I will annoy many other writers by saying this, 2023 was one of my most productive years in terms of pure writing."

— Brenden Gallagher

" In the midst of an existential industry crisis, our collective ability to come together and find/build community. It was difficult maintaining the creative engine in the midst of so much uncertainty and turmoil, but because of that community I was able to still be somewhat productive. And we fought for the health of our profession and won."

— Jai Jamison

The post Wisdom and Advice From Up and Coming Coverfly Writers appeared first on Coverfly.

Bogner started his career in Hollywood as a screenwriter in the 1990s, working on both studio and indie films. In addition to currently being a producer and literary manager at Affirmative Entertainment, Nicholas Bogner is now also one of the talented professionals offering Industry Direct Notes on Coverfly. He was kind enough to share some excellent tips on the process of getting notes on your script, how to make sense of them, and how to turn those suggestions into great edits that strengthen your story.

Check out our interview with Nicholas Bogner below, then continue on for some of our favorite takeaways.

Identify the Note Behind the Note

Sometimes a writer gets a note that seems to be in conflict with the story a writer is trying to tell or simply doesn’t make a lot of sense. It’s up to the writer to listen carefully to the note and then try to interpret what the note really means. If a producer has a problem with a scene and their suggested fix seems out of place, maybe the scene just needs to be cut or replaced with something else. Nicholas says: 

“If you think it’s a flawed note, speak to it in a respectful manner. But maybe come back with, ‘I think this is what is bothering you so what if I did X, Y and Z?’ Typically, they’ll say, “Oh, that’s exactly what I meant!’”

Read More: Tips on Receiving Notes from Producer & Entertainment Exec Jonny Paterson

Understand You Can’t Take Every Note to Heart

If someone is kind and generous enough to read your script (sometimes read it twice as Nicholas does), they typically really want to help you through your creative process. But not all of their notes are going to be helpful. Weeding through them is a skill you need to cultivate as a savvy writer. Nicholas says: 

“No matter what level you’re at, you can’t just take every note. It’s like being a diplomat…You really have to extrapolate what is best for the material. Producers look to the writers to say, ‘Hey, that’s a great note, but I can’t do it for reasons X, Y and Z. But, here’s my suggestion.’ No one’s looking for a robotic writer. You’ve created something from a blank page so the expectation is you know that world better than anybody, so you’ve got to speak to that.” 

As the writer, you are the master of your story but we all have blindspots. Listen carefully to what people are telling you and see what resonates. If you get the same note from more than one person, that note deserves special consideration. 

Listen to Notes Respectfully and Respond with Grace

Nicholas shares the story of working with a very talented writer who was also very quirky – and perhaps had too much ego. In a studio meeting, an executive gave the writer a note about making a change in the script and the writer said, “When you’ve hit a hole in one, why would you take another shot?” Don’t say this!

Whether the script was already perfect or not is irrelevant. A studio executive wants to be heard and also feel like they can contribute to the script development process. It’s literally their job. Not only did the writer’s callous comment effectively end the meeting, Nicholas fired the writer the next day. Nicholas says:  

“If you’re on a notes call or in a notes meeting, I don’t think it’s good to necessarily say, ‘No,’ right then and there. Instead, say, ‘I need to think about it. Let me absorb it overnight.’ It takes a little bit of the tension out of the moment.” 

Remember, the executive wants to be heard and feel like they are in a collaborative partnership.   

Take the Notes Process Seriously

These days, studios and streamers are looking for unique stories that haven’t been told. They want to love your script – it only makes their job easier if they find a script they respond to emotionally. But sometimes, a script is just a couple notes away from getting produced so it’s in the writer’s best interest to take the notes seriously. Nicholas says:  

“The emerging writer deserves their shot. When I started in the business, it felt like it was so based on nepotism or who you knew, or were related to. I feel like Coverfly gives everybody an opportunity and it’s kind of the American Idol of writers. You can be from so-and-so and not know anyone in the business, but if you have a voice, and I know that’s a big word people use a lot, you guys give people opportunities they might not otherwise have. If I can help an emerging writer help the script a little bit, or a lot, it’s incredibly gratifying for me.”

Read More: Let Writer/Producer Richard Kahan Explain the Importance of Script Notes

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GET SCRIPT NOTES FROM NICHOLAS BOGNER

The post Mastering the Art of Receiving Notes with Nicholas Bogner, Lit Manager and Producer appeared first on Coverfly.

