This is a transcript of SYS Podcast Episode 531 – Turn Your Screenplay Into A Novel With Joe Cornet .


Welcome to episode 531 of the Selling Your Screenplay podcast. I’m AshleyScott Meyers, screenwriter and blogger of SellingYourScreenplay.com. Today I’m interviewing actor, writer, producer, and novelist Joe Cornett. Joe was on the podcast over a year ago on episode 506, so check that out if you haven’t listened to it. Joe has written and produced and starred in several low-budget western films. We talk about all of that in episode 506 and how he got his start in the business, but today he is back to talk about a novel that he’s written based on one of his films. It’s a collection of western stories. I know there are lots of screenwriters that want to novelize their screenplays, so this is a great look at how writers can publish books and how that can help them ultimately get movies made, so stay tuned for that interview.

SYS’s Six Figure Screenplay Contest is open for submissions. Just go to www.sellingyourscreenplay.com/contest. Our preliminary deadline is February 28th, so if your script is ready, definitely submit now to save some money. We’re looking for low-budget shorts and features. I’m defining low-budget as less than six figures, in other words, less than one million U.S. dollars. We’ve got lots of industry judges reading scripts in the later rounds. We’re giving away a thousand dollars cash prize to our grand prize winner, along with a bunch of other prizes to bring exposure to the top screenplays. We have a short screenplay category as well. That’s 30 pages or less, so if you have a low-budget short script, definitely consider submitting that. Also, I’ve got a number of industry judge producers who are specifically looking for short scripts, so hopefully we can find a home for some of those. If you want to submit to the contest or just learn more about it or see who are some of our industry judges, just go to www.sellingyourscreenplay.com/contest. If you find this episode valuable, please help me out by giving me a review in iTunes or leaving a comment on YouTube or retweeting the podcast on Twitter or liking or sharing it on Facebook. These social media shares really do help spread word about the podcast, so they’re very much appreciated. Any websites or links that I mention in the podcast can be found on my blog in the show notes. I also publish a transcript with every episode in case you’d rather read the show or look at something later on. You can find all the podcast show notes at www.sellingyourscreenplay.com/podcast and then just look for episode 531. If you want my free guide how to sell a screenplay five weeks, you can pick that up by going to sellingyourscreenplay.com/guide. It’s completely free. You just put in your email address and I’ll send you a new lesson once per week for five weeks along with a bunch of bonus lessons. I teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional log on and query letter and how to find agents, managers, and producers who are looking for material. Really is everything you need to know to sell your screenplay. Just go to sellingyourscreenplay.com/guide.

So, just a quick few words about what I have been working on. The contest has been launched as I mentioned and that always takes a little bit of time to get it all up and running. Just get everything straightened out. It does get easier every year.

I’m slowly building some systems and just kind of know how to do it but it definitely does take a little bit of time just getting everything together. So definitely check that out if you have a low budget screenplay. Again that’s www.sellingyourscreenplay.com/contest. I’ve decided not to do the in-person film festival this year. I might do it again next year but I’ll have to find a new location. The movie theater that we used last year is a great venue for a film festival. It really is a great venue but it’s just become too costly. They want me to guarantee a certain amount of food gets purchased which for a film festival crowd may or may not happen and they’ve also raised the rates on the theater rental as well. So, there’s just no way it’s going to do anything but lose a bunch of money and I just don’t like losing money if I can help it. So again, I might bring it back at some point but unfortunately, I will have to find a different location. It takes a tremendous amount of time to organize the event as well. Obviously, I have the normal day-to-day stuff I’m doing but once the festival sort of ramps up in August and September, it takes me almost two months and obviously I’m working on other stuff while I’m doing it but it’s a big commitment just to get everything organized and get the festival up and running. So again, it’s a tremendous amount of time to organize the event. Combine that with spending a bunch of money and losing a bunch of money. It just doesn’t seem like a good idea for this year especially considering what I really want to do this year is make another indie film. So, I’m working on that. I’m trying to get my script polished and I’m going to hopefully jump on that and that’s really how I want to spend any extra time I have. I think I’m just going to spend it on this indie film getting that up and running and hopefully a shot. It’s not going to be finished this year but hopefully I can at least get that shot or get real close to getting into production. So that’s my main goal and as I said I might bring the festival back at some point in the future but at least in the short term I’m just going to focus on this indie film and try and get that done this year.

