Friday, May 27, 2016

Get Repped Now EXTENDED - MUST END 5-29!

This is it, your last chance, boys and girls! Our customary one-week Get Repped Now extension is quickly coming to a close. All submissions must be received by midnight Pacific Standard Time, May 29, 2016 to qualify. And there is NO late entry fee! Entry cost is the same as always -- $129 for screenplays, $99 for 1-hr pilots, which includes detailed, world-class screenplay analysis of course.

If you're unfamiliar with Get Repped Now, it's not a contest. It is our twice-yearly promotion wherein we gather the best script submissions (judged a 'consider' or better by our readers, roughly top 5%) received during the Get Repped Now period, and forward to our panel of top industry managers with our recommendations. In the past, this has led to meetings, several writers working with these managers and even a huge spec sale to Disney (Brandon Barker's "Nottingham and Hood.") But even if you don't make the cut, and most don't, you still  receive a detailed coverage report telling you how to make the script better, to help you polish that script to perfection.

To find out more about how all this works and for the official rules, just click right here. Then hurry up and get those scripts in, because as of midnight Sunday, Get Repped Now is history until fall. 

Oh, one last thing: we're deluged with last-minute submissions, so our typical 10-day turnaround is now more like a month, and we cannot accept any rushes. Sorry about that! 


The Grisanti Edge

IN A WORLD of 1,001 script consultants, Jennifer Grisanti stands alone. The founder of Jen Grisanti Consultancy Inc., Jen is the real deal. A former television exec, she learned how to break story from the master himself, Aaron Spelling, and eventually ran Current Programs at Spelling Television Inc., covering all of Spelling’s shows including Beverly Hills, 90210, Melrose Place and Charmed. In 2004 she became VP of Current Programs at CBS/Paramount, covering Medium, Numbers, NCIS, 4400, Girlfriends and more.

Now a highly sought-after author, teacher, consultant and lecturer, Jen has helped a staggering number of clients break in to the biz. We caught up with her to see how she got to where she is today, what the future holds, and how all of us writers can benefit from the Grisanti edge.

by Jim Cirile 

Jim Cirile (Jim C): Thanks for taking the time, Jen! Tell us, where are you from, and where did you go to school? 

Jennifer Grisanti (Jen G): Southern California, I’m a local girl. And I went to USC. I majored in Communications (with) a minor in Cinema. I knew I wanted to go into entertainment. I just wasn’t sure exactly what the path would be. My first year out of college, I did a few entertainment internships, like at Stephen J. Cannell Company and Lorimar Casting. And then I went to the Friedman (Personnel) Agency, (who) placed me with Martin Ransohoff Productions and then with Aaron Spelling.

Jim C: Was that your first exposure to script development and coverage?

Jen G: Yeah, in both places.

Jim C. Did working with Spelling help define your path in the biz?

Jen G: At the time I got in the Spelling office, I was still a little unsure. I knew I didn’t want casting, and then it was, do I want to produce? Do I want to be an agent or a manager? Do I want to write? What do I want to do? Being in his office was an excellent training ground for opportunity. My parents had gone through a divorce after 27 years of marriage, and the irony is my mom gave us Tony Robbins tape sets to help us get over the divorce. Tony is all about “focus on what you want and make it happen.” Those influenced me a great deal, because when I was in the Spelling office, I suddenly recognized that there was no one in his inner office reading scripts. And so I quickly saw the opportunity, because he would often call out to us and have to make so many calls to get the answers that he wanted. So I thought, what if I were to read the scripts every night? Then I would be able to help with some of that. And I started working until 9:30 at night, reading scripts until 11:30 at night, and then working with Aaron Spelling the next day. 

Jim C: So you basically gave up your life for this incredible opportunity.

Jen G: Oh, yeah. I was there for 12 years, and it was a lot of work. It was a tremendous experience. He set the foundation for everything that I do. He was an incredible mentor. But you can’t lose sight of the fact that it was a tremendous amount of work and a huge commitment. 

Jim C: I’m assuming that meant making some sacrifices, such as having a life.