Rimshot!

(I apologize. To quote a legendary American hero, “I yam what I yam.”)

Serious face: ON.

The labor union that represents screenwriters in the United States, the WGA has existed in name since 1954 — but its origins stretch back further than that, to over a century ago. Screenwriters banding together has been a thing for almost as long as movies have.

Unions, in general, have a somewhat fraught, rollercoaster ride of a past in the US, so it’s helpful to ask:

What exactly is the WGA? Where did it come from?

The Pre-WGA Era or “The Salad Years”

In the early days of cinema, (the great-great-grandpappy times of the 1910s and '20s), “photo-play” writers were more like scenarists typing out lists of shots that could be quickly turned into a filming schedule. Often, the stories told in these pre-sound era movies were assigned to them by a studio, star or director, and there was no question of ownership or copyright for a work that was rarely original and barely even a script.

That started changing with the addition of title cards and dialogue, along with longer running times and more developed storylines. But Hollywood writers still didn’t have the artistic credibility or cachet of a playwright or novelist, so they started forming societies and leagues — basically, clubs — both for social purposes and professional development but also for reasons that would be familiar to any modern-day support group: the reinforcement of, “Nope, you’re not crazy, we see it, too.”

A precursor to the WGA was the Screen Writers' Guild (SWG), formed in 1920 to protect the interests of screenwriters by standardizing contracts, establishing minimums, promoting the profession and regulating a system of credits, among other goals. The SWG thrived for a while (they even had their own magazine, The Photodramatist, a word I sort of wish would make a comeback) but by the end of the '20s the group had become less active and relevant.

Read More: Screenwriting Career Advice: WGA Committee of Women Writers

The Studios Push Back

To my knowledge (and if I need to be corrected, please send them my LinkedIn profile), no business entity has ever really been a huge fan of its employees organizing to charge it more money. The big Hollywood studios were no exception. 

Recognizing that the labor movement was quickly gaining popularity and power during the Great Depression, Louis B. Mayer (the second "M" in MGM) launched the Academy of Motion Picture Arts and Sciences in 1927 as an organization intended to negotiate between the artists and studios. Six of its original members were screenwriters, and everyone who joined seemed generally well-intended.

Some suspect, however, that Mayer's idea was more of an effort to grab control of the unionization wave and head it off at the pass. If so, it didn't stick. AMPAS still exists today — it's the same Academy that awards the Oscars — but it's a historic preservation and arts advocacy organization, and no longer plays its original intermediary role. 

That has since been handed off to a group called the AMPTP (Alliance of Motion Picture and Television Producers), which is, essentially, the official representative body of the studios and networks, and the organization against which other unions and guilds go on strike.

A Union is Born

Screenwriters got their second wind during the rise of the labor movement and in 1933 reorganized and revitalized the SWG, leading to a series of negotiations, disputes and legal wrangling with the studios that went on for the rest of the decade. The studios didn't recognize the union until 1939; the first Minimum Basic Agreement (it's still called this), outlining minimum basic pay for various screenwriting jobs, was signed in 1942.

In 1954, the SWG folded into the Writers Guild of America (which has two branches due to their slightly different origins: the WGA East and WGA West).

The Strikes

The WGA has gone on strike several times during its long history since then, and it's helpful to the process of understanding screenwriters and their union to examine what demands its members were making in those negotiations (it's also a fascinating record of cinema and television history). Many thanks to the guild's source for this information, A History of WGA Contract Negotiations and Gains.

(One quick note: "residuals" are payments generated to the writer when their work is reused in a different medium than its original format — reruns, syndicated sales, licensed to streaming services, movie re-releases, etc.)

• 1960: A 22-week strike that established a theatrical and television residuals system, a pension plan and industry health insurance.

• 1973: A four-month strike that resulted in a cut of gross receipts from videocassette sales and pay TV fees, among other gains.

• 1981: A 13-week strike that gained better residuals for writers in television, both from made-for-TV movies and shows syndicated to basic cable.

• 1985: A short, 2-week strike that resulted in an improved formula for residuals from home video sales.

• 1988: Another 22-week strike, slightly longer than the one in 1960, and the longest in the WGA's history to date. Increased residuals for various types of basic cable programs and improved rights for creators of original scripts for theatrical and TV movies. Also established more oversight of the process of calculating residuals.

• 2007-08: A 100-day strike that brought the WGA further into the digital age, establishing minimums for new media content, digital downloads and programming for ad-supported Internet outlets.

