This is a transcript of SYS 439 Changing The Film Noir With Eve Symington.
Welcome to Episode 439 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, screenwriter and blogger with SellingYourScreenplay.com. Today, I’m interviewing screenwriter and also director Eve Symington, who just wrote, directed and produced a film ‘Noir’ that takes place in modern day wine country called Brut Force. She talks through her journey and how she was able to get this film produced, so stay tuned for that interview.
SYS’s six-figure screenplay contest is open for submissions, just go to www.sellingyourscreenplay.com/contest. Our final deadline is approaching, it is July 31th. If your script is ready, definitely submit. We’re looking for low-budget shorts and features. I’m defining low budget as less than six figures. In other words, less than 1 million US dollars. These films need to be able to be produced for that. We’ve got lots of industry judges reading scripts in the later rounds, we’re giving away 1000s in cash and prizes. If you want to submit to the contest or learn more about it, just go to 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 mentioned 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 number 439. If you want my free guide How to Sell a Screenplay in five weeks, you can pick that up by going to sellingyourscreenplay.com/guide, it is completely free. 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’ll teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional logline 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 quick few words about what I’ve been working on. I’m still plugging away at this NFT project for the Rideshare Killer. It’s going slowly but I am starting to make some headway and get a handle on things. I know I mentioned my Tik Tok Channel a while back, I sort of lost interest or I’d say just sort of ran out of energy for it. Just sort of thinking about what I could do with it, never really got any traction with it. But I’m thinking I might revive it with some videos about what I’m doing with this NFT project. There’s a big crypto community on Tik Tok. And so, I’m thinking maybe I can sort of tap into some of those folks. Because really, that’s ultimately, I’m going to need some support from people that understand crypto and understand NFT’s to kind of get this thing off the ground. So, seems like it would be a good fit for Tik Tok. So, we’ll see how that shakes out. But I’m still probably quite a ways away from needing any kind of marketing for this thing. But I’ve been starting to spend some time this week on getting some logistical stuff set up for the film festival, that’s going to be my main focus now probably for the next two or three months as we get closer to that date. This being my first year running the festival, I’ve got a lot to do and really think things through and just make sure everything is going to run smoothly and that everybody has a good time. And if you have a film, low budget feature or a low budget short film, definitely consider submitting to our festival it’s going to be October 7th to the 9th, here in Hollywood, California. We rented a small Theatre in Hollywood. And as I said, we’re going to be running films October 7th to October 9th, you can go to sellingyourscreenplay.com/festival if you do want to learn more about it or enter. But other than that, you know my kids are off summer break. So, I’ve got a couple of family trips planned too, that will definitely slow things down with my work a bit. But you know, hopefully everybody is kind of getting back to normal this summer and having a good time. Anyway, those are the things that I have been working on. Now let’s get into the main segment. Today, I’m interviewing writer and director Eve Symington, here is the interview.
Ashley: Welcome Eve to the Selling Your Screenplay Podcast. I really appreciate you coming on the show with me today.
Eve: Thanks for having me.
Ashley: So, to start out, maybe you can tell us a little bit about your background. Where did you grow up? And how did you get interested in the entertainment business?
Eve: I’m from the East Coast. I’m from Connecticut, originally. And I have pretty much always wanted to direct movies. I found a video camera in my basement when I was 11 and made this very elaborate murder mystery starring everyone I knew at the time. And yeah, I was hooked from then on. I loved bossing people around and telling stories and I was in it for the long haul. So, I did a film studies degree for undergrad and then I went to I did my MFA at Tisch Asia which was NYU is campus in Singapore. So, I lived there for three years. And then I moved to Los Angeles in 2014 and have been producing and directing there ever since. And writing, of course.
Ashley: Yep, perfect. So, let’s talk about some of these first steps. Going from the East Coast to LA. I know there’s a lot of people looking to make that move, maybe just you know, in 30 seconds, do you have some tips on that? I know one big question I get is where in Los Angeles do you recommend that people you know, ultimately go? What’s a good spot? Where did you end to land up? And just what can people expect as they’re rolling into LA and don’t necessarily know anybody here?
Eve: I think that there’s a big LA learning curve. Most people I know kind of hated it first, including me, although now I’m a huge fan of LA because there’s so many great things to do and eat. But I think that honestly, in this day and age, even more so than when I moved there, you can kind of live anywhere, because so many meetings now are online and so much networking, even if you are everyone’s in LA, people just want to save themselves to drive so they might jump on Zoom. I’ve always been on the east side of LA, which is feels a little bit more like where the industry is based around Hollywood, Los Feliz area. But there’s definitely benefits to pretty much any neighborhood in LA.
Ashley: Yeah, yeah. So, the Los Feliz area is a great area, maybe a little on the pricey side, but definitely a very, very great area to live in the LA City. I think we probably, you and I probably first met around 2014 or 15. I don’t remember the exact year. But you were reading scripts for the SYS script analysis service. And I’m curious, what did you do when you got to LA? I mean, that was the sort of type of job did you find numerous of those kinds of jobs just to kind of pay your bills, get yourself established? Maybe we can talk about that a little bit? What were sort of your survival jobs when you first landed here?
Eve: Yeah, for sure. And honestly, I’m still doing survival jobs. It never ends.
Ashley: Yeah, sure.
Eve: So, when I first moved to LA, I sort of had a path in front of the forking path between diving into production and pursuing more of like the assistant or script coverage types of jobs. And I decided to not go into production on purpose, because I wanted to keep my eyes on the prize of writing and directing my first feature. And I knew that I had done a lot of producing an ad in film school, and I knew that I could very easily get sucked in and never make a movie. So, I started, I looked for script coverage jobs, I worked for you for several years. And I am still doing script coverage, actually, for a whole bunch of companies. And I worked as an assistant to a producer director named Rob Lorenz, who was Clint Eastwood’s longtime producer, and was moving into directing. So, I was with him at Warner Brothers for almost four years. And that was a great opportunity for me because he was super flexible, and I had lots of time to write, I would get to work early, and get to work an hour early whenever I was working on a screenplay and just like, grind it out of my office. And that was really good. Just getting that that time with that. I mean, I certainly wasn’t living large, but it gave me an opportunity to get at least a body of material that I could start trying to get made. And now that I’ve made this feature, I have moved more into production and producing and directing commercials, while trying to get the next one made.
Ashley: Gotcha. So, let’s talk about that. Just quickly. Again, how did you get some of those early jobs like this job with Clint Eastwood’s producing partner, how did you get yourself into that position?
Eve: Networking. This one actually was a sort of chain of connections through a high school friend who was extremely helpful to me and we’ve kept in touch, but honestly hadn’t seen each other in years. But when I moved to LA, I called or emailed everybody that I knew, or everyone that my friend’s parents knew, or anyone, anytime anyone said; Oh, I know someone in LA. I was like; Oh, do they work in film? Or give me their email address? Or do they mind if I call them up for a cup of coffee? And that is one of the great things about starting out in LA is that it’s a very networking friendly town, people will not you don’t have to be shy about calling or emailing random people and getting a coffee. So, some of those connection, many of those connections lead nowhere, but some of them you just never know, my current job is from the most random connection like three years ago that finally bore fruit.
Ashley: So, I’m curious, I noticed on your feature that we’re going to talk about in a minute and a number of your shorts, your sister is an actress and she starred in those. And I just wonder when I moved out to LA, I had my best friend, he was sort of interested in entertainment history, too. So, we came out and that definitely made it easier. Did you move out here on your own? Did you have your sister with you? Maybe you can talk about that a little bit. Just you know, going to a big city where you know, nobody is definitely a different situation than going with somebody you know?
Eve: Yeah, absolutely. I think might so I moved out here and I think about six months later, I finally convinced my sister to move out to LA as well and yes, she’s an actress. She studied acting in School in is pursuing it full-time. So, it was a natural fit for her to come to LA as well. And it definitely helps having a creative partner of any kind. That was one of the benefits of film school is coming out of that with a couple of great collaborators although my closest collaborator from film school, my DP Emily Silvestri actually lives on the east coast. But we fly back and forth. But yes, it definitely having my sister out in LA definitely made that transition easier and gave me someone to collaborate with. And I wrote this movie for her to star in so that we could do it together.
Ashley: Very nice. I’m curious, what are your parents do or what do they think of two children going into the arts?
Eve: Actually, there’s a third. My brother wrote all the original songs in Brut Force. So yeah, they didn’t get lucky with any lawyers or doctors, but they’re happy, if they don’t mind. Actually, my father is also an actor, although he’s long since pivoted careers. But he has one of the lead roles in the film as well. He has starred as my sister’s character’s stepfather.
Ashley: Okay. Perfect.
Eve: Real family project.
Ashley: Perfect. Perfect. So, I think that’s a good transition. Let’s talk about your new film. It’s called Brut Force. And maybe to start out you can just give us a quick logline or pitch, what is this film all about?
Eve: Sure. So Brut Force is a modern-day Noir thriller about a intrepid young reporter who has just been fired, who returns to her hometown, which is in on the Central Coast in wine country in California. She is going there to investigate the harassment of local farm workers. And along the way, she gets sucked into a crazy conspiracy and winds up pursuing of tangled mystery as she tries to figure out the perpetrators.
Ashley: Gotcha. And what was the genesis of this? Where did this idea come from?
Eve: So, I love genre movies, and I love noir movies, big fan of all the classics and the modern iterations of the genre. So, I was interested in pursuing a modern-day noir, I kind of came to the genre first. And I was really interested in in flipping the classic gender profile and having the gumshoe be a woman and having it be a fatale instead of a femme fatale. And so, I was kind of like, had that in my mind and was open to inspiration. And I actually heard a podcast. It was an episode of the podcast, Latino USA, does a great podcast, and they talked about a true story about an arson of farmworker housing in California, and they never figured out who did it. But I just thought that was so representative of this hypocritical attitude towards migrant workers in this country and in California, where we all want the literal fruits of their labor, but people don’t want to live next door to them. And I thought that contrast of that kind of been a heinous act and that kind of prejudice, with the shiny facade of wine country was perfect for a noir, which is all about the seedy underbelly of something that looks shiny.
Ashley: And it was. I’ve never heard of a film noir in wine country. Totally mixing genres. I’m curious, you mentioned like some of the other Neo noir films. I mean, what are some of the other films that were influences of this? I mean, it struck me there’s sort of over the last 10 years or something. Winter’s Bone, there’s a tough bunch of these sort of Neo noir, but they have a certain realism to them, like part of their whole shtick is they sort of almost feel documentary, the way they’re shot and that kind of thing, but what were some of your influences with it?
Eve: I would say compared to films like Winter’s Bone mine is definitely more of a classic and a little bit more stylized. I love brick. That’s a great modern example though. My movie is definitely not that stylized, it’s more naturalistic than that. Obviously, Chinatown, huge influence. Definitely like in the style and the writing as well. And I went back to classics, when I was writing this movie, I was listening to Room and Chandler books on audio book constantly to get the language in my head, the language in my movie, again, it’s not super stylized, but there’s some of that like, classic double Indemnity style banter. So yeah, I think the themes are modern, but the style is a little more classic.
Ashley: Gotcha. So, let’s talk a little bit about your writing process. Where do you typically write? Are you a morning person or night person? Where do you typically write? Do you have a home office? You need the ambient noise of Starbucks? And then when do you typically write? Are you a morning person night person? Just what is your sort of writing routine look like?
Eve: So, my writing routine maybe is unusual. I’m a big researcher. So, I spend many, many months just totally immersing myself in research. So, for this, it was research about, about wine about California history about farmworkers, just anything, novels, but nonfiction books, documentaries, other films, I just go really deep into that and make notes and start slowly forming the story in my head. And I spend a lot of time sort of brainstorming and outlining and then I go on a basically a retreat, and don’t let anyone talk to me for a week and bang out a first draft. That seems to be the only way I can really do it. But I’m definitely a morning person, I have to write in the morning. If it gets too late in the day, it’s never going to happen. And I don’t have one specific spot. I do like it to be quiet, although I can write in a coffee shop if I’m listening to the right classical music. But yeah, when I do these retreats, I usually like either get an Airbnb or go to, you know, my parent’s house or something and tell them not to talk to me for a week. And that seems to work pretty well for me.
Ashley: Gotcha. What were some of the lessons you learned from writing this script?
Eve: Hmm. That’s a good question. I think, this is definitely the script I’ve rewritten the most of any script in my life, because of course, as I wrote it for several years, tried to get it made, looked at it again, gotten so many notes, and then got into production and started tightening it even more, I think that I definitely learned about, making the movie I learned a lot about writing, which was interesting, like I edited the movie as well. And I learned so much about getting out of scenes early. Like, I don’t need to write that whole part where they leave the room and go to something else, or slowly come in and say hello, let’s just get into it. And I’ve noticed that it’s already like helping me with my writing the next one, just being able to find the most interesting way to get into a scene and the most dramatic moment to leave. I think, I definitely learned that if you, my movie, it’s a slow burn thriller. And it is a tough sell to be slow burn. I think that I kind of knew that going in and I owned it. But it is definitely easier if you’ve got something splashy that happens earlier on in the movie. Yeah, so many lessons.
Ashley: Gotcha. Gotcha. So, what is your development process look like with this? It sounds like your dad was involved as an actor, your sister, did you start to have a draft? You send it to them? You got notes? Did you have other people, trusted people, well just talk about that process, the development process. And I’d really be curious too to get some insight. You know, what do you do when your dad had this idea and you didn’t think it was a great idea or your sister? How do you traverse those potentially difficult conversations?
Eve: So, my dad and my sister always had some good thoughts. My dad’s great at dialogue punch up, so right before we shot the film, we like read it out loud together and workshops and dialogue. But I must say they didn’t give big story notes. I have sort of a whole list of people that either my film school classmates or people I’ve met over the years or a couple of professionals on who do coverage or unrelated to me, who I send my scripts out to for notes. So, I usually go one by one. And at first, I’ll send my first draft out to someone who I trust with a first draft and they give me some thoughts, get me thinking, I bang out another draft and go down the list. And when it starts getting tighter, and I start getting closer to feeling like, okay, I think this might be ready to go, then I’ll send it out to a bunch of people and see if maybe there’s like a consensus on a note or something like that. And I definitely think my process with notes is to always try and see the note behind the note, like people instinctively want to give you ideas about how to solve perceived problems in your screenplay. And usually, I don’t necessarily like those ideas, but they’re pointing out a problem which I need to address. So, I’ll try and like peer behind the curtain and think; okay, this character moment isn’t working or that plot point isn’t clear or whatever it might be and think of my own way to solve that problem.
Ashley: Gotcha. Gotcha. And how did you approach stuff like you know, screenplay structure especially something like a you know, film noir mystery. I mean, Chinatown is a prime example is that it hits most of those Blake Snyder beats, it hits most of that Sid Field paradigm pretty well. How do you approach screenplay structure? Is it more of an intuitive process? Are you real rigid with the sort of the lampposts of the midpoint and the plot points?
Eve: So, I definitely do start off with the Blake Snyder points. I have them in a document and I use it as I’m outlining. I’ll like sometimes you know, you might think of the climactic first, so I’ll note it down and I slowly fill in the gaps. And I guess I don’t worry too much about the page count. I’m not strict on that, I’m like, oh, are we roughly somewhere near the middle of the movie around here. I try to let that be a little bit more organic. And I definitely don’t try to force my plot into the structure. But I find that it’s really helpful for outlining which as I’ve mentioned, I spend way more time outlining than I do actually writing. So, also, I think, in terms of structure, this movie was much more strictly structured than other movies and other genres that I’ve written just because it is this mystery. And like, when I was cutting our… I was like, I can’t cut any scenes, because you pull one string, and the whole plot unravels. So that was definitely a challenge, just like trying to make everything logical, like plant the clues where they’re supposed to be. But it was fun. I mean, it’s fun to figure out how that works. But kind of once those pieces are in place, it’s like, okay, that has to stay, it can’t really change. So, I have to figure out how to deepen the character development around that plot spine.
Ashley: Gotcha, gotcha. So, once you had a draft that you thought was good, what were those next steps? Did you know when you started writing this that you were going to crank keep it low budget or keep it manageable so you could direct it, raise the money indirect yourself? Did you take it and do the normal stuff, send it to contest, send it to some producers and directors? What was your next step once you had a draft you liked?
Eve: Yes, I definitely intentionally wrote it to be lower budget and something that, like I’m familiar with this region where we shot it, it’s actually my dad lives up here. So, I had some connections and had had some locations in mind while I was filming, I knew I wanted the movie to star my sister. So, I definitely like, I previously written a higher budget feature that had done well in the competition circuit. And people liked it. And I tried to get financing for that. And it just wasn’t working as the first feature. So, I was like, okay, I just need to make a movie. So let me make something. Let me write something lower budget, although it’s pretty ambitious for a first feature, but that’s okay. I can’t write two characters in an apartment. I just can’t do it.
Ashley: So, are you in Los Angeles now?
Eve: Yes.
Ashley: Okay. So, I’m curious because when you first email me, that was exactly what stood out, it is in wine country. So, in some ways that opens up the budget and makes at least feel more expensive. As you say, it’s not just two people in an LA apartment, talking. But was there ever any thought process to do something here in LA, just because you’re here and you would have those connections as well, where you found it was easier to go up there and use the connections? I mean, did you live up there? Did you know a lot of people? Was it mostly that your dad’s connections?
Eve: So, I basically spend months like driving around and meeting everybody but wait, but it’s only a couple of hours from LA. So, we travelled the whole crew. And we did some local casting, but all the major parts, we travelled everybody from LA, which actually we filmed right in the middle of COVID. So, it kind of worked out well to be a travel job. Because we all lived up here in our own bubble. And you know, it was a sad movie. So, we were following all those protocols and everything. So yeah, that it actually ended up working out well that everyone was contained rather than going home every night.
Ashley: So, then what was your strategy to raising the money to get this shot? Did you guys do a Kickstarter, make a business plan? And maybe you can talk through that? How did you actually get this thing produced?
Eve: So, I did do a business plan. I had a pitch that I worked on, I definitely consulted with a lot of people who had made independent films, and I tried to get in, you know, institutional money. I definitely, I always apply for all the grants every year. And you know, I sent it around to lots of producers, but it’s, you know, with a small movie in this genre without any at that time, no big-name actors attached is an incredibly tough sell. So, the movies all financed through private equity, and I just pitched everyone I know. And yeah, I mean, I definitely hope I got a production company on board for my next one. But this was kind of what I had to do to get it made.
Ashley: Yeah, yeah, for sure. I’m curious, with your shorts, you’ve did a number of short films that you wrote and directed. Maybe you can just speak to that. How did that prepare you to do this feature? And you know, a lot of it I think, is just the confidence of knowing; Hey, well, if I did a little thing, I can do something that’s a little bit bigger, but maybe you can talk through that a little bit. What were the lessons you learned? And what did those doing all those shorts give you that allowed you to make this feature film?
Eve: So, I think there’s a couple of things there. One is that I have a lot of, through my shorts and through my film school and through my work, I have a lot of producing experience. So that was very helpful. I did have two great producers, Nikitoshi and Jordan Mashad on this project as well. But I did quite a bit of the producing myself. And that I think was very helpful in terms of actually getting the movie made, because I’m the one who’s going to work the hardest and longest on it of anyone, because it’s my baby. So, with my shorts, I’ve done some crazy things like I shot my thesis film in Guatemala, I made a movie in Vietnam, and I’ve produced shorts all over the place through my film school experience. So, with those shorts, I was like; well, if I can do this movie, in Vietnam, I can do anything. And I think in terms of, once you’re out of school, and you’re working, you’re in LA, it’s a tough balance, you want to keep that muscle alive. As a director, you really don’t get a whole lot of opportunity to actually direct. I spend very little of my life directing. And so, you want to keep that alive. But at a certain point, you have to say, okay, I’m not spending my own money anymore on any more shorts. It’s just it’s too much. So, I basically when I moved here, like, did project sporadically when I was like; Okay, I just have to do something I would put something together. And it was a great way to meet people in LA as well. But I only did a couple of those because like I said, it’s just it’s crazy to just pour your own money into stuff endlessly.
Ashley: Yeah, yeah, for sure. So, once you had this film finished, did you send it to the film festivals? It sounds like you guys shot during COVID. So, maybe the festival circuit wasn’t running. I definitely found that with my own film, the festival circuit was a little rocky. But how did you find, did you submit to festivals? And then ultimately, how did you find your distributor?
Eve: So, we did submit to a couple of festivals but we decided to go with, we didn’t continue to submit and go through the whole year long cycle. We definitely were more interested in getting a distribution deal. If we found a good distribution deal, we were like we’re going to take it rather than hold out for a festival premiere, which you know, its ups and downs. It’s obviously would have been very cool to see it on the big screen. Although we did do a great screening little private screening in LA, which was awesome. But anyway, we basically my producer Nikitoshi and I emailed, cold emailed a bajillion distributors. It was definitely a volume game. We worked with a great consultant, Jeff Devereaux, we had a consultation with him and he was like, it’s numbers, just email everyone. And he advised on what to put in the email, I’d cut a trailer. And yeah, we ended up with four potential offers; two sales agents and two distributors. But XYZ films had a great offer. They love the movie. And they’re a really cool company they’ve got an output deal with Neon and Bleecker Street and so they were able to get us great VOD placement. And so, the movie is rentable for three months right now you can rent it anywhere you get your movies, and then it’s going to go to a streamer after that.
Ashley: Okay, perfect. So, as we wrap up the interview, I just like to ask the guests if there’s anything they’ve seen recently that they really thought was great, HBO, Netflix, anything you could recommend to screenwriters.
Eve: So, I absolutely loved Everything Everywhere All at Once. That movie is just incredible. I actually had the chance to read the script two years ago because I came across it during my agency work and that was very interesting because on the page, you are like, what is going on and so, it’s so cool to see the madness of the chaos of that world translates into this incredibly entertaining and moving film, so I definitely recommend that one. And this is random but I just started watching the sitcom Girls Five Eva, so if anyone needs like just a fun like chick popcorn show to watch. It’s very entertaining.
Ashley: Perfect, perfect. Yeah, those are great. Two great recommendations. I’ve heard good things about Everything Everywhere All at Once. I’ll have to check that out. For some reason it slipped below my radar. How can people see Brut Force you started to tell us a little bit about that. But what is the official release schedule going to be like?
Eve: Oh, yeah, so for right now all the way until mid-July, you can rent Brut Force wherever you rent movies. You can rent it on Amazon, Apple TV, Vudu, Google Play, et cetera. So, it’s B R U T Force wine. So yeah, definitely please recommend it. We were actually just recommended by the New York Times the other day, which is very exciting. So yeah, I hope everyone checks out the movie and enjoys it.
Ashley: Perfect. Perfect. And what’s the best way for people to keep up with what you’re doing? Twitter, Facebook, Instagram, anything you’re comfortable sharing, I will round up for the show notes.
Eve: Yeah, for sure. So, definitely follow the movie Instagram which is @Brutforcemovie on Instagram and I’m Eve_w_sym on Instagram and then on my website Evesymington.com has everything about me.
Ashley: Okay, perfect, perfect. Well, Eve, I’ll definitely round up that stuff, as I said for the show notes. Congratulations getting this first film done, I look forward to following your career and talking with you again when you get your next film finished.
Eve: Thanks so much for having me. This has been fun.
Ashley: Thank you. We’ll talk to you later. Bye.
SYS is from concept to completion, screenwriting course is now available just go to www.sellingyourscreenplay.com/screenwritingcourse, it will take you through every part of writing a screenplay, coming up with a concept outlining, writing the opening pages, the first act, second act, third act and then rewriting and then there’s even a module at the end on marketing your screenplay once it’s polished and ready to be sent out. We’re offering this course in two different versions, the first version, you get the course, plus, you get three analyses from an SYS reader. You’ll get one analysis on your outline, and then you’ll get two analyses on your first draft of your screenplay. This is just our introductory price, you’re getting three full analyses, which is actually the same price as our three-pack analysis bundle. So, you’re essentially getting the course for free when you buy the three analyses that come with it. And to be clear, you’re getting our full analysis with this package. The other version doesn’t have the analysis, so you’ll have to find some friends or colleagues who will do the feedback portion of the course with you. I’m letting SYS select members do this version of the course for free. So, if you’re a member of SYS select, you already have access to it. You also might consider that as an option. If you join SYS select you will get the course as part of that membership too. A big piece of this course is accountability. Once you start the course, you’ll get an email every Sunday with that week’s assignment. And if you don’t complete it, we’ll follow up with another reminder the next week, it’s easy to pause the course if you need to take some time off, but as long as you’re enrolled, you’ll continue to get reminders for each section until it’s completed. The objective of the course is to get you through it in six months so that you have a completed power screenplay ready to be sent out. So, if you have an idea for a screenplay, and you’re having a hard time getting it done, this course might be exactly what you need. If this sounds like something you’d like to learn more about, just go to www.sellingyourscreenplay.com/screenwritingcourse. It is all one word, all lowercase. I will of course the link to the course in the show notes and I will put a link to the course on the homepage up in the right-hand sidebar. On the next episode of the podcast, I’m going to be interviewing writer Nicole Levy, who spent her career mostly in television writing. She has been on a number of shows as a writer like Cloak and Dagger and SWAT. We talked through her career, we talk quite a bit about how writers can break into television, how she broke in. So, if you’re looking to learn more about TV writing, be sure and check out next week’s episode. She’s super smart woman, very down to earth and really give some great honest advice to up and coming television writer. So, keep an eye out for that episode next week. That’s the show. Thanks for listening.