Jen Grisanti with Aaron Spelling

Jen G: I was married and divorced during that time. How do you keep your life in balance while working these incredible hours? You have to really (look at) ambition versus personal life. I definitely went through a lot in finding my answers of what I really wanted during that time.

Jim C: We’re all human, and our experiences shape and hopefully empower us.  

Jen G: I definitely believe that what happens in our life forms our voice and gives us something to say. I’m definitely a believer that when you come from your truth -- and of course, that came from my two pivotal life moments of a long relationship that ended in a short marriage and a job that ended after 15 years with two sister companies (Spelling and CBS/Paramount). When you go through that kind of trauma and upheaval and loss, you really have to figure out what is it you want. And I think truth was the biggest thing that came through me during my journey of healing through those pivotal life moments. And it is those moments that sold my book “Storyline: Finding Gold in Your Life’s Story” and “Change Your Story, Change Your Life -- a Path to Success.” That is why my brand is (about) understanding your emotional truth, because that’s what connects you to your audience. 

Jim C: So how did you get the gig at CBS/Paramount?

Jen G: I look at my whole career trajectory as far as -- when I was at Spelling, I thought, “Well, this is the best your life is ever going to be, so really be in this moment.” And then I remember being at CBS/Paramount, you know -- when I first went to the Paramount lot, and getting my corner office, I thought, “Okay, now this is as good as life is going to get, so be in this moment.” CBS/Paramount happened when I was at Spelling, and it was beginning to downsize. I had heard about the job at CBS/Paramount, and they were a sister company. I told my president about the job, and he said he’d put me up for it. He had to get Aaron to agree, and of course that was a big ordeal. He got his blessing, and two weeks before I was supposed to leave, Aaron said, “Jen’s not leaving the building, is she?” It really hit him then, and we had a beautiful, emotional conversation. He instilled in me, “You give the best development notes of anyone I’ve ever worked with,” and he taught me how to give those notes. 

It was a big difference at CBS/Paramount. At Spelling, there was really only one layer between me and Aaron Spelling, and so you got your answers a lot quicker, and he knew about everything that was going on. So it was really like going from a mom and pop company to a big, corporate world where you had many layers between you and getting an answer. 

Jim C: What exactly is Current Programming?

Jen G: The department that takes over once a show has been picked up to be a series. My job was to help staff writers and directors and to work with the executive producers from story concept to outline to script to screen.  It was a tremendous exposure to the creative process, because you got to see your notes made on up to five shows every week. You got to see what worked and what didn’t work with the development of story. So that was incredible -- I worked with Glenn Gordon Caron (“Moonlighting”) and Don Bellisario (“NCIS”) and Ira Behr (“The 4400”), some really incredible showrunners --  you are exposed to people who have a gift, and you got to learn from them.

Jim C: So what led to the opening of Jen Grisanti Consultancy?

Jen G: I thought I was going to be running a studio at some point. And then I lost my job. I had five shows coming back… (but) the gentleman who had hired me had lost his job a year before. And so the writing was on the wall. And then on the heels of a conversation with the wrong person on the wrong day, in a moment, everything was gone. And this was about a year and a half after Aaron Spelling had passed away.  It was a real eye-opener as far as going into the idea of “Who am I, if not Jen Grisanti the studio executive, that I’ve been identifying with for 15 years?” So I had to really go through the process of redefining my path, and that led to my opening Jen Grisanti Consultancy. 

Jim C: How did you decide to do that? It’s brilliant, but perhaps not intuitive. 

Jen G: When I lost my job, I was 40 years old. So you had to look at ageism in the environment. At that time, I was the oldest in my department. I had thought about getting another corporate job, but then I’m still going to have to think about what’s next within the next five to ten years. And so I thought, why don’t I think about what’s next right now, because as crazy as it sounds -- even though it was traumatic for me in the moment -- losing my job at a time when nobody expected it to happen led to a lot of support from the community. I had staffed over 15 primetime shows. It segued into the perfect time for me to open my own company. 

Jim C: Sounds like a huge leap of faith. Were you scared?