Today

The WGA still exists and maintains its original purpose of representing screenwriters in film and television. As of this writing, a strike is currently in progress, as the guild tries to address significant issues impacting its members such as streaming residuals, mini-rooms and the role of AI.

The guild has also expanded over the years to provide more than just collective bargaining power. It offers a range of services from script registration to credits arbitration, maintains a library of classic scripts, hosts screenings and panels related to screenwriting, produces a writing-specific awards ceremony every year, and runs a foundation that offers veteran services and mentorships to emerging writers, among other programs. 

The union's members have rewarded the WGA's devotion to their craft with a unanimity that is rare among any organization, especially one with approximately 20,000 members. The current action's authorization vote received an astounding 97.9% support.

Though rarely as glamorous as what's depicted on screen, Hollywood history is endlessly fascinating (I didn't even touch on the McCarthy Era and the Blacklist here, which hugely impacted screenwriters, because that's a WHOLE other article — but for more about the WGA's origins, Hilary Swet's The Screen Writers' Guild: An Early History of the Writers Guild of America was an excellent source of information for this article.)

As current events prove, that history is still being made every day, and the members of the WGA continue to drive that narrative.

Read More: New to Coverfly: WGA Verification

Karl Williams is a screenwriting instructor at Scottsdale Community College in Arizona. He has won the Comedy and Sci-Fi Awards at the Austin Film Festival and the Jack Nicholson Prize for Excellence in Screenwriting at UCLA, where he earned his MFA. In addition to teaching, Karl blogs about screenwriting for Final Draft and co-hosts the screenwriting advice podcast Get Your Story Straight. 

The post The History of the WGA appeared first on Coverfly.

Jonny is a producer, entertainment executive, and founder of JP International Productions, but he's now also one of the talented professionals offering Industry Direct Notes on Coverfly. He was kind enough to share some excellent tips on the process of getting notes on your script, how to make sense of them, and how to turn those suggestions into great edits that strengthen your story.

Check out our interview with Jonny Paterson below, then continue on for some of our favorite takeaways.

You're on the Same Team

It can be difficult receiving notes, especially when they address things about your story that you really like or that you think work really well. So, how do you deal with feedback you don't necessarily agree with? Well, it all starts with understanding that the reader, producer, or executive want the same thing that you want — for your project to be successful. Jonny says:

"It's a balance — and the balance is between your own vision and what you're going for and what the executive that you're talking to and working with is telling you is going to give your project a better chance of success. Those two things don't always go hand-in-hand, and that looks like compromise."

He goes on:

"One way to look at it is when we give you notes we have mutually aligned goals, which is to make something together. None of us has time to spin our wheels on things that either we're not excited about, don't really believe in, or just don't want to do. I would always come at the notes-receiving side of it from an understanding of who we are and why we're giving them, which is genuine to try to help you."

Read More: Mastering the Art of Receiving Notes with Nicholas Bogner, Lit Manager and Producer

Identify the "Note Behind the Note"

You might've heard this phrase before — the "note behind the note." Essentially, it's referring to the fundamental issue a note is trying to address. This is an important distinction, because writers, readers, producers, and executives are all human beings with different communication styles and understandings of the project, so it's vital to be able to navigate through the notes you receive to understand the point they're trying to make. Jonny explains:

"If you understand where the note is coming from, then you as the creator can have creative license to try things and come up with the best version of it."

At the End of the Day, It's About Building Relationships

Receiving notes can be a really vulnerable thing for many writers, so naturally, the chance of taking things personally is quite high. However, the name of the game is maintaining and growing your professional relationships, so make sure to keep your communication respectful and professional. Jonny says that "this industry is about building relationships," and goes on to say:

"If you're taking notes and you just don't like the notes, you don't agree with the notes, you don't want to address the notes, that doesn't mean your relationship with that person has to be fractured because of that. It's just a case of being respectful to each other for each other's time and energies. So, you just respectfully say, 'We're not creatively aligned on this.'"

Read More: Let Writer/Producer Richard Kahan Explain the Importance of Script Notes

The post Tips on Receiving Notes from Producer & Entertainment Exec Jonny Paterson appeared first on Coverfly.

The first is designed to celebrate the bests of the year-end lists, the latter to highlight the top emerging voices, and to put them and their team front and center rather than just their samples.

