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Mike Cheda
Screenwriter and Script Analyst
WHY YOU SHOULD CONSULT ME
I'm a professional. I know what sells and what doesn't. That's the viewpoint
I bring to every piece of material I look at. I can't promise to make someone
buy your script but I can definitely promise to make it better.
I was reviewed by Creative Screenwriting magazine and they called me the
"Dr. Phil of script analysts." That's because I don't pussyfoot
around. When I first came to Los Angeles I was told by a very smart woman,
"Hollywood is the only place in the world where you can die of encouragement."
She was so right.
You can spend months grinding out a spec script. You show it to your friends
in the business and they all love it. But it doesn't sell. It's driving
you crazy. Everybody loved it. What's going on?
That's where I come in. When I read your material I'll tell you the truth.
Most likely, you're not my friend so I have no ax to grind. If your script
is wonderful I'll tell you. If it has problems I'll tell you honestly. Usually
I have ideas on how to fix the problems. No extra charge. I'll encourage
you to develop whatever talent you demonstrate. Your material may be suffering
from some simple mistakes that I can help you with. I won't mindlessly encourage
you unless you deserve it. I won't sugarcoat what I say. My only object
is to make your work better.
In most cases the difference between a paid screenwriter and a wannabe is
slim. The professional writer has just figured out the rules of the craft.
Once you can execute a viable concept that follows the basic rules then
you're on your way to becoming a commercially acceptable writer. I can help
you get there.
BACKGROUND
I have a degree in Film from San Francisco State University. I've worked
in Hollywood for over 20 years as a development executive and writer. I've
sold pitches to networks and studios. I've made TV movies and features.
I've even written some of them. Along the way I've worked with dozens and
dozens of other producers and writers.
I started at Home Box Office in the 80s. First as a script reader, then
as a development executive. While there I bought and developed FORTRESS,
an HBO Movie with Rachel Ward and FORBIDDEN an HBO Movie with Jacqueline
Bisset. I also developed a mini-series called THE LAST FRONTIER which ultimately
was broadcast by CBS.
Then I went to the Walt Disney Studios as a development executive where
I worked with Michael Eisner and Jeff Katzenberg. While there I bought and
developed three TV movies, DOUBLE SWITCH, THE RICHEST CAT IN THE WORLD and
THE INDESTRUCTIBLE MAN. They were all broadcast as part of the Disney Sunday
Movie series.
After that I went to Barry & Enright, (helmed by the legendary Dan Enright,
who was portrayed by David Paymer in QUIZ SHOW. Paymer did a good job but
he didn't begin to capture the dynamo that was Dan Enright.) At B&E
I worked on three produced TV movies: CAROLINE? for CBS/Hallmark, NECESSITY
for CBS and THE COVER GIRL AND THE COP for NBC. I also helped develop NEXT
OF KIN, a feature starring Patrick Swayze and Liam Neeson, which was produced
by Lorimar.
I left B&E to co-found ONCE UPON A TIME FILMS. While there I was the
co-producer of the feature THE OPPOSITE SEX for Miramax, starring a young
Courtney Cox. I also co-wrote (uncredited) the story and co-produced the
USA Cable movie WHEELS OF TERROR. In addition I developed the scripts for
PAIR OF ACES and ANOTHER PAIR OF ACES, two MOWs for CBS starring Willie
Nelson and Kris Kristofferson. I also developed the script for CHRISTMAS
IN CONNECTICUT an MOW for TNT directed by Arnold Swartzenegger.
For the last ten years I've been working full time as a screenwriter. Lots
of scripts written. Lots optioned. One produced: CHILL FACTOR for Warner
Bros. starring Cuba Gooding, Jr. and Skeet Ulrich. Go out and buy it on
DVD. I love the residuals.
I also taught script analysis at the American Film Institute.
HOW I WORK
I have two basic plans.
For $100 I do a simple coverage of your script. I do a couple of pages of
comments on the material.
For $500 I do full script notes. I analyze the structure, characters, dialogue
and do page by page notes. Usually I end up with a document of 10 or 12
pages. If I find that some material isn't working I usually make a lot of
suggestions for fixes.
HOW TO CONTACT ME
Website: http://home.earthlink.net/~mcheda/index.html
Email: mcheda@earthlink.net
Phone: (310) 738-8209
SUGGESTED READING
The only book that every aspiring screenwriter should read is: SCREENPLAY
by Syd Field. All the other books (including his) are simply amplifying
his theories. You should also periodically read ELEMENTS OF STYLE by Strunk
and White. They keep all of us on the straight and narrow.
You do NOT need proprietary screenwriting software. You can do everything
you need to do with Microsoft Word. Once you learn to format styles and
link them to F key macros your screenplay almost writes itself.
If you have any questions please feel free to email me.
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