So, that’s what I’ve been working on. Now let’s get into the main segment. Today I am interviewing actor writer producer and novelist Joe Cornett. The introduction didn’t record properly so we just cut into the interview on the first question but you didn’t miss anything. I just welcomed him to the podcast interview and then we started in as I said with this first question which you’re about to hear. But definitely go check out SYS podcast episode 506 to hear Joe’s backstory and how he got into the entertainment industry. Anyway, here is the interview.

Ashley 

So, Joe, today we’re here to talk about your new novel, A Prayer for the Damned. Maybe you can talk about that a little bit. What’s the premise of that book and how did that come about?

Joe Cornet

The idea behind this was it’s a prayer for the damned and other tales of the West is basically was suggested to me by my co-producing partner Alexander Nevsky to take my first feature film, which was a prayer for the damned, and to put it in a novelized format. And the beauty of this was that when I made that film six or seven years ago, obviously I was limited to a very restricted budget. And there were a lot of things I was not able to do. So, as with you can do with a novel, I was able to expand it out and give the characters a lot of backstory and make it much more epic in scope. Now the question is, well, why the hell would I want to read the novel if I’ve already seen the movie? And I suggest that because the novel is very different from the movie. It’s the same basic plot line. It’s the same basic group of characters, but there’s different events. There’s different reasons different events happen. And the ending is very different with one minor exception. The ending is very different than the movie. And I’ve got four other tales in there, short stories, which are largely based on either completed screenplays that I’ve had in the past, or notes, or just something out of a journal I found in my drawer and I tore out and I thought, hey, this will make a hell of a good story. And so that kind of rounds out the collection. And then I was lucky enough before he passed away to get the great Don Murray, the last surviving Academy Award nominated actor to work with Marilyn Monroe in bus stop. He wrote the introduction to this book for me before it went to publishing. And sadly, he passed away very close after that. But that’s in there too. And he was of course in my movie promise several years ago.

Ashley

Now, what was the goal? It sounds like there was some creative goals with this. You just wanted to sort of flush the story out, do some things with the story that you couldn’t do just for practical reasons with the movie. But are there some business goals here as well? Do you want to do a sequel for the prayer to the dam? Do you want to do a remake of it on a bigger budget? And so, this is sort of a template for that. Um, maybe you can speak to that a little bit. Like what are sort of your business sort of career goals with doing something like this?

Joe Cornet

Well, certainly it has been suggested to me, and I’ve had discussions about it, about making it a bigger product, remaking it, because I own the rights free and clear to the movie, obviously, and to remake it into a much bigger and broader in scope film, much more along the lines of what the narrative is in the novel. So that is definitely a goal. The second is just to get a novel out there. And as a writer yourself, writing a novel, writing anything in book format is completely different than writing a screenplay. And this is, I always call it, this was the backwards process. Although back in the 70s and the 80s, if you remember, everybody did novelizations of movies. And this is more than that. This is not just a pat novelization. This is something much more that consumed a lot of time and attention. So, I really paid attention to this and gave it greater depth, greater detail, greater pathos, better backstories on who these people were and why they came to be in the situations they were in. And as I said, a very unique and different story for the end. But I think the idea was to get a book out there. And I had several book ideas in mind. And my first book idea was, I wanted to write just a sort of a nonfiction book of how I got to where I am now, which is actually a very interesting story because it’s not the usual path that one uses to get to. Now I’m working on my seventh feature film and I’ve got six in worldwide release. So the idea of taking the novel and expanding it really appealed to me, but I really wanted to do this story about how I got to this, my early point where I was making film number one and film number two. But I thought about this and I thought this would be a good introduction to the whole book writing process. And I am working on a second novel, tentatively called Kaleidoscope, which is a thriller set in the late 1960s. And that hopefully will be out sometime next year through my publisher, Henry Gray, who has been very good to me.

Ashley

Now, why, why make a transition start writing books to fiction books? It sounds like you’re going to start a second fiction book and it sounds like you have a goal to create this nonfiction book again. How does that fit in sort of just with your whole approach, business plan? And just how does that fit in with your ultimate goals? You just, you enjoy the creative process of writing a book, writing a novel more than screenwriting. So, you just want to add that to your repertoire. Or is there some sort of goals that sort of dovetail together?

Joe Cornet

I don’t enjoy it more than screenwriting. I like screenwriting a lot, and I’ve written a lot of screenplays. But it’s a natural transition to want to do something like that, at least to my way of thinking. It’s a natural transition because I’ve been working on screenplays for the last, I don’t know, 10, 12, 15 years maybe. So the idea of writing a book just seems to me a natural progression. Of course, it’s sort of a backwards process because other than the novelizations of when I was a kid growing up of all these movies, you know, usually it’s the book that comes first, obviously, and then the screenplay. And the problem with that is you’ve got a book, no matter how long it is, as you well know, you have to pare down so much and you have to give up so much of your what you have in that novel to pare it down to a screenplay. I liked the reverse idea where I could actually take the minimal screenplay I had, which was quite expansive for what it was at the time for me, and bring it out and make it truly big in scope. And so that was the appeal to me. And I really enjoyed the process. I know a lot of writers say, well, I don’t like screenwriting or I don’t like novel writing or I don’t like short story writing. And I get that. But to me, it’s all sort of in the same ballpark. And I like it. I enjoy I enjoy it very much.

Ashley

Can you read a lot of novels? Can you read a lot of Western novels?

Joe Cornet

Certainly, I’m a voracious reader. I haven’t been in recent weeks, but I usually have as many as two, three, or four books going at one time. So I like fiction. I tend to prefer reading older fiction. I do read some new fiction, but I like classic literature. I like F. Scott Fitzgerald. Herman Melville.  I love hard-boiled detective stories, Raymond Chandler, et cetera. I’m a big fan of Ian Fleming. In fact, I’m reading a fabulous monster of a biography on Ian Fleming right now called Ian Fleming, The Complete Man. And it’s fascinating. This guy leaves no detail aside. And it’s interesting to me because he’s truly a fascinating character out of the 20th century. But yeah, I read all the time and I don’t just concentrate on Westerns. In fact, I’d like to do some other things with my films other than Westerns, but for some reason, I keep being called into the Western genre, which I don’t mind. I love it. I have fun with it.

Ashley

Yeah. So, let’s talk about the writing process, just writing. And obviously, as you said, this is sort of a backwards process, but I do get a lot of screenwriters that have written a script and they think, oh, I’ll turn it into a novel and then maybe I can sell it, self-publish it, sell it and that sort of stuff. So maybe we can speak to this a little bit. Just what are some of the differences that you found writing a screenplay versus writing a novel?

Joe Cornet

Well, this particular book was fairly, I’m not going to say it’s easy, because as you know, it’s not easy. Any one of these processes is not easy. But this one, I had the template of the original screenplay that I wrote years ago. So, what I did was I read it and I reread it, and then I made my margin notes, and then I made my notes in my journals or whatever. And then I just sat down and I pulled it all together. And I thought, okay, what do I want to be bigger and more epic? And I made notations of that, but it basically follows the screenplay in its linear progress. But with a lot of different characters that are added, characters that are already in the screenplay that are different in the book than they are in the movie. And again, I just felt it was an excellent opportunity to open up and get something bigger. And yes, again, to go back to, I would love to remake this movie. We’ll see if that happens. I have two or three other films on my to-do list in this next year, so we’ll see what happens.

Ashley

What does your writing schedule look like? And what are some differences writing a screenplay versus writing a novel? But do you get up in the morning, you write in the morning, do you go to Starbucks, you need that ambient noise? You just crank out, you know, five hours a day or some page count. Maybe you can just speak to that. What does the writing process look like? And again, how does it differ from writing screenplays? I think Jack London, I was a big Jack, or I am a big Jack London fan. And I think he was famous for a thousand, a thousand publishable words a day. So, he sort of had a quota, which wouldn’t quite work with a screenplay. But just, but how do you find your writing process sort of ends up with this novel, writing novels?