Jen G: It was terrifying. It was 2008. I lost my job in May 2007. For 17 years I had worked. Suddenly waking up and not having anywhere to go was a whole new life experience for me. I really took that time to heal and to focus and to design my company. In January 2008, I only had two months’ salary left in the bank. Oddly enough, the writer’s strike worked for my company because people weren’t working, and they wanted to invest time in themselves. The day that I launched, I sent it out to 900 people from my Rolodex. I got 175 e-mails back the first day and 20 meetings booked the first week. 
Jim C: Nice. Tell us a little about Writers on the Verge, for which you are the writing instructor.

Jen G: Writers on the Verge is the diversity program at NBC. We accept submissions from the beginning of May ‘til the end of May. Every year we end up with about 2,000 submissions. They select, and then I teach the eight or nine writers, depending on if we have a writing team, over a 12-week period. During that time, the writers write a brand-new TV spec and a brand-new TV pilot. We’ve had a tremendous success rate. Between that and my company, I’ve probably worked with over 800 writers in the last eight years, and I’ve had 40 sold pilots, and I’ve had five go to series.  And staffing-wise, I think it’s somewhere around 75 right now.

Jim C: Incredible. So how can writers interface with you?

Jen G: I have all different levels, since writers are at different levels financially. The Premium Story Subscription is where it all starts, and that’s $22.95/mo. The value of that is about $350 if they are active. They can turn in 3-5 loglines/month, and a 1-2-page pitch document for my review every month. On top of that, they get story tips from all the events that I do and scripts that I cover. As for working with me one on one, one of the most popular consults is a package of five meetings. One pilot consult meeting is $725, for one read and one meeting. If you do five coaching consults, it comes out to $550/meeting, and we could cover up to three scripts in five meetings, as well as pitching skills and meeting skills. And of course I have one read and one meeting, two reads and two meetings, starting in the concept phase and going through the script phase, and the same thing with feature scripts and novels. It’s for anyone who is interested in writing and structuring story and understanding how to elevate it from an emotional perspective. Plus I have a ton of free content on YouTube and on my website, and 65 podcasts with some of the top writers in the business. It’s the good, the bad and the ugly of what it is to be a working writer. 

Jim C: And you have some seminars coming up as well? 

Jen G: I have a master class that I am teaching. I’m doing one in Los Angeles with the International Screenwriters Association, a full day class on writing a pilot. That’s on June 11. The second master class I’m doing is with Screenwriters World and The Writers Store in New York, and that’s a 2-day story event that includes a panel of top writers in the TV world and also a master class on writing the TV pilot. I’m also going to be part of the London Film Festival at the beginning of September. 

Jim C: Thanks so much for all you do for writers, Jen. Continued success!

Jen G: Thank you!

A great way to get to know Jen Grisanti is through her books The TV Writing Tool Kit, Change Your Story, Change Your Life and Storyline. Check them out right here.

Tuesday, May 10, 2016

Agent's Hot Sheet - LIVE! at Scriptfest

Saturday, May 21 2PM- Scriptfest - Burbank Marriott Hotel

Got plans for May 21st? Well, cancel 'em! 'Cause you're not going to want to miss this. We're very proud to be bringing back Agent's Hot Sheet - Live! to Scriptfest. 

As many of you know, I wrote the Agent's Hot Sheet column for a decade for Creative Screenwriting magazine (and you can buy those collected columns as an e-book right here.) It was the most insanely awesome opportunity one could hope for, like screenwriting school times a zillion. Every month I got to chat with the top motion picture and TV literary reps in the biz about whatever the heck I wanted -- and then I coalesced all that into a column brimming with crucial intelligence for any screenwriting trying to break in. 

Ten years of that, let me tell you, you learn a thing or two about the biz.

Thus we are ecstatic to present AGENT'S HOT SHEET - LIVE! We'll be asking five leading agents and managers all sorts of questions relevant to you -- namely, how the hell can you get their attention? What should you (and shouldn't you) be writing now? Is there any money to be made in new media? Should you convert your spec feature to a TV pilot? How important is source material? (Hint: very.) All this, plus your questions, in a rollicking, no-BS 90 minute panel. 

