Biography:

Gil Wishnick has worked with screenwriters on their screenplays for over fifteen years, with both large companies and small independents. Initially a story analyst for United Artists and a freelance consultant for numerous production companies, she developed screenplays with writers as a Story Editor for Samuel Goldwyn Company and, most recently, as Vice President of Development for Promark Entertainment. At Promark, she was in charge of selecting screenplays and working with the writers to prepare those scripts for production. Gil guided in excess of fifteen screenplays through the development process into completed films that aired on HBO, appeared in film festivals and were sold internationally.

Gil has appeared as a guest speaker at the Vancouver Film Festival, Flash Forward and UCLA Extension classes as well working with graduate students on their script pitches at both UCLA and USC. She has mentored numerous budding writers and helped them obtain representation.

In addition, Gil can help you navigate the maze of Hollywood development: how to present your idea properly; how to pitch your script in person or by query letter; who to pitch it to and how to find them. There are a lot of tricks of the trade that Gil learned in her fifteen years as a story analyst that will help you get your foot and, more importantly, your script in the door!

A believer in working collaboratively with writers, Gil understands story structure and instinctively knows how to find the most creative solutions to story problems.

Phone Consultation:

"I love to exchange ideas with writers and actually do my best development work when talking about a script", says Gil. In the first telephone session, the conversation will center on the strengths and weaknesses of the script and ways to bring out the best in your story. While Gil believes in the power of good notes to bring about positive changes, one-on-one discussions go further in sparking ideas and creating a more personal, individually tailored working relationship. The length of the conversation will vary. Gil will also send you the abbreviated notes that were prepared for the telephone conversation. More questions? Just call and she'll do her best to work out a story solution with you…with humor, practical know-how and years of hands-on experience. FEE: $250.00

Script Notes:

You will receive both general story notes and specific page notes on your script. General notes will address story logic, character development, dialogue and pacing.

Specific pages notes address story inaccuracies and other issues involved in rewriting. Number of pages will vary with each script. FEE: 200.00

Pitches:

Gil can work with you to perfect an in-person pitch. It's an art to pitch your story simply, effectively and with the right energy. A development executive probably only has ten minutes to spare for your pitch. Use your ten minutes wisely and make an impression. If you're prepared, confident and can tell your story concisely, you have a better chance of selling your project. Even if the development executive doesn't buy this pitch, they will be more open to hearing the next story idea if your presentation was professional and well delivered. FEE: $150.00

Gil does her best work with thrillers, action-adventures, dramas, comedies and romances. Truth be told, she wouldn't know a good horror story if Freddy Kruger handed it to her. Plus, it would keep her up at night. All other genres welcomed.

Endorsements:

From Jay Melnick (Screenwriter):

In my many years as a screenwriter, I've employed numerous professional script consultants. Gil, who I've known since she was at Promark, is simply the best! She never fails to be creative and consistently comes up with just the right solution to whatever the problem is. Even if there isn't any problem, she improves material with her suggestions. Further, her services are very reasonable. On a personal level, she's a very nice person and easy to work with. No question, hands down, Gil is the best.

From Wynne McLaughlin (Writer):

I'm a professional writer for film, television and interactive games, and a member of the Writers Guild of America, west, and the International Game Developers Association.

I've had the pleasure of working with Gil Wishnick on no fewer than seven feature film projects since 1996. Gil and I have spent many, many hours together in story meetings and brainstorming sessions. Her energy, creativity and remarkable sense of story structure improved every one of those projects immeasurably. Her notes, criticisms and suggestions have always been intelligent, educated, imaginative, and invaluable to me as a screenwriter. On an interpersonal level, Gil is extremely likeable and a delight to work with. I would not hesitate to work with her again, and I would certainly recommend her services wholeheartedly to others.

Based on our long working relationship and our development collaborations at Promark Entertainment, I can unreservedly recommend Gil Wishnick to you as a talented and qualified story analyst, story editor or development executive. If you would like further elaboration, please feel free to contact me via email at wmclaughlin@cinematicweapon.com.

From Robert Syd Hopkins (Novelist and Screenwriter):

Over the past half dozen years, Gil and I - as development exec (and terrific story person) and myself on the writing side of the desk - have hurled a lot of ideas back and forth, from batting around slender film notions through developing projects that in one recent case went through step-by-step, write and revise process that leads to a produced feature film. Every writer whether for print or for film, needs honest critics who bring fresh eyes and good sensibilities to your tale at the right moment. Gil has all of the tools: Experience in the real world of film-making; an eye for character and story structure (good and faulty) and an appreciation of the written word that will end up the spoken word on screen. Plus something that to me puts the stamp of real quality on a rare few of those across the table who patiently listen to us: that is, the ability to lead a writer to make their own discoveries about the material without laying on cut and dried solutions, which help you to see your own story and characters in a fresh light.

I have always maintained that good story notes and ideas energize and renew a writer's willingness to dig in again when you thought you had taken an outline or script as far as you could. Fight the process if you like. Argue, snort and complain. But at the end of the day, when you are lucky enough to have that happen, you will be one grateful wordsmith for the encounter. Such is Gil. Any writer, seasoned pro or just breaking in, ought to have her name handy. She is 24 karat.

From John Penney (Writer and Director)

Having written ten produced motion pictures, I have worked with a number of development executives over the years at several independent companies and studios and can testify to Gil's abilities. Gil was a contributing factor to my repeated work for Promark Entertainment, always providing a comfortable and creatively friendly atmosphere that enabled me to do some of my best work. Gil's strong story instincts and creative insight were truly outstanding and her contributions were invaluable. She was able to steer projects in a nurturing way, never going counter to the intent of the premise. I think she would be an invaluable asset to any writer looking to realize a script. She has impeccable taste and insight that continually challenged me creatively and improved my work.

From the desk of RICHARD STANLEY (Writer and Director)

As writer/director I have done two movies in which Gil Wishnick was the development executive, and I must say that I could not have had a better experience. Both movies went from pitch to the screen, and Gil was instrumental in every phase, offering not only her own opinions about how to make the scripts and films better, but what she knew the producers and buyers needed as well. She was helpful in the pre-pitch, setting the theme and structure of each film so that they would work for the producers who could say "yes," and then in the development of the script, helping to keep the characters, pace, and focus true to the original idea as well as the marketplace.

Now I'll mention perhaps the most important thing about working with Gil Wishnick. Respect. Gil actually thinks writers are necessary. She likes writers, and it shows.

Recommended Books:

"Good Scripts, Bad Scripts" by Thomas Pope
"The Screenwriter's Problem Solver: How to Recognize, Identify and Define Screenwriting Problems" by Syd Field

Contact: Send inquiries to acmescript@sbcglobal.net