Joe Cornet

Okay, well, writing a screenplay for me is, I always say, I have a huge vinyl record collection. Huge. And I listen to music all the time. And I will sit there and I will make my notes and I will listen to things, specific things, whether that’s film soundtracks or classical or whatever, anything. And I will get ideas. And once I get the music in my head, the screenplay just writes itself because my process on a screenplay is figure out the beginning, figure out the end, and then connect the two. And that works for me. And on a thing like that, I don’t have any specific hours, but I tend to, on a script, I tend to write for some reason, write longer hours because it sort of, I know how to put it all together. Now with a novel or fiction, it’s a different process. And I do have disciplines that I follow where, okay, I’m in the middle of this writing this book of fiction. Let’s have our morning coffee and let’s sit at my work desk, take my notes out, make more notes, and then just start typing. And I work for about three hours, then I’ll take a break, and then I’ll come back in the afternoon and I’ll work another three, four hours more sometimes. And it’s a different process because when I’m doing a book, I found I like to have quiet as opposed to the screenplay. And maybe because I’m envisioning the visual of a movie and I like the backdrop of music. And I will often have music on when I’m writing my scripts. But with this, I like quiet.  I like to be locked into my office here, completely quiet and not disturbed, and that’s the way I like to write fiction.

Ashley

And how does it compare just in time wise? I mean, this is a little bit unique in that you sort of had the basic story already figured out. But once you started writing that novel versus once you start writing a screenplay, how long does it take you to actually finish this novel? Just in terms of weeks, months, you’re writing. It sounds like you were writing five days a week for six hours a day type of a thing.

Joe Cornet

Yeah. No, I would take breaks for up to a couple of weeks in the week. I see. I got you. Because I’d be traveling. I’d be doing post-production on another film. Excuse me. And I had other things that would interrupt my time with my book. But I’m going to say I got this done from the actual beginning to end. I’m going to say I got it done in about four or five months, including all the stories. And then at the very last minute, I only had three short stories. And then I added another one at the last minute. And yeah, it’s four- or five-months total. And then I actually sat on releasing the book for a while because the book was finished by the time we came out with Night of the Caregiver last summer. And so we felt that releasing two things at the same time would not be a great idea. So, we delayed a little bit of prayer for the damned. And then finally, I just thought it’s time to release this thing. And I went to Henry Gray Publishing. And they’ve been fantastic to me. I highly recommend them. They’re great for they really work with the authors. And they provide a lot of promotional stuff as well.

Ashley

And maybe we can talk about number one, how did you get in touch with these authors? Was it through a connection? Did you know someone? Did you go to a number of publishers and then narrowed it down to this person? Maybe you can speak to that process a little bit. People have a finished novel.

Joe Cornet

Yes, I had another publisher in mind. And because I had put a lid on this thing for a number of months, I have a close friend who’s a producer, documentarian, filmmaker, and he’s something of a historian and archivist of film in general. He’s known for his many commentaries on Blu-rays, on classic films, and some contemporaries. He’s a great guy, Courtney Joyner. And I met him through Craig Hammond, who is our in-house go-to screenwriter. And I met him, and we were having coffee in Burbank over at Priscilla’s, maybe you know that place. Oh, sure. He got there quite a bit. And so Courtney said, well, why don’t you contact Bruce Sivily over at Henry Gray Publishing? And I did. And I knew of Bruce because Bruce, along with a gentleman named John Cork, who is the premier James Bond and Ian Fleming historian and archivist. And John and Bruce wrote one of the definitive books, The Legacy of James Bond a few years back, and it still remains one of the… So the idea of, oh, my publisher’s the guy that published the definitive book on the Bond films. Yeah, let’s go. And anyway, I met with him, and he was very enthusiastic, and he’s been very supportive and helpful. And that’s how all that went down. And I was lucky.