When we compiled the list we thought, if nothing else, it will be interesting to look back a year later and see what the featured writers accomplished. We knew there would be some cool highlights, but we were blown away by what the 2021 selections accomplished in 2022.

Let's go over a few of them from the 2021 Coverfly List of Lists and the Tracking Board Next List.

Next List Successes

Here is an eye-popping breakdown. From the inaugural Next List, in the past year, of the 30 featured writers we had:

• Co-EP of HBO Max series LEGENDARY
• Staff writer on Sony/Peacock series TWISTED METAL
• Writer on the Emmy award-winning series ARCANE
• Optioned their feature to LuckyChap, Amy Lo, and Indian Paintbrush producing.  Christina Choe directing
• Staffed on STRAIGHT MAN at AMC
• Story Editor on Season 2 of AMC series DARK WINDS
• Staff writer on DINNER WITH THE PARENTS for CBS Studios and Amazon
• Story Editor on latest season of STRANGER THINGS
• Staff writer on Netflix series THE CRAVING, EP’d by Darren Aronofsky
• Director of an episode for Issa Rae’s RAP SH!T on HBO Max
• Winner of Special Jury Award for Directing and Community Filmmaking at SXSW
• Staff writer on latest season of BRIDGERTON
• Staff writer on Mahershala Ali series THE PLOT on Onyx
• Staff writer on BEEF on Netflix
• Staff writer on THE CLEANING LADY on Fox
• Staff writer on Tessa Thompson podcast THE LEFT/RIGHT GAME
• Feature film produced by Voltage Pictures
• Staff writer on Freeform’s SINGLE DRUNK FEMALE
• Winner of Disney Fellowship

All of this SINCE the release of the list.

VIEW THIS LIST

Best Unrepped Writers Who Have Since Signed

Not to be outdone, we had similarly encouraging results from our inaugural Best Unrepped Writers List as 7 of the featured writers have since signed with representation at major management companies and agencies.

• Jay Franklin: Staffed on Netflix S2 of Sandman signed with Circle of Confusion
• David L. Williams: Signed with manager at Gramercy Park + agents at Verve, optioned feature Clementine
• Russel Goldman: Signed with agents at Verve
• Baakal Geleta: Signed with managers at Entertainment 360
• MacKenzie Fallon: Signed with a manager at Authentic, developing a feature film with production company End Cue
• Caroline Renard: Signed with managers at Artists First

VIEW THIS LIST

2021 Most Viewed Project Wins

One of the most popular resources on the Coverfly Industry portal is the search functionality that provides hyper-specific results down to the format, genre, subgenre, writer background, representation status, ethnicity, or unique life experience. Take a look at this breakdown of successes from Coverfly's Most Viewed Projects List of 2021.

• Neer Shelter | CALL OUT: Signed two shopping agreements with Citizen Skull
• Jennifer Grand | THE THIRD STAGE: Signed an option agreement with John Funk Productions
• Asabi Lee & Paul Hart-Wilden | HAUNTING AT 1600: Attracted attention from several producers; writers got hired to write Gabourey Sidibe's PALE HORSE with Chris Courtney Martin after being featured and repped through Coverfly
• Thomas Douglas Mann | GET HAPPY: Signed a shopping agreement with Citizen Skull Productions
• Tricia Lee: GOOD CHANCE: Signed with a literary manager at Neon Kite; project currently has EPs attached

VIEW THIS LIST

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As Coverfly has continued to grow and evolve, we are excited and honored by the opportunity to support thousands of writers in varying stages of their careers.  In 2022 alone we were able to help writers land a paid writing gig at Paramount, staff on a Hulu series, and release their film on Netflix.

As the industry evolves and presents new opportunities with new challenges for writers, Coverfly remains committed and excited to help whomever, however we can.

We will see you all in 2023!

The 2022 List of Lists is out now!

VIEW THE 2022 LIST OF LISTS

The post List of Lists: Where Are the 2021 Writers Now? appeared first on Coverfly.

Producer, writer, and actor Richard Kahan (Beacon 23, Outlander) is one of the high-level industry professionals that offers coverage through Coverfly Industry-Direct Notes. Coverfly recently got the chance to speak with him about the benefits of getting feedback on your script from a fellow screenwriter, as well as the importance of being a part of a writing community.

Check out the interview below and continue on to read our favorite takeaways.

Don't Be Afraid of Receiving Script Notes

First and foremost, be open to feedback. It can be difficult to hear negative things about your work, but it's important to remember that the goal is to make your screenplay the best it can be.

