We help PREPARE YOUR WORK for the marketplace, then CONSTRUCT AN ACTIONABLE PLAN for getting it out to the industry decision-makers that matter most....AND IT WORKS!
HBO DEVELOPMENT EXEC JOINS NEXTV CONSULTING TEAM.
Matthew Bass, who helped develop TV and FEATURE FILMS at HBO for 10 years, has officially joined our Consulting team. HBO is where the industry's Elite artists & executives land...and Matthew worked there for 10 years. He's excited to help us prep you for the marketplace!
"A whole lot more than script coverage, for a whole lot less." - John Merkett
"Working with Randy Becker for my very first
TV pilot...was the best decision I’ve made." - Joanne Rose
HISTORY OF SUCCESS:
- Developed TV PILOTS commissioned at: HBO, FX, SHOWTIME, COMEDY CENTRAL, LIFETIME,....
- Set up FEATURE FILMS at: PARAMOUNT, FOX SEARCHLIGHT, PLAN B (Brad Pitt's Co.) & w/ indie Financiers.
- Developed NICHOLL FELLOWSHIP-Winning scripts
- SOLD a GRAPHIC NOVEL to HARPER COLLINS
SERVICES - Script Development and Sales Consultation
Note: we will NOT TAKE A COMMISSION ON THE SALE of your work and YOU RETAIN 100% OWNERSHIP.
You have TWO ways to engage us:
I) SCRIPT DEVELOPMENT & CAREER CONSULTATION - we come on board, not just to develop individual projects, but to steer and transform your career so you can leverage the assets you have to make dramatic leaps forward in the entertainment industry.
II) A LA CARTE SERVICES - you bring us on to help develop and sell a particular project. This includes both script development and sales consultation.
I. COMPREHENSIVE CAREER CONSULTATION...
As your personal consultants, we will assess your career goals, look through your inventory of material and ideas, examine the marketplace as it relates to you and generally lay out a comprehensive plan for moving your career forward....then we will methodically execute that plan with you.
note: This is not limited to a single project, but instead takes a comprehensive look at your overall career. HOWEVER, in developing projects with you, you will receive development notes and the same level of scrutiny that those who have chosen our 'a la carte' script development services.
$499/month (consultant: Randy Becker)
$899/month (conslutants: Randy Becker & Matthew Bass)
Note: Matthew Bass has recently left HBO after 10 years developing feature films and TV for them. HBO is where the industry's elite artists AND executives land.
Email for details: firstname.lastname@example.org
II. A LA CARTE...
1. Basic SCRIPT DEVELOPMENT
1-on-1 Development Session (w/ Randy Becker)
Script Development Document
This is an 'a la carte' package. Each additional rewrite we work on is $149.
EMAIL FOR MORE INFO: email@example.com
2. THE STEP DEAL (sample us first...) - $149
- IF YOU LIKE US, add the 'full package' (+ $349)
STEP 1: Try us out.
STEP 2: Add the Full Package (see below)
FULL PACKAGE - $399
1-on-1 Development Sessions (w/ Randy Becker)
- for Original Material & 1st Revision
Action Plan for SELLING your work
- WHO to target
- HOW to present your material
- WHAT additional material (we'll work on the following with you)
'Script' for Cold Calls
"NO UNSOLICITED MATERIAL" obstacle
4. EXECUTIVE PACKAGE (with INDUSTRY CONSULTATIONS) - $799
(OR 4 payments of $250)
Action Plan for SELLING your work (see above)
INDUSTRY CONSULTATION with Matt Bass
- 1-on-1 Script Development Session
- Script Notes Document
* Because this is a discounted package, there are no refunds once we have done the initial analysis and had our first development session together.
Randy Becker for my very first TV pilot, Sex and the Single Vegan, was the best
decision I’ve made. His expertise and professionalism were very reassuring and
kept ideas flowing. He was as equally passionate and dedicated to the script as
I was, which is priceless in this business. The experience challenges you to
become an even better storyteller. I would work with Randy Becker again in a
Rose, Writer/Actor/Producer www.veganvision.net
SHOCK! I am currently negotiating a significant option agreement (for
significant money!), thanks to Randy Becker[NexTV]!”
worked intensely with Randy on my feature for over 4 months, including 2 major
rewrites and a polish. I’ve never written at this level before!
Randy helped me get to AGENTS and production companies at a level I had only
dreamed about. I’m having the time of my life!”
to Randy’s attention to detail and his honest assessment of what the story
needs, I am learning what it takes to be a professional writer. I will gladly
work with Randy again.”
came to them with an IDEA...and now I have a brilliant TV PILOT. Randy
Becker walked me through the entire process. I've never had someone
spend so much time helping me get my writing in order....and now Randy
Becker is helping me get it in front of agents and producers! Highly
recommend this service.