Ashley

Is there a development process? So, okay. So, then you pitch this to your, this publisher, he’s excited about it. You send him a version of the manuscript. He reads it. Is it like a screenwriting development process? Then the editor comes back with notes, idea suggestions. How does that process work?

Joe Cornet

Well, as I recall, when I presented my final draft of the novel, he read it and his notes were very minimal. In fact, his notes were certain, just minimal changes of phrases or words or grammar, but they were merely suggestions. Of course, I took all of them under consideration and made a couple of those cuts and edits. But basically, he liked what he read and it stands that what I finished and what I handed to Henry Gray Publishing was what is out there now. There really is little change. I was helped because obviously being very close with Craig Hammond, I worked with Craig to help edit. When I was writing it, he made several suggestions that found their way into the book that were quite good. He’s a longtime misspellings, omitted words, things like that. So basically by the time I got it to Bruce, there was really nothing to alter.

Ashley

Mm hmm. How do you approach screenplay structure with a novel? You know, with screenplays, there’s a beginning, middle and end. There’s, you know, an act break, an inciting incident. You know, these sorts of plot points and stuff. Just is there something that’s similar with novel writing? Is it something you’re conscious of keeping the pacing going with different plot points and stuff?

Joe Cornet

Yeah, if I understand the question. How do I put this? There’s an urgency in when you’re writing a screenplay, meaning you have to have it crackle along. Whereas a novel or any book of fiction, short stories, whatever, you can indulge a little bit more because the reader is reading it at his or her own pace. And you’re not as mindful of how do I keep the action and the story moving quickly because I like my films to move very quickly. And I think you can indulge a little bit more with a book because after all, the reader is taking his valuable time and he’s reading it and he wants to enjoy it as well. I’m not saying you have to overindulge deep, deep, deep into all kinds of things. You still have to be mindful of keeping the reader’s interest, but I think there’s more of, oh, I could make this a little bit longer. I could get into a little bit more description here.

Ashley

Mm hmm. Now what about genre requirements? I mean, I think with like a Western movie, you pretty much are going to need to have a gunfight probably in the first 10 pages. But are there some, are there some genre requirements like that that are similar to a novel, just some tropes that readers of Westerns are expecting things you feed into? Maybe you circumvent or, you know, don’t necessarily follow some of those tropes. But is there some similar things like that, just some genre requirements?

Joe Cornet

Well, I think I don’t like genre requirements. I like surprises in the genre. And I think this book has quite a few. Of course, if you’re going to appeal to somebody who likes Western books and is into reading Zane Gray or Louis Lamore or anybody else, you’re going to have to make a few nods to what I think is expected for a Western novel. I don’t think you’re under a requirement to do that. I say, do whatever you want to do. Make the Western as traditional as you want. Make it as weird as you want. And I think with this book, the movie I tried with the means that I had available to me at the time. The movie I tried to make a little bit on the edgy side and more Italian Western, but with some shock value to it. But I was really able to go to town with that in the book. And so that’s what I enjoyed about that. So yeah, you do have to. I mean, if you want a broader appeal, you have to throw that out there.

Ashley

Gotcha. So what advice, now you’ve been through this process, you’ve written screenplays, you’ve written a novel, what advice do you have for screenwriters who are thinking about this, taking their novel or taking their screenplay and turning it into a novel? Just some practical advice for people.

Joe Cornet

I’d say do it, don’t delay, do it.

Ashley

Now, just now that you’ve been through this process, um, a lot of the people that I get, and I get from both sides, I get a lot of novelists coming to me and they’re saying, I’ve got this novel. I want to turn it into a screenplay. And then the opposite, you get people with screenplays wanting to turn into a novel. And I’m always a little bit worried that it’s a distraction from learning how to market what you’ve actually written.

Cause we’re as writers, we like to write. And so we can always come up with new ways of writing, but if you’ve written a novel, it feels like instead of writing a screenplay, you might be better off figuring out how to make that novel a success. Same thing with screenwriting. If you’ve written a screenplay, writing a novelization, I mean, I mean, it’s not going to be that easy to sell a novel version of your screenplay. And so I always worry that it could end up being a distraction. And now you’ve been through this process, not only writing movies, but trying to sell movies. Now you’re about to go out, try and sell this book. Um, just what can you say in terms of the difficulty, um, of, of either one of these, these particular projects, um, you know, reselling a movie versus going out there and selling a book. Is it, is it advisable? Should you have some success with one before you start the other?

Joe Cornet

I think I would recommend to have some success with one before you start with the other. Absolutely. I agree with that. I would also say that it’s much tougher to promote and sell a book of fiction actually than it is to sometimes sell a screenplay. Because the publishing world has changed significantly, much like, of course, the moviemaking world has changed significantly. Now we shall see what happens, because everything has been rather slow in filmmaking for the last year plus, and it’s going to continue to be probably very slow with all the events that are happening around us, particularly you and I here where we are. So that’s to say that one is less difficult than the other is just not true, in promotion wise. I think the main thing is, if you have a book, you need to get with a good publisher who will work with you and put you on publicity campaigns, book signings. I just had a book signing in Burbank the weekend after Christmas, and we did pretty well, garnered a lot of interest, had a lot of people show up. I’m doing another book signing in Tombstone, Arizona, called the Festival of Books in mid-March, and all the Henry Gray authors are going to be there, from what I understand. It helps if you just don’t… I hate to say this, but I really advise against just self-publishing, just going on. The days of you throw it up on Amazon self-publishing and doing it, you’re not going to move that much product. You really need to find a good publisher who will work with you, and not just a quote-unquote indie publisher, because Henry Gray is not an indie publisher. They work all different kinds of aspects of the business. Yes, they are independently owned, but they have a philosophy and an ideology to promoting and supporting their authors, which for instance, if I can sidebar a little bit, the owner of Henry Gray has meetings about every 60 days on Zoom, talking about what we’ve been doing in the last two months to promote our publishing house and your books, and the authors share different ideas about promotions and so forth, and it’s extremely helpful. I can’t say enough about Henry Gray.

I would avoid any author writing a book, again, just finding a publisher, self-publishing, and just letting it all happen. I mean, nothing is… You’re going to have to promote it. And just like with film, you’re going to have to find your own unique way of promoting it. Fortunately, with Alexander Nevsky, I’ve got a very, very big publicity department, if you will say, that we can get our films out there and get them seen. A book is very different, but again, with Henry Gray, they work with you and get you out there, and you’re going to have to find different things, like a book signing, for instance. Now, I did a book signing at a record store in Burbank, and they sell books, but they’re mostly in the business of selling new and used vinyl, and it’s one of the greatest record stores in LA. It’s called Runout Groove Records. And the idea for that was utilizing something different, rather than just going into a book shop and peddling your book. Here’s an example of one of our authors at Henry Gray. She wrote a children’s book, and as far as I can recall, she is working or has already done this, and was working with a children’s store, like a toy and children’s store somewhere. I don’t know where it was, but it’s not a bookstore, but yet it’s a book for kids. That’s a very unique way of promoting yourself. You got to think of things like that, rather than just going into Barnes & Noble and setting up your table and your little banner and just waiting for people to come.

Ashley

Yeah, yeah. So, I like to wrap up these interviews just by asking the guest, is there anything you’ve seen recently that you can recommend to our screenwriting audience? Or maybe in this case, even some novels, are there some novels you’ve read recently that you think are really great that maybe our audience could pick up and check out?

Joe Cornet

I haven’t in the last few months, I haven’t been doing a lot of novel reading.

Ashley

Tell us about this James Bond one. That sounds fascinating. What’s the name of this James Bond when you said it was the definitive version on Ian Fleming?