Kahan says:

I think it's very natural to have that immediate reaction of like, "Oh, no, no! Don't change." If you don't care about what you're writing, you wouldn't have that reaction. So, I think that speaks to passion. And that's totally normal — I get that; everyone I know gets that. That being said, you know, your mind works differently than mine. Your life experience is different than mine. That's the beauty. In a TV writers room, when it's working well, it should be — everyone has different ages, different ethnicities, different backgrounds, different life experiences. You bring that to the page.

No screenplay is perfect and having other people read it, especially a professional, will open your eyes to its real potential. It's better to have a flawed screenplay that you're willing to revise than a "perfect" one that no one will ever read.

Read More: Mastering the Art of Receiving Notes with Nicholas Bogner, Lit Manager and Producer

Should You Get Script Notes from a Fellow Screenwriter?

When writers consider receiving script notes, they naturally think of script consultants and professional script readers to send their work to. But, should they send their scripts to fellow screenwriters? Yes. Why? Because they not only understand story structure, character development, and other story elements but also the arduous experience of sitting down and actually crafting a story from a blank page. Kahan explains:

Working with other writers and getting notes from other writers, I think you're gonna get specificity. And that makes the job easier. Again, not to say the managers and execs can't give great notes, but I think when you are used to sitting down at the typewriter and bleeding, as the saying goes, you know — you're in it, you know what that's like — you're gonna give actionable notes.

The Value of Being in a Writing Community

There are many reasons to be a part of a writing community. For one, it can provide you with support and motivation when you need it most. Additionally, being part of a community can provide you with valuable feedback on your work so you can improve your craft and become a better writer. Kahan shares his experience of working with his own community of writers:

It's hugely valuable...to have that core group...especially when you're working in features, because you don't have that in a writers room. So to have that, from just a technical note standpoint, is huge. It's also networking...it's that support system. It's that group that can give you notes that you trust that you know have a different lived experience than you. 

Read More: Tips on Receiving Notes from Producer & Entertainment Exec Jonny Paterson

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GET SCRIPT NOTES FROM RICHARD KAHAN!

The post Let Writer/Producer Richard Kahan Explain the Importance of Script Notes appeared first on Coverfly.

Since early 2022, Coverfly has been allowing writers to verify their Writers Guild of America (WGA) membership. This allows industry professionals to search for WGA writers and allows writers to promote their accomplishments. After evaluating the verification method as well as talking to many of our users, Coverfly is pleased to announce that we have modified the WGA verification process to make it much simpler. The new process improves security and usability, and gives users the flexibility to add a few additional guilds to their profiles!

Previously, we were verifying WGA memberships by requiring users to upload images of their WGA member cards or membership IDs. We recognized that this required information that not all members wanted to provide or had convenient access to. The new verification process is safe and secure and much simpler

How Does It Work?

First, go to your settings page and find the "Are you a member of any guilds?" section.

Whether you’re signing up for Coverfly for the first time or going into your user settings to add your membership, it's as simple as designating that you are part of the WGA East or WGA West, and then depending on your selection, providing the link to your WGA public profile from the WGA Member directory.  It looks something like this:

https://directories.wga.org/member/firstnamelastname/

You can find your listing in the WGA "Find a Writer" directory by searching your name on the WGA directory.

Since we are asking for your public profile that is available to anyone on the internet, we do need to validate that you are the person listed in the URL above. We are asking you to upload an image/PDF of a letter/email from the WGA, or your WGA membership card. Please remove any and all sensitive information.

Once we determine your membership status (which may take 24-48 hours) your profile will include a “Verified WGA Member” badge. 

Additionally, industry professionals can find you by searching for WGA members!

Along with the new process, we have also added some additional guilds (with the plan to add more in the future) that can be included in your profile if you belong to them and decide to include them.
the updated process.

Try it out now!

Read More: The History of the WGA

The post New to Coverfly: WGA Verification appeared first on Coverfly.

Born in Australia, the Colorado-based writer broke in without a manager after racking up a whopping 24 listed accolades on Coverfly. She's the perfect example of a writer who used Coverfly as it's designed — submitting to, placing in, and leveraging a variety of programs and competitions until she got her foot in the door. Perhaps the most normal part of Billie Bates' path to success is the amount of time, effort, and sheer force of will it took to get her to where she is today!

We caught up with Billie to talk about her journey to success and how she approaches her writing.