  • Jake Wagner, Benderspink
  • Matt Doyle, Verve
  • Adrian Garcia, Paradigm
  • Jon Kanak, Magnet Management
  • Josh McGuire, Underground
Get your tickets now - this event will sell out! And then stick around for the other awesomeness all weekend long -- a full day packed with panels Saturday, and then pitching on Sunday. Visit and get ready to rocket your writing career to the next level. See you all there!

--Jim C.

Monday, April 18, 2016

Get Repped Now is Back! Thru May 22

We got writer Brandon Barker into Benderspink and UTA. His script “Nottingham and Hood” sold to Disney for six figures.

Now we’re looking for the next killer feature or pilot to set the town on fire. Bring it!


Get Repped Now is not a contest. It’s a promotion we do every spring and fall. For a limited time, all feature and TV pilot scripts that score a ‘consider’ are elevated to our manager panel:

* Kevin Steele - Magnet Management
* Jake Wagner - Benderspink
* Jeff Belkin - Zero Gravity
* Micah Klatzker - Industry Entertainment
* A Rep from Madhouse Entertainment

Brandon Barker


You submit your feature or pilot script to us for coverage at; we send you back a detailed coverage report analyzing every aspect of the screenplay. And if it scores a “consider” for script (roughly top 5%,) it will be personally read by our managers. What happens from there is up to you. Last go-round, two of our considers got meetings and they are now working on material for the managers.

STANDARD COVERAGE COST: $129 for features, $99 for 1-hrs and $79 for 1/2 hrs.

That’s all there is to it. If you get a consider, you get instant access. If you don’t get a consider, you still get a kick-ass and empowering 10-14-page analysis, telling you exactly how it could be improved -- and if you like, you can then resubmit and thus have another crack at it.


For one, we have a relationship with these guys; they trust our opinions and listen when we advocate for something. We’ve gotten many writers signed to agencies and management companies. Our panelists know that we don’t waste their time, and that the scripts will already have gone through some development. And because of our relationships, our panelists read the submissions personally. In short: our stamp of approval means they take the submissions seriously and get to them PDQ.

The door is open.  If you've got the goods, you've got a real shot of getting a kick-ass manager. But hurry: Get Repped Now runs only until May 22. ENTER NOW!

Good luck, everyone!

Please see our website for complete rules and FAQs: 


Founded in 2002, top-rated Coverage Ink is a leading independent screenplay analysis/development service and production company used by emerging writers, established scribes and management and production companies. Visit us at

Meet the Headshot Truck!

Need headshots? They're mandatory if you act, but having a good headshot is important to almost anyone in the business world, or anyone in any creative facet of the entertainment business (which you may have noticed is, er, somewhat image-oriented.)

Our friend Brian Confer (who is also an associate producer on Coverage Ink's upcoming movie MALEVOLENT) is Sales Director of The Headshot Truck, the mobile headshot/photography studio. You may have seen their distinctive pink truck cruising Los Angeles, and now they're set to expand to NYC and beyond. We caught up with Brian to chat about his mission to rid the world of iPhone selfies and bring killer, affordable headshots to everyone. 

SPECIAL for our readers: Use code CI20 and save $20 on your first order.


Brian Confer, The Headshot Truck
Jim Cirile (JC): This is quite a unique venture. Why don’t you tell us what exactly it is and what one can expect from a “Headshot Truck?”

Brian Confer (BC): Thank you! The Headshot Truck is the premier mobile photography studio. We bring our big pink truck to your location and shoot high quality professional photos and headshots for actors and business professionals. We can also turn the truck into an interactive photo booth for special events, parties, name it. We can do anything photo-related on the truck from family and baby photos to product photography. Our expert staff is here to help you every step of the way from makeup, to wardrobe consultation, expert photography, and digital photo delivery.

JC: What is your background, and how did you get involved with the Headshot Truck?

BC: I am the son of an entrepreneur and marketing executive, so the apple didn't fall far from the tree. I have worked in sales and marketing most of my life. I have built sales teams from the ground up for a number of companies. In addition, I am an actor, so the idea of a headshot truck seemed like genius to me. To be honest, I was angry that I didn't think of it first! I was introduced to The Headshot Truck by my friend Adam Hendershott, who is the Creative Director. The business was at a point where it needed a Sales Director to help take their business to the next level, so I was very excited to take on the task.

JC: Why do you think The Headshot Truck has caught on in the way that it has?

BC: The concept itself is very cool. The mobile business industry has been taking off because of the technology age and demand for convenient and cost-effective services. Obviously in Los Angeles we have a lot of headshot photographers, but many of them are very expensive and a client has to come to their studio to get headshots. We bring the studio to you, provide you with a very high-quality product, in a cost effective and convenient manner. Plus, it's really cool to get headshots on the truck! The brand recognition is incredible and people really respond to the big pink truck.

JC: Who can use the headshot truck? It’s not only for actors, right?

BC: That's right! Corporate headshots have become a huge part of our business. Anyone with a LinkedIn profile needs a great headshot to represent their professional brand. Business professionals do not have the time to leave work to come to a photography studio. We do not take up any space in your office. We just bring our truck to you, you climb aboard and in as little as 5 minutes you are right back to work! Plus we understand the importance of a great photo that represents you and your company as a professional. We can create a distinct look for your company and travel to different offices to give a universal look to your company portraits.

JC: What would you say to people, who opine that every iPhone takes great pictures nowadays and someone doesn’t need professional pictures done?

BC: Well, iPhones can take great candid shots, there is no doubt about it. However, many phone photos look like phone photos. If you are representing yourself as a professional, don't you want to take the time and spend the money to really get proper lighting and work with a professional photographer? Your website or LinkedIn profile has to say everything about you in a photo. Social selling has become the norm. You are 14 times more likely to get your profile viewed if you have a photo. People viewing your photo are making a decision whether or not they want to do business with you, so you probably want that photo to do the best possible job of representing you. 

Just a few samples.

JC: What advice would you give people – actors, writers, office workers -- who are currently in the market for professional pictures? What should they look out for when searching for the perfect photographer?

BC: There are a ton of photographers out there with wide range of price points. I would recommend taking a look at the photographer's websites. If they are professional their website will reflect that. Check out what they are offering you. Do you get to keep all the photos? (with us you do,) or is the photographer making selections for you and only giving you a few images? Some photographers make you pay extra for all of the images. Beware of that! A great photographer should be willing to stand behind their work and not nickel and dime you for everything. Also, ask your friends! Referrals are the best way to find a great photographer. Take a look at your friend's LinkedIn pages, social media accounts and ask who shot their photos.

JC: You are currently in the process of expanding your business to other cities. Can you tell us a little bit about that?

BC: We are incredibly excited to launch our second truck in New York this spring. Our Los Angeles truck has been very successful, and we are continuing to grow. We have gotten a ton of requests to have a truck in NYC so here we come! We will also have an Atlanta truck this Fall/Winter and 2-3 more trucks launching every year.

We are setting up regional hubs all around the country. Certainly entertainment-focused cities like LA and NY are getting trucks first, but corporate headshots and events are how we will be able to expand nationally. We want to be able to shoot universal headshots for companies with dozens or hundreds of offices around the country.

JC: How can one find the Headshot Truck?

BC: Go to There you can "Find the Truck", check out our Actor, Corporate, or Event Portfolio and check out our very competitive rates. We are also launching a truck in New York this Spring! Go to to sign up for updates. 


Thursday, April 14, 2016

GET REPPED NOW Returning 4/18

Hold on to yer chapeaus, ladies and gents, but Coverage Ink's Get Repped Now! is coming back Monday April 18th, to once again open up the door of access to top Hollywood literary management

When last we left off, two of our consider from our last go-round landed meetings (Joey Hargrove, who met with Micah Klatzker and Ava Jamshidi from Industry Entertainment, and Pete Cafaro, who met with Benderspink Head of Literary Jake Wagner. We're still waiting to see what fruit those meetings will bear -- both Joey and Pete are working on material to go back to take back in to those managers. 

As this is not a contest or competition, the rules are simple: ALL SCRIPTS SUBMITTED TO COVERAGEINK.COM FOR ANALYSIS DURING THE PROMO PERIOD THAT SCORE A 'CONSIDER' OR BETTER FOR SCRIPT WILL BE READ BY OUR MANAGER PANEL. Sure, there are a few other details you can read about at -- such as NO, considers received last year do not count, and yes, you do have to pay again if you resubmit a fresh draft, because then we have to read the script with fresh eyes and do a whole new round of coverage (there is, however, a $10 resubmission discount.)

We'll be announcing our Spring 2016 panel shortly. In the meantime, do get to polishing those spec features and pilots, and then come Monday, get 'em on in to us -- preferably sooner rather than later, folks, as we always get jammed up at the end of Get Repped Now and wind up running weeks behind -- and you do want a chance to fix any problems we find and resubmit before the deadline.

Bring it.

Jim C.

Wednesday, March 16, 2016

Help Put "Malevolent" Over the Top!

First US Animated Horror Movie Approaches Crowdfund Goal

Howdy, fellow scribes and creatives! Jim C. here with a quick heads-up and request. 

MALEVOLENT is Coverage Ink Films' first feature, and it is a doozy. It is the first-ever American animated horror movie. And what a cast -- we're talking: 
  • Morena Baccarin (Deadpool, Gotham, Homeland, Firefly) 
  • Ray Wise (Twin Peaks, Robocop, Agent Carter, Swamp Thing) 
  • Bill Moseley (The Devil's Rejects, House of 1000 Corpses, Texas Chainsaw Massacre II) 
  • AND a certain legendary Starfleet captain. 
DEADPOOL'S Morena Baccarin with Gamemaster.
We're doing a crowdfund for finishing funds on Indiegogo, and our campaign ends midnight Thursday March 17. So we need all hands on deck to help us crush this goal and make a truly amazing and groundbreaking indie movie. We are just under $40K as of this writing -- SO close! Please chip in and help us over the line. 

As many of you know, Coverage Ink is all about writer empowerment and DIY. Since 2002, we've read tens of thousands of scripts, helped a lot of writers get represented and produced and been here as a sounding board when you're frustrated or can't see the path out of the woods. And frankly, we've been in that spot more times than we care to recall. We're all writers over here as well, and we help each other. Let's face it, being a writer isn't easy.

In fact, MALEVOLENT was developed over 20-plus drafts, sending draft after draft to CI readers until we finally got that 'consider.' I'm not proud to admit that we almost threw in the towel somewhere around draft 12, when it just wasn't working. But my co-writer Tanya Klein forged ahead and made a radical change to act 3 -- in other words, cut the entire thing and redid it, getting rid of a plot twist we wanted all along but which no longer felt organic -- and all of a sudden, the bloody thing started playing nice.

That's the beautiful thing about writers helping writers. Oftentimes, we can't see the issues. We get tunnel vision. But others can see what the problem is -- and when it's pointed out, we go, 'of course!'

Your father will see you now.
We've been working on MALEVOLENT for over 3 years now (animated movies are time-consuming as heck) and it is immensely rewarding to see everything coming together -- as well as the support coalescing behind us. We even were retweeted today by Patrick Melton, the writer of SAW IV, V and VI. How cool is that? And an anonymous backer has come forward to offer a $5,000 MATCH if we hit our $45K goal. Awesomeness.

So now is the time, friends! Please help support this gutsy little indie -- and make movie history in the process. Please drop a couple bucks in our collection plate. Plus we have awesome perks for donors, including producer credits for those who wish to beef up their professional resume! BE AWESOME! 


Please contribute. Or Cyrus will be upset.

Tuesday, February 23, 2016

Coverage Ink Needs Your Help!

by Jim Cirile
Art by Daniel Oduber.
So let me tell you about this little project that we’ve been masticating, somnambulating and respirating for the past two years. It’s called MALEVOLENT. And it’s one of the first, if not THE first, US-made animated horror movies. We like to describe it as Saw meets Groundhog Day.

And it stars:
Morena Baccarin (Deadpool, Firefly,)  
William Shatner (Star Trek, Boston Legal) 
Bill Moseley (Texas Chainsaw Massacre II, The Devil's Rejects) 
Dani Lennon (FearNet/Machinima's Bite Me)
Ray Wise (Twin Peaks, Agent Carter, Robocop.)

Tanya Klein and I, the two partners in Coverage Ink Films, are all about the DIY. We realized years ago that the best way to make movies is: to make movies. As writers, we are led to believe we are powerless. We send out scripts, and we hope that someone signs us or the script sells. And then when it doesn’t, it’s back to the drawing board -- again and again. Well, phooey on that. Long live the new paradigm: writers getting it done.  

Tangerine was shot on an iPhone and is now on Netflix. An iPhone. We didn’t think very much of Tangerine, but the point remains.

So we dipped toes in the producing waters with a couple of shorts, both of which were big-time learning experiences. The success of our short LIBERATOR (still screening at Comic-Cons and festivals) led to meeting Cindi Rice and Paige Barnett, producers at Epic Level Entertainment, the company behind hit web series Bite Me for FearNet/Machinima, Dungeon Bastard and Space Guys in Space. We met with them to discuss collaborating on a live-action horror/sci-fi movie called Malevolent, and that's when Paige spun our heads with this: “Have you considered animation?”

Nope. But DING DING DING! Boy, it set off alarm bells in our heads. Firstly, I have a degree in animation, but had never worked in that area, instead choosing to pursue writing. Secondly, had anyone ever done an animated horror movie before? Well, in Japan, sure, but not the US. And last but not least, doing it as animation removes the whole “just another low-budget horror movie” stigma -- it’s hard to get people excited about them. But animation? Well now, that is a whole 'nother kettle of carp!

One little thing: animation is massively difficult, time-consuming and expensive. How could we possibly afford an animated feature film? Well, the truth is: we can’t. We have our own internal financing here at CI, but two years of work on this incredible project have tapped it dry. So now we turn to Indiegogo, and to you guys, to help us over the finish line!

Click to watch the teaser trailer
MALEVOLENT isn't just a genre movie. It has something to say, and plays with themes of hope vs. hopelessness, redemption, social commentary and above all, finding the power within to fight back, even when the deck is so ridiculously stacked against us. This is a message we feel strongly about. That said, it’s also a kick-ass, twisty, insane journey you won’t soon forget. And the press is responding, with articles on dozens of sites like Nerdist and Dread Central and even a segment on CNN The Buzz Today!

And that brings us to Indiegogo. We have a crowdfund going on right now, and it’s all hands on deck. We’re seeking $45K for finishing funds. Hand on heart, we must ask for your help. Even a small contribution makes a huge difference.

See, we have an anonymous matching donor who has offered a $5K contribution if we can reach 200 donors by end of this week (Sunday, Feb. 28.) As of this writing, we’re at 153. I’m assuming this donor wants to make sure the project has a certain momentum before contributing (and grabbing a producer credit in the process!)

Morena Baccarin and Gamemaster.
On top of that, consider the "Gogo factor.” This is the metric that Indiegogo uses to determine which campaigns get featured in their newsletter. We’ve been told number of contributors counts towards this factor in a big way. IF we can get into the Indiegogo newsletter, then our chances of this campaign being successful skyrocket.

What’s in it for you? Oh, and there are some groovy perks for contributors, too, including original signed art, merch signed by Mr. Shatner himself, and even a chance to be drawn into our movie as a character.

So you see, that dollar or two from you counts for way more than just a couple bucks. It’s momentum, and it will help us score $5K! So please, friends of Coverage Ink, drop a dollar or two on us. We will be immensely appreciative, and the Great Bird of the Galaxy will shine her fulminating awesomeness upon you.

Check out our campaign right here:
The MALEVOLENT team in the studio with Ray Wise.

Much love (and animated horror) to all!

Jim C.

 P.S. One more thing. We know there may be a few of you who have a bit of investment capital. We are offering producer’s credits and involvement in our project, starting with Associate Producer credit, and going all the way up to Executive Producer. We’ve discounted the Associate Producer credit for a limited time -- regular price $2500, now only $1999. So if you want to lock down a credit on an exciting and unique project, then check out what we’re up to and join the team.