- Katherine Stones
is my pleasure to report on my first development meeting with Randy Becker,
which lasted for an hour-and-a-half.
was sensitive to the story I am trying to tell, probed for what I was trying to
accomplish, pointed out areas where I was not clear in my intentions, helped me
to see the problems with my main character, and made several suggestions for
improving the plot, without attempting to get me to write a different story (as
is so usual with development notes).
found his approach to working with me exactly what I need: sympathetic support,
sensitivity to the writer’s goal, an objective view of what has been written so
far, suggestions for possible directions I could go and fixes I needed to make
in my story and characters, delivered in a non-directive manner, while
listening very carefully to what I wanted to bring to audiences. I recommend
Randy’s supportive approach to any screenwriter.”
George Schwimmer, PhD
TRAILERS...FOR YOUR SCREENPLAY?
mission is to provide tools that can help you become a successful
artist. In this series we hope to illuminate
different aspects of the business you are in and make it a bit easier to climb up the career ladder.
And remember, the FINAL DEADLINE for the WRITING & PITCH COMPETITION is May 24...4 DAYS.
The video below is the last of the Cinematic Study Guides
for now. Next week it's back to the PoPS updates until Episode 7 comes out.
One of the standard
tools of YouTube audience building are collabs. Collabs, I'm sure you'll be
hyper-shocked to find out, are the abbreviated form of saying collaboration
videos. You find someone else on YouTube with similar interests or a similar
style of content and you collab…orate. Usually without being in the same place.
You each shoot your individual parts and the person who suggested the collab
has to edit everything together, it goes up on their channel, and both channels
promote it in the hopes of fostering audience crossover and growth for both
These can be hard to
organize. People are super busy. The more subscribers they get the busier they
get. I recently tried to get a collab going for a Cinematic Study Guide and
though the folks I reached out to said they were up for it, our schedules never
I've used the spirit of
the collab in PoPS newscasts. In episodes 4 and 5, whenever a newscast comes
on, those are other YouTubers appearing as newscasters and witnesses. I think
they all did a great job, but I also think it's hilarious the way the
microphones keep changing. I don't know why that's so funny to me. I've been
able to arrange some fairly prominent cameos thanks to the help of my buddy
Craig using his clout to reach out to them. I also had contact with an author
I'm a big fan of, J.A. Konrath, he's at the forefront of the e-books movement
and has made a lot of money through self publishing and speaking out against the
parts of traditional publishing he has a problem with. I sent him an email
asking him to be a lynchpin character in episode 7. He said he'd do it if I
would agree to a rewrite he did on his character. He did a hilarious rewrite
that enabled it to be more of a crossover with his social media persona and I
loved it, it was just too much of a departure from the series so that was
another collab that didn't work out.
Several times I've agreed
to be part of collabs where I wasn't entirely pleased with the end results.
Interactions like that leads to many people distrustful of sending footage in
to any collab. But here are a couple of examples of collabs that I think are
Thanks for reading!
THE SPEC MARKET
mission is to provide tools that can help you become a successful
artist. In this series we search for articles that can illuminate
different aspects of the business you are in. This week we are bringing
you Scott Myers' take on the Spec Market from his great blog GO INTO
THE STORY more at: http://gointothestory.blcklst.com/
And remember, the EXTENDED DEADLINE for the WRITING & PITCH COMPETITION is May 24. If you rushed to beat the Late Deadline, we'll accept revisions up until May 24...more time to refine and submit your great work.
March 21st, 2013 by Scott Myers
Spec scripts, that is. I’m guessing that perhaps 90% of the
people who follow this blog at some point in their lives will write a
spec script. And the other 10% are involved in buying and selling them.
In light of that fact, last year I interviewed a top manager and some
Hollywood screenwriters about the ins and outs of what is involved in
bringing a spec script to market. I’ve been waiting for the right
opportunity to do something with that inside information, so when Vanity
Fair recently came out with this article — 'When the Spec Script was King'
— a decent piece, but pretty surface level, I figured this is as good a
time as any to dig into the subject in a comprehensive fashion.
In Part 1, we looked at the genesis of the spec script in Hollywood from 1900-1942.
In Part 2, we covered the emergence of the spec script market from 1942-1990.
In Part 3, we analyzed the boom, bust, and back again of 1990-2012.
In Part 4, we surveyed the buyers, both major studios and financiers.
In Part 5, we examined the screenwriter-rep relationship in terms of developing a spec script.