Coverfly: Where are you from originally, and did you have a career before you started writing?

Billie Bates: I grew up in Australia. I had multiple careers and traveled extensively before pursuing writing, which I think has been the most valuable thing for me as a writer outside of learning the craft.  

CF: When did you decide to pursue writing as a career, and what was your ultimate goal? 

BB: I was based out of London for a few years, and Chic Lit was having its heyday. It was the type of breezy poolside read I was devouring on work trips, so it made sense that if I wanted to write, I’d write what I know and combine the glamorous world of private aviation and the chic lit genre. I took a few online courses, then wrote and self-published a book. It was terrible — I’m not a novelist by any stretch — but the target audience liked it enough and felt it would make a fun movie. That led me to read my first screenplay and purchase my first screenwriting books and software. I was instantly obsessed and had found my calling. 

"Spirit Halloween was my 6th script in my 5th year of screenwriting, but it took five more years to get traction, go through development, and finally make it to the screen."

CF: How did programs and competitions help you get started and progress?

BB: I won the family category at Nashville Film Festival in 2018 with Spirit Halloween, which led to a few cold-call read requests. One request led to a shopping agreement offer with a known director interested, which I declined, and another led to a paid option, which I took. 

My other option around the same time came via Coverfly Pitch Week. It wasn’t even one of the scripts I was pitching, but Jonny Patterson of Confluential was looking for rom-coms; I remembered I had one gathering dust; he asked to read it, loved it, and optioned it. 

'Spirit Halloween'

CF: You have some raunchy comedies. How did you approach writing a family film? 

BB: Raunchy comedies are my after-dark streaming indulgence, but most of the theatrical releases I've seen in the past decade have been movies I take my kids to. I've learned what works and what doesn't in family films based on their response and my own enjoyment.   

CF: How do you approach vacillating between genres and tone in general? 

BB: I feel the need to vomit out something edgier after being in a tamer space for a few months. I'm a writer with rich life experiences; I'd feel incomplete if I only tapped one of my creative wells!

"Anything that whispers at you on the page will scream at you from the screen."

CF: Any advice for writers struggling with self-doubt? 

BB: Settle in and embrace the journey. You'll hear people say it takes 7-10 scripts or 7-10 years to make it, and I'd have to agree. Spirit Halloween was my 6th script in my 5th year of screenwriting, but it took five more years to get traction, go through development, and finally make it to the screen. 

So write, get your work out there every way possible, and write some more. With so many streaming platforms out there now, content is king. Continually adding to your repertoire will increase the likelihood of having something someone somewhere wants.

CF: Any advice for breaking in from somewhere other than LA?

BB: You need a good work ethic, a non-abrasive personality, one outstanding script, or, preferably, a handful of competently executed scripts; you can share that from anywhere in the world. 

Also, don’t get hung up on finding a manager; get hung up on having a good amount of quality scripts and pitching them. When you have a career to manage, the manager will come.

Christopher Lloyd in 'Spirit Halloween'

CF: Did the script for Spirit Halloween change or evolve over the course of development? 

BB: Early drafts of the script had quite a complex mythology regarding the spirit and the steps needed to put it to rest. At the request of the company that optioned it, I wrote most of it out for budgetary reasons. When Particular Crowd partnered with Strike Back Studios and Hideout Pictures and David Poag came on board to direct, I was able to add back in a streamlined version. I think it's tighter for it and suits the younger-skewing audience better than the original.

CF: What was it like seeing your writing on its feet produced? 

BB: As far as direction, aesthetic, and tone, I couldn't be happier with how seamless David's interpretation was from the page to the screen. 

I'll say this, though, anything that whispers at you on the page will scream at you from the screen. If you think a line of dialogue is serviceable but not great on the page, you'll likely hate it in surround sound!

CF: Any other projects coming up? 

BB: I have a small Christmas film in post coming out in December, and I have a few other assignments in various stages of development. We're also hoping for an announcement from Confluential on The Bait in the coming months. The script has a fantastic director attached — Oran Zegman — who recently released her feature debut, HONOR SOCIETY, with Paramount+. So stay tuned for more on that.

A special thanks to Billie Bates for taking the time to share her story with us.

Spirit Halloween: The Movie is now in select theaters and will be released on VOD on October 11th.

Check out more Success Stories on Coverfly!

The post How Coverfly Writer Billie Bates Broke In With 'Spirit Halloween' appeared first on Coverfly.