Monday, October 13, 2014

Coverage Ink's GET REPPED NOW! Returns
We got Brandon Barker into BENDERSPINK. Are you next?


Summer 2014 we launched our first Coverage Ink's Get Repped Now! The response was tremendous. Five scripts were judged “considers” – four features and one TV pilot. We’re enormously pleased to report that Benderspink head of lit Jake Wagner is now working with writer Brandon Barker based on the strength of his feature spec “Nottingham and Hood.”

For a limited time only, three incredible literary representatives:

Jake Wagner (Benderspink) Chris Mills (Magnet Management), and Jeff Belkin (Zero Gravity) will personally read any scripts submitted to Coverage Ink for script analysis that garner a "Consider" for script (roughly the top 5% of submissions on average.) Wagner and Belkin will read the feature scripts; Wagner and Mills will read the TV pilots.

That’s all there is to it.  The door is open.  If you've got the goods, you've got a real shot of getting a kick-ass manager. Bring it!


1) Click the SUBMIT IT button.

2)  Fill out the online release and order form and then upload your screenplay or teleplay.

3) You will receive a confirmation and a Paypal invoice from CI
for the screenplay analysis within 24 hours .

4) You will receive your analysis back within ten calendar days*. If you wish to receive it faster, select semi-rush ($25 additional, 5-day turnaround) or RUSH ($59 additional, 48-hour turnaround.) 

*NOTE: If we are at capacity, we may have to push your coverage delivery back. Due to the huge response last time we were running about 4-5 days behind at the end of the Get Repped Now! promotion. We’ll let you know when you submit if we anticipate a delay.

Considers will be sent to Belkin, Mills and Wagner with our recommendations and the coverage. Script submissions that score below consider ('Consider with Reservations' and 'Pass') will not be forwarded, but you will have a solid road map for how to make your script rock in the form of a detailed, thoughtful and empowering script coverage report. 

Please note that if you enter early enough, or select rush or semi-rush, you may have a chance to polish and resubmit before the 11/9 deadline, giving you a second chance (please check on rush availability before submitting)

STANDARD COVERAGE COST: $129 for features, $99 for 1-hrs and $79 for 1/2 hrs. This includes a detailed 10-14 page coverage report analyzing every aspect of the screenplay. For more info please see the FAQ page at

We're very excited to be offering this, and we hope this will be the first of many such opportunities for writers. Good luck, everyone!


* You may submit as many screenplays or teleplays as you wish before the deadline.

* All scripts entered will receive full screenplay coverage from an experienced analyst from the Coverage Ink (CI) team.

* Only screenplays and teleplays that receive a "consider" for script will be forwarded to Wagner and Belkin for features or Mills and Wagner for TV.

* Offer ends at 12:01 AM 11/10/14.

* Offer only valid on screenplays submitted for coverage to Coverage between 10/13/14 and 11/9/14.

* Allow 10-14 days to receive your standard analysis back from CI.

* Offer open to everyone over the age of 18 worldwide where permitted.

* All genres are accepted.

* Feature scripts must be below 125 pages to qualify; TV pilots below 65 pages for a one-hour.

* Short film scripts, treatments and outlines, plays and manuscripts are not eligible for the Get Repped Now! promotion (however, we do review these all the time and are happy to do so! Contact us for more info or a quote.)

* Screenplay and Teleplay submissions must be in industry standard format.

* If your script receives a consider, please allow 4-6 weeks to hear back from either Belkin, Wagner or Mills. If they are interested, they will contact you directly. If they are not, Coverage Ink will get back to you with the reason they passed. 

* Coverage Ink is entitled to no compensation for any deals that may occur with your material. We are merely providing an introduction and validation. We are not attaching ourselves in any way.

* By participating in this offer, you agree to have your screenplay sent to Belkin, Mills or Wagner for consideration for possible representation. If you do not wish to have your material sent out, just let us know.

* The decision of the Coverage Ink reader is final. 

* The decision of whether or not to offer representation is up to Belkin, Mills and Wagner.

* If you receive a Consider, you may elect to do a polish draft based on the coverage before submitting to Belkin, Mills or Wagner (strongly recommended. That’s what coverage is for in the first place – to help you iron out all the bugs before making those crucial submissions.)

* Coverage Ink is not affiliated in any way with Zero Gravity, Benderspink or Magnet Management.

* Coverage Ink team members, partners and associates past or present are not eligible.

Founded in 2002, top-rated Coverage Ink is a leading independent screenplay analysis/development service used by emerging writers, established scribes and management and production companies. Coverage Ink is currently in production on its first animated feature "Malevolent," starring Morena Baccarin, Ray Wise and Bill Moseley. Visit us at

Monday, September 08, 2014

Patrick Tobin's CAKE Premieres at Toronto; Amy Lowe Starbin's KELLY & CAL Platforms Nationally

Patrick Tobin
We're very excited to note that Patrick Tobin's CAKE, which was a Top Ten winner in our Writers on the Storm screenplay competition last year, has premiered at Toronto International Film Festival.

