CONSULTATION SUBMISSION CHECKLIST

These are the most common presentation issues with the screenplays and/or manuscripts I receive prior to coaching. They are all issues that will weaken your chances of getting your material favorably read by agents, editors and executives. None of these have anything to do with craft; they are simply the qualities of professionally presented writing. So please make sure you have addressed these before sending me (or anyone) your work. (Those with asterisks * apply only to screenplays, not novels).

1. Your NAME and the TITLE of your story should be on all scripts, manuscripts and outlines – anything you send me.
   

2. The TITLE PAGE (if it’s a screenplay or manuscript) should include only the title, your name, and your (or your agent’s) address and phone number; no date, and no copyright or WGA registration information.

3. *If you’re submitting a screenplay, follow the acceptable SUBMISSION SCRIPT FORMAT outlined in either my book Writing Screenplays That Sell or The Screenwriter’s Bible by David Trottier. Use a formatting software program such as Movie Magic Screenwriter, or Final Draft. Omit all unnecessary shooting script devices, such as scene numbers, sound effects in capital letters, or “continued” at the top or bottom of each page.

4. PROOFREAD, correcting all spelling, grammar and punctuation. Pay close attention to the use of commas, and for commonly mistaken homonyms like there/their/they’re and its/it’s, do a search on every version to make sure it’s the proper usage.

5. *In a screenplay, any change of location requires a NEW SCENE, with a new SCENE HEADING.

6. *BEGIN all scenes with action and/or description – never dialogue.

7. *Always INTRODUCE characters into each scene before giving them dialogue.

8. Use COMPLETE SENTENCES, except in those very rare instances where an incomplete sentence will create emotional impact.

9. Never introduce more than ONE CHARACTER PER PARAGRAPH, and avoid group introductions as much as possible within any sequence.

10. *Omit all PARENTHETICAL DIRECTIONS except for clarity. Never tell the actors how to deliver their lines.

11. *Describe the characters’ actions, but don’t get caught up in minute details, movements and gestures – those are the actor’s job.

12. *Nothing goes on the page that doesn’t go on the screen. You can only reveal what the audience will SEE AND HEAR as they watch the film. No thoughts, feelings, background information or commentary. This is the most common weakness I encounter in the scripts I read – and I’m a stickler for it!

 - Michael Hauge

www.StoryMastery.com © 2011 Michael Hauge