Joe Cornet

Okay, it’s called Ian Fleming, The Complete Man by Nicholas Shakespeare. The big fat book. And it’s fascinating because it just gets into every aspect of his life and how he sort of became the guy he was and how after World War II, he started thinking about writing these thriller novels. So, I highly recommend that. There’s a book by Henry C. Park, who’s a good friend of mine, who wrote, he came out with it late last year, I believe. It’s called The Greatest Westerns Ever Made and The People Who Made Them. And I highly recommend that book. It gets into areas that I don’t think making of movie books really has gotten into. So, I highly recommend that. As far as features I’ve watched, a few weeks ago, I binged on Capote versus The Swans. FX. And for anyone interested in Truman Capote, and of course, I am. He wrote one of my great novels in Cold Blood. It’s fascinating. It’s like six episodes and it just gets into a lot of literary stuff and New York society stuff in the 60s and the 70s, and New York is fascinating.

Ashley

OK, that’s a great recommendation. How can people find your novel? Where are you going to be selling your novel?

Joe Cornet

They could go on Barnes and Noble.com and order it there. There are probably a few hard copies in various Barnes and Nobles. They can also find it on Amazon and it’s available in both hardcover and softcover. Hardcover is $24.99, softcover is $19.99, and I think it’s $19.95, sorry, and in $24.95, and they could find it at those two places.

Ashley

Okay, perfect. And what’s the best way for people to just keep up with what you’re doing? I mean, you mentioned some of these book signings, like the one in Arizona. How can people find out where you’re going to be doing these book signings and just kind of keep abreast of what you’re doing?

Joe Cornet

follow me on Facebook. Okay. Just look up Joe Cornet, C-O-R-N-E-T. You’ll find me right away. Instagram, which is San Rafael Productions. That’s San S-A-N-R-A-F-A-E-L Productions. That’s the name of my production company. I’m also on X. I don’t do a lot on X, but they could find me there. I do tend to promote stuff on there as well. So those three platforms are the best places to find me.

Ashley

OK, perfect, perfect. I’ll round all that up for the show notes so people can click over there. So, well, Joe, it’s fascinating just watching your career. This is an interesting move. I look forward to keeping in touch and hopefully we’ll have you back on when you finish your next film.

Joe Cornet

Thank you, Ashley. I appreciate all your support over the last year or so. Thank you so much for having me.

Ashley

No problem from it all. So I appreciate it, Joe. We’ll talk to you later.

Joe Cornet

Thank you. All right. Thanks for watching, everyone.

Ashley

Yeah, thank you, bye.

A quick plug for the SYS Screenwriting Analysis Service. It’s a really economical way to get a high-quality professional evaluation on your screenplay. When you buy our three-pack, you get evaluations at just $67 per script for feature films and just $55 for teleplays. All the readers have professional experience reading for studios, production companies, contests, and agencies. You can read a short bio on each reader on our website, and you can pick the reader who you think is the best fit for your script. Turnaround time is usually just a few days, but rarely more than a week. The readers will evaluate your script on six key factors, concept, character, structure, marketability, tone, and overall craft, which includes formatting, spelling, and grammar. Every script will get a grade of pass, consider, or recommend, which should help you roughly understand where your script might rank if you were to submit it to a production company or agency. We can provide an analysis on features or television scripts. We also do proofreading without any analysis. We will also look at a treatment or outline and give you the same analysis on it. So if you’re looking to vet some of your project ideas, this is a great way to do it. We will also write your logline and synopsis for you. You can add this logline and synopsis writing service to an analysis, or you can simply purchase this service as a standalone product. As a bonus, if your screenplay gets a recommend or a consider from one of our readers, you get to list the screenplay in the SYS Select database, which is a database for producers to find screenplays and a big part of our SYS Select program. Producers are in the database searching for material on a daily basis, so it’s another great way to get your material in front of them. As a further bonus, if your script gets a recommend from one of our readers, your screenplay will get included in our monthly best of newsletter. Each month we send out a newsletter that highlights the best screenplays that have come through our script analysis service. This is monthly newsletter that goes out to our list of over 400 producers who are actively looking for material. So again, this is another great way to get your material out there. So if you want a professional evaluation of your screenplay at a very reasonable price, check out www.sellingyourscreenplay.com slash consultants, again, that’s sellingyourscreenplay.com slash consultants. That’s the show. Thank you for listening.