The indie stars Jennifer Aniston in her grittiest role yet -- as a woman with chronic pain issues trying to get her life back on track. The all-star cast includes William H. Macy, Felicity Huffman and Sam Worthington. Check out what The Hollywood Reporter has to say about it right here.

CAKE was directed by Daniel Barnz (Phoebe in Wonderland, Beastly). We'll be keeping an eye on it. Nice going, Patrick!

Jennifer Aniston in "Cake"
On a related note, this is a great time for indie cinema, because CI reader Amy Lowe Starbin's movie KELLY + CAL, starring the radiant Juliette Lewis, opened this week at select cinemas across the US.

Amy Lowe Starbin
Lewis plays a former punk rocker turned suburban mom who finds an unlikely relationship with a 17-year-old disabled boy played by Jonny Weston. The IFC release is drawing spectacular reviews, such as this one here from a little paper you may have heard of called The New York Times, who said, "The performances of Ms. Lewis and Mr. Weston crackle with authenticity. Like a good punk-rock song, this bracingly honest, tough-minded vignette stays true to itself."

And Entertainment Weekly gave it a "A."


Watch the trailer for KELLY + CAL right here:

Here's a current list of screenings, so check it out if you can and support great indie cinema. You rock, Amy!

9/5 - IFC Center - New York, NY
9/12 - Alamo Drafthouse Cinema - Houston, TX
9/12 - PFS Theater at the Roxy - Philadelphia, PA
9/19 - Arena Cinema - Hollywood, CA
9/26 - Carolina Asheville - Asheville, NC
9/26 - Wilmette Theaters - Wilmette, IL
9/26 - Shea 14 - Scottsdale, AZ
9/26 - Raleigh Grande 16 - Raleigh, NC
9/26 - Cinema Detroit - Detroit, MI
10/3 - Cosford Cinema - Coral Gables, FL
10/3 - Mary D. Fisher Theatre - Sedona, AZ
10/3 - Jean Cocteau Cinema - Santa Fe, NM
10/3 - SIE Film Center - Denver, CO
10/3 - SIFF Film Center - Seattle, WA
10/17 - Cinema Paradiso - Fort Lauderdale, FL


Writers on the Storm is on hiatus for the time being. In the meantime, we are focusing on our Get Repped Now! promotions, which will be quarterly. The next Coverage Ink's Get Repped Now! begins October 13, 2014.

Monday, September 01, 2014


Coverage Ink, a leading independent screenplay analysis/development service since 2002, has announced that client Brandon Barker is now working with Benderspink Head of Management Jake Wagner.

Brandon Barker
Coverage Ink discovered Barker as part of their recent Get Repped Now! promo. All scripts evaluated during the promo period that received a consider were guaranteed to be read by Benderspink's Wagner (features) or Chris Mills from Magnet Management (TV).

Barker's script was one of five considers submitted to Wagner and Mills. His "Nottingham + Hood," a medieval Midnight Run that thrusts together the Sheriff of Nottingham and a certain emerald-clad archer, grabbed Wagner's attention. After meeting with Barker, Wagner informed Coverage Ink that they were now working together.

"He wants to send out 'Nottingham + Hood'," says Barker, "and will work with me on (my new) sci-fi thriller script. I think we have very similar tastes. Talked about our favorite movies... had a great time!"

"Get Repped Now!" went better than I ever could have hoped," says Coverage Ink founder Jim Cirile. "We accomplished exactly what we set out to do -- nurture a lot of up and comers and bash down a door or two. Getting Brandon into Benderspink is fantastic, but even more importantly, hopefully we've empowered a lot of writers to take their craft to the next level via detailed script coverage."

The other considers received during the promo period were BAND OF ANGELS by Katherine Craddock, EVERMOON by Michael Cravotta, HEREDITARY (pilot) by Craig Berger, and PAN KRATOS by Demosthenes Daskaleas.

Coverage Ink is bringing back Get Repped Now! October 13th through November 9, 2014, and Cirile says the plan is to hopefully add at least one additional top literary manager to the list. "I hope everyone is hard at work polishing those scripts, because the cream rises, as Brandon Barker's great script shows."

For more information please visit

Monday, August 18, 2014


Luther Mace showing us How It Is Done.
Boom! Our client Luther Mace takes 1st Place in Scriptapalooza TV with his HOUSE OF CARDS spec. And he was kind enough to send us a lovely note: 

I want to say THANK YOU because 1st place happened…

You guys were so incredible.  Thank you, again, for the insightful notes. TK was so passionate about HOUSE OF CARDS and gave such incredible notes. I really feel without her insightfulness and commitment this may not have happened.