Part 6: Rolling out a new writer's spec script
There are multiple ways in which managers and agents take out a spec
script, but when it involves a new writer, there can be an additional
value in going wide. Check out these observations from Chris Fenton,
literary manager and producer of H2F Entertainment from an interview I
did with him:
It depends on the script. We’d like to have something
that works for both the studios and the financiers, a script that could
be a big blown-out studio movie as well as something a little more
constrained that can work for financiers with smaller budgets. If we
have something like that, I want to introduce that writer and their
script to everybody in town. I want to create excitement around a piece
of material, make sure the tracking boards are covering the project, and
try to get it out to 120 producers, get everybody reading it. Because
you never know what can happen with a good piece of material and the
right producer. Maybe it doesn’t sell, but it gets that producer
thinking about another assignment, creates an opportunity for the writer
that way, too. Bottom line the spec market is a fantastic way for
getting a new writer to be read.
A lot here. Let’s unpack it:
* First and foremost, everything depends on the script. As Chris said
elsewhere in our conversation, “It’s super important for us to be very
critical and have a high quality control when it comes to representing
writers because every time we sell something, that makes it that much
easier to get everybody to read our next writer client and their script,
and read them fast to try to make another sale.” This underscores what
we discussed in Part 5: No script goes out until it’s ready.
* The desire for writers to craft material that can be sent to both
sets of buyers — the major studios and independent financiers — is
understandable. As discussed in Part 4,
the odds of a deal are much better when dealing with 50-75 buyers than
no more than 9 major players. The subtext here is that writers would be
wise to don their producer’s hat when conceiving, developing and writing
a spec script, one that is cognizant of budgetary issues. If you write a
script that can only be produced for $100M or more, you seriously
reduce the pool of buyers. If, on the other hand, you create a script
that could be made for $30M, but if a major studio wants to step in and
lay in all sorts of special effects and set pieces, then you have two
sets of buyers.
* 120 producers or whatever the number, the goal here is to get a
writer and their material maximum exposure. All it takes is one set of
eyeballs to get the script, to become its champion. Moreover,
as Chris noted, producers are involved in multiple projects. Perhaps
they like what you’ve written and have another script in development
they can plug you into. And yes, Hollywood players are in a constant
state of motion, moving from this gig to that, that gig to this.
Exposing a writer to as many producers and studio execs as possible may
not translate into anything specific in the present. On the other hand,
if a writer can make connections with multiple players, that increases
the odds that at some point in the future, the writer’s name will arise
in relation to another project.
* “The spec market is a fantastic way for getting a new writer to be
read.” The meaning of that is simple and plain, and should encourage
each of us — aspiring screenwriters to professional screenwriters. There
is nothing quite like a spec script in terms of its potential to
introduce a new writer, redefine an established writer, reawaken the
career of a floundering writer, and generate enough heat to translate
into a writing assignment or an actual sale.
Next week: Another installment in this series.
The Business of Screenwriting is a weekly series of GITS posts
based upon my experiences as a complete Hollywood outsider who sold a
spec script for a lot of money, parlayed that into a screenwriting
career during which time I’ve made some good choices, some okay
decisions, and some really stupid ones. Hopefully you’ll be the wiser
for what you learn here.
The video below is the second to last Cinematic Study Guide,
in which I give my thoughts on Iron Man 3 and recap the plot of Batman the
Movie from 1966.
Okay. The next logical step in crowd sourcing appeared a
couple days ago and it makes perfect, beautiful sense. As artists back in the
day had patrons who sponsored their ongoing work, so appears the website
This dude Jack Conte is an awesome YouTube musician. He
built his audience around a format called video songs. He would perform all the
parts while recording it on video and create big collage-type videos where
you'd watch him actually create the song. The difference between this and a
music video is that these are actually clips of the actual parts being
recorded. His covers are amazing. I first came across him because of his Aphex
Twin/Bright Eyes mashup:
Then a couple months ago he uploaded a couple new videos
with a completely new sound, style, and format. It was clear he had a few
cameras and was doing these videos in one uninterrupted take that he would just
edit together, but it was essentially a live performance. It was awesome. Then
his machine announced a new project. (Warning. This Thrift Shop remix has a TON
of F-bombs. But the video itself is amazing.):
The music video he announced at the end went live two days
ago. It's for an original song. The song is great, the video is amazing, and
the robots and sets and everything are all practical. At the end, an exhausted
and apparently mildly nervous Conte announces Patreon: a site where people can
pledge a certain amount of money to Conte's videos PER VIDEO. Every time he uploads
a video, someone who's pledged 5 bucks has 5 bucks deducted from their account
and deposited into his. It's a way he's going to sustain his musician/video
creator lifestyle sustained simply by the small ongoing donations of hundreds
or thousands of his core supporters. It's ideal for the musician or the short
video creator. They make lots of little things instead of one big thing. It
brilliant. And people can create their own Patreon pages for their projects on
the site. Simply awesome. Here's the video and a link to his Patreon page where
he explains the whole concept himself:
Thanks for reading, guys.
- Jake Jarvi