What is a Script Editor? What is Script Editing?

Script Editors are usually hired by a Producer, or a Production Company, to give their writer some focused help with delivering the best draft possible. They act as a creative sounding board, brain-storming and offering solutions, as well as helping a writer interpret and address notes coming from either the producer or a financier.  

Whilst the Producer deals with the day-to-day of what it takes to get a film or TV project off the ground and financed, sometimes a writer can feel left behind. This can be where I come in, giving the writer and their script dedicated creative support.

You might have been working on a project by yourself for some time, writing a script that only you can write, a story that only you can tell. But you might find you’re ‘too close to the material’, and need an outside perspective to keep you on course or get you back on track.

That’s where a Script Editor can help.

I can dig in and identify where the script’s working well, and where certain elements might have taken a wrong turn. I’ll be the one to suggest new ideas and approaches that can help unlock your story.

I’ve been working in the Film & TV industry for more than twenty years. I’ve worked on big films and tiny ones. I’ve read many great scripts, plenty that weren’t so good.

There is no formula for screenwriting success, but I’ve got strong instincts for what works, and I know how to help when a screenplay hits a stumbling block.

What's Best for My Project?

The best thing to do is drop me a line. Use the Contact Form below. Let me know something about your project.

What stage is it at? Ideally, if you’re looking for Script Editing help, you’re the Producer, or there'll be a Producer and/or Director attached. Ideally, there’ll be Development Funding in place, from a Producer, Production Company, Financier or Sales Agent.

Most ideally, it won’t be YOU, the writer, picking up the tab when it comes to bringing me on board. This is rarely a good use of your hard-earned cash and, whilst you’re trying to establish yourself as a writer, you might be better off using friends and peers as a sounding board (if possible, friends and peers who are also writers). My rates reflect my level of experience working on feature films at an international level.

However, you might be a Writer with produced credits and a career that’s well on track.

If you’re looking for quick Headline Notes, or Development Support over a few drafts, you can count on me to be objective, supportive.

And every step of the way, every draft, anything I read, is treated confidentially.

Do You Specialise in any Particular Genre of Budget Level?

I love cinema and TV, and I have broad tastes. I do have a soft spot for genre material, thriller and horror, and high-concept ideas. Again, I’ve been lucky enough to work on all kinds of projects. Each one presents its own unique challenges. Each one is uniquely appealing.

Do You Work on TV projects as well as Feature Films?

Yes. I work across a variety of TV projects as well, with producers and writers in episodic and single-drama TV, comedy and drama, developing ideas and building them from the ground up.

I also have extensive experience working on short films.

How About Documentaries?

I’ve helped quite a few theatrical feature docs through post-production over the years, including SENNA, SHERPA, RONALDO and HITTING THE APEX.

I’ve worked most often, though not exclusively, on sports-themed documentaries. Not being a huge sports fan, not knowing the first thing about mountain climbing or Moto GP, for example, proved to be a real asset to the process. A strong story – fiction or non-fiction – needs to speak for itself and sometimes preconceptions get in the way.

My strength is in story and structure and character. Each time, I’ve been brought in to help steer the narrative, Script Editing to ‘find’ the story that can break out from what might otherwise be a niche interest and appeal to a broader audience.

What Will Your Script Notes Look Like?

If you’re after some headline/initial thoughts, my notes will offer an analysis of your script’s base premise and theme, its plotting and narrative structure, its characters, strengths and weaknesses. It will offer thoughts on how to improve your script and build towards the next draft.

If you’re looking for something more granular, I’d love to jump in and give you some page-by-page, scene-by-scene notes. These will cover all the fundamentals as above, but will also get much more forensic with regard to creative suggestions and problem-solving.

I'm Just Starting Out - Will You Read My Script?

Sometimes, but you should tell me more about your script and your level of experience. If you really are just starting out, then it might not be worth getting me involved just yet.

What if my script just needs proof-reading and a tidy-up before I submit it somewhere else?

Not a problem. If that’s all you’re looking for, I’ll read your script, scoop up any typos, correct and layout/format glitches, and get it back to you looking professional and submission-ready.