--Luther Mace

WHOO-HOO! Now that is kick-ass. All we ask is, Luther, when you're staffed on House of Cards, to get us a policy meeting with President Underwood. We have a few things to say about his policies... ;)

Tuesday, August 12, 2014


Update on our GET REPPED NOW! promotion: Today we sent off our five considers to Magnet and Benderspink. Crossing fingers for these very talented writers! They are:

>> BAND OF ANGELS by Katherine Craddock
>> EVERMOON by Michael Cravotta
>> HEREDITARY by Craig Berger
>> PAN KRATOS by Demosthenes Daskaleas
>> NOTTINGHAM & HOOD by Brandon Barker

Let's all pull for these guys! And for everyone who sent your scripts in (almost 200 of you!) we are pulling for you guys as well. We plan to do another GET REPPED NOW! promotion in the fall. Plus we're hoping to add another manager. So get to work and polish and tighten and chisel and bulletproof those scripts, and then blow us away. 

“Write with the door closed, rewrite with the door open.”― Stephen King

Tuesday, July 15, 2014

MORENA BACCARIN Announced as Star of "Malevolent"

Morena Baccarin, who received an Emmy Award nomination for her work on Homeland, has been cast in Coverage Ink Films' new production MALEVOLENT. 

The animated horror feature film, directed by Jason Axinn (Starpocalypse), concerns a dying, wealthy industrialist (Ray Wise, Robocop, Twin Peaks) who calls his estranged kids together, ostensibly to discuss his will -- but what he has in mind is something else entirely. Baccarin stars as Gamemaster, from an alien race that stages bloody conflicts among humans and then wagers on the outcome. The Hollywood Reporter broke the story.

Ms. Baccarin is of course well-known to genre fans due to her roles in Joss Whedon's Firefly, Stargate and V. MALEVOLENT also stars Bill Mosley ("The Devil's Rejects") and Dani Lennon ("Bite Me"). The film is executive produced and written by Coverage Ink's Jim Cirile and Tanya Klein ("Liberator") and produced by Cindi Rice and Paige Barnett (Space Guys in Space, Bite Me.)

Please follow Malevolent on Twitter and "like" us on Facebook.

Saturday, July 12, 2014

The Dog and Pony Show

Hi, folks!

Recently I had the pleasure of hosting Agent's Hot Sheet - Live! for the second straight year at Great American Pitchfest. Once again, we had a killer panel of heavyweight Hollywood literary reps, and we discussed all manner of things. We'll be bringing you video excerpts right here on our blog over the coming weeks. Humongous props to UTA's Amanda Hymson, Benderspink's Jake Wagner, Circle of Confusion's Jairo Alvarado and Chris Mills from Magnet Management.

One of the things I had to ask the panel was about the necessity of being "good in a room." We've all heard this expression; in short, it means being compelling, knowledgeable and personable. But this concept seems oddly incompatible with being a screenwriter. In fact, I know a lot of writers who are the exact opposite -- kinda introverted, quiet, neurotic, etc. -- heck, the reason we pursue writing in the first place is because it's insular. Walk into any LA coffee shop, for crying out loud, and you will see twenty screenwriters cranking away on their laptops -- together in a group yet interacting not at all. I wanted to know if simply being a great writer is enough for Hollywood. Watch this video to see what our panel had to say:
Not long after moving to Hollywood two decades ago, I scored an agent, and one of my comedies went out as a spec. A couple of companies were interested, chief among them New Line Cinema. I was ecstatic - I figured all we had to do was go in there and answer some questions. But the producer who was attached, to my shock, explained to me how things really worked. "They probably have not read the script," he said, although they no doubt have skimmed the in-house coverage. But how could they take a meeting on a project they haven't even read? "Happens all the time," he noted. And then he explained that for the most part the people you meet with in these types of meetings are just filling up their day to justify their salaries. No, he said, we had to put on a dog and pony show.

What that meant telling them the entire story from beginning to end, in the most insanely high-energy, unforgettable way possible -- literally putting on a performance. Frankly, this pissed me off. As the writer, I felt the words on the page should stand on their own. Further, I resented having to go in there and be a performing monkey for some bored, ADD middle management creative executives.

Yeah, whatever. Naturally, we worked out the mother of all dog and pony shows.

The producer and I went in there and spent a good half-hour literally running like madmen all around the room, reenacting all the major set-pieces, tag-teaming off of each other. One of us would do the set-up; the other would kick it into the goal. And so it went for a half hour, until by the end we collapsed -- exhausted, glistening with sweat, but still beaming these huge, dumb-ass smiles, 'cause you see, we had to pretend to enjoy this charade as well as project "these guys are super cool and easy to work with." It was one hell of an effort.

Well, we made it all the way up to Mike DeLuca, who was running the show over there at the time, and of course we did the whole dog and pony show again from the top. And... ultimately they passed. But still, that was my first experience with trying to sell a script to Hollywood. The screenplay was merely the ticket to entry. I've never forgotten that pitch, one of the more elaborate