Get Repped Now! UPDATE

The fall 2016 Get Repped Now! delivered an awful lot of creamy scriptliciousness. Nine scripts made the cut -- seven features and two pilots. After giving our ‘considers’ time to make revisions based on the coverage, we pulled the trigger and sent the scripts to our manager panel :
  • Jake Wagner (Benderspink)
  • Micah Klatzker (Industry)
  • Chris Mills (Magnet Mgmt.)
  • Jeff Belkin (Zero Gravity)
And the nine considers are:
  • Tainted (pilot) by Alex Chevasco and Tony Dunoyer
  • Ironbound by Pete Cafaro
  • Flip Flop by Dave Cooper, Laurie Foxx and Shawn Nelson
  • Script by Writer X (Name withheld by writer’s request)
  • Romeo and Jenna by Joey Hargrove
  • Plainview by Michael Scott Reese and Adam Oliver Schwartz
  • Cascade by Dominic Ludeau
  • Spudsters by Sojean Peou
  • Here Goes Nothing by Adam Bertocci
For those not in the know, Coverage Ink’s Get Repped Now! is our twice-yearly promotion (every spring and fall) where for a limited time, every feature script or TV pilot that garners a ‘consider’ rating for script is forwarded to our panel of managers, who have promised to read them personally. They do this because they trust our judgment, and we pre-vet the scripts for them, so they know we’re not wasting their time. In the past, we’ve gotten folks like Brandon Barker and Joey Ernand in the door at places like Benderspink and UTA, not to mention a spec sale to Disney.

Now we have to play our cards close to the vest at this point, but here’s where we are at with the current batch of considers. Bear in mind we have not heard back from all the managers about all the scripts yet, so this information is partial.

Script A - Has made it past one manager and has been elevated to the next level. It is now being read by a teammate.

Script B - One manager loved the writing but felt it might be a tough sell. However, he is setting up a phone call with the writer (!)

 Script C - Another manager liked the writing and requested another writing sample from the writer.

As soon as we have something more tangible to announce, we will, but let’s cross fingers and pull for all our Get Repped Now! considers!

And for everyone who didn’t make the cut last time, do not take it personally -- steel yourself and come back and hit it again. Persistence, and the ability to listen and learn, are the two biggest keys to success in the biz. Get ReppedNow! begins again April 18, so start getting those scripts polished up, or blow us away with something brand-new. We’re all waiting on the awesome. Now it’s up to you. Bring it!


Monday, February 08, 2016

Craddock's AMERICAN EXODUS lands $50K MovieGuide Chronos Prize

We're very pleased to report that our client Katherine Craddock's script AMERICAN EXODUS just won the $50K grand prize from MovieGuide for Inspiring Screenplay by an Established Filmmaker. "American Exodus" (formerly "Band of Angels") was written as a part of Alex Metcalf/Tim Albaugh's UCLA classes and is also a Nicholl Quarterfinalist, a BlueCat Quarter Finalist, and a Second Rounder for the Austin Film Festival. It also scored a Consider/Consider from us here at Coverage Ink.

Logline: Escaped slave Harriet Tubman rescues enslaved fugitives as a conductor on the Underground Railroad in the 1850s – but with a $40,000.00 bounty on her head and the law against her, can she risk her freedom one last time to free her own parents? 

The script is now out to the industry. We're super stoked about this one and of course, we'll keep you updated. Go get 'em, Katherine!

Rivera Crushes Fox Writers Intensive

And the hits just keep on coming! Our pal and client Jorge Rivera was just named as a participant in the Fox Writers Intensive Program for 2016. The program aims to provide a pathway into the biz for minority writers, and is a year-long training program where the participants work with industry mentors and are groomed for staff writing jobs in TV. at the end of the year, one of the ten participants receives a Fellowship and will receive a development deal with a Fox-affiliated company. Every participant receives an invaluable hands-on education and guidance into a writing career, and many Fox Intensive alumni have gone on to become staff writers and show creators. As well, participants are sent to public schools where they work with young writers to develop and stage their material. we couldn't be prouder of Jorge, who has put in serious sweat equity to earn his slot. Way to go, dude!