We're Already in the Cutting Room - Can You Help? Should I Still Hire a Script Editor?

Yes, I can still help. Sometimes you need someone with experience and strong creative instinct to take a look at an early cut and give some honest feedback.

But don't hire just any old 'Script Editor'. You'll need someone who knows how films get made, what can or can't be done when you're already in post-production. You'll need thoughtful, realistic notes.

I’ve been around the block a few times, cringed through a whole bunch of test screenings, and breathed sighs of relief when an audience laughed or cried in the right places.

I can give you useful, practical notes on the cut, making suggestions for cuts & trims.

If you’re considering additional photography and pick-ups, I can give you some thoughts on what to prioritise.

You might need some ideas for ADR lines to help join the dots in the cut. I can focus on that for you as well.

What Happens Next?

Every project is different. You might need me to just give your script a quick once-over, suggest some nips and tucks before it goes out to market. Or, more likely, you’ll be looking for something more involved.

Get in touch. Tell me about your project. If we're a good fit, I'll give you a quote. If that works for you, you can hire me and we'll get started.

I’m fortunate enough to have had experience of the Development process at all levels, at all stages. I’ve seen projects all the way through.

So if it’s really early days and you’re a producer with a book, an outline, or a treatment, I can jump in and give you my initial thoughts over coffee, over the phone or as written notes. I can give you some headline thoughts on what works, what might be tricky to adapt, and what might be missing. I can second-read writing samples and help you find the right writer for the job.

You might be up and running, a couple of drafts in. I can join your team as Script Editor and help steer the draft towards a fresh, new draft… and on to a set of Revisions and a Polish… and the next draft… and the next.

Really, it’s down to the nature of the project and the people involved. What I can promise you is that I know my stuff. I understand story. And scripts. And characters. And I understand WRITERS.

I’m here to help. I’m here to be honest. I’m here to tell you the truth. I’m not going to be tough for the sake of it. Nor will I be too soft on the script, mainly because that’s not going to help anyone.

How Much Do You Charge?

It can vary. It depends what you’re looking for, and what’s best for your project.

A piece of quick-turnaround coverage or some proofing won’t break the bank, but if you’re looking for longer term creative support over a few drafts, it’ll add up and you should probably have a Financier on board.

There’s almost always a way to make things work. We’ll talk in advance about what you need and find a fee that fits.

What Film and TV Projects Have You Worked On?

Far more than my IMDB page will tell you, that’s for sure (though it will tell you that I played ‘Norfolk’s Second Man’ in ELIZABETH. I grew a beard, had a proper costume fitting and everything… and they cut my Close-Up, damn it… but I’m not bitter… much)

So many scripts in Development don’t make it through to Production. That’s just the way it goes. You give every script your best work, and keep pushing forwards. Sometimes it comes together, sometimes fate conspires against you. Sometimes a Competitive Project gets there first.

One of my favourite 'scripts that time forgot' was based on the legend of the Fox Twins that freaked out Kerry & Kurtan in THIS COUNTRY. That one feels like ancient history now…

But along the way, I’ve worked on some great projects, worked with some great writers. From Hossein Amini to John Hodge to Stephen Knight to Naomi Sheridan to Anthony McCarten to the bloody lovely Jack Thorne... amongst many others.

How Do I Get My Script to You?

Email is best for both of us, I'm sure. You might be writing in Final Draft, or using Highland, or Fade In, or Celtx, or even Word. But it’s usually easiest if you send over your script as a PDF.

How Quickly Can You Give Me Some Script Notes / Proofreading?

Get in touch. Tell me what you need and how soon, and I can let you know my availability. I would expect to turn something around within 5/10 working days. But if you suddenly find yourself needing something super-quick, let's see if we can make it work. Fast turnaround is usually possible, at an additional cost.

How About You Read My Script First and Then Tell Me if We Can Work Together?

Let’s see. Maybe. If you’re really not sure what you need from me, give me some background on the project and we’ll take it from there.

If you have any more questions, or are ready to start talking about your project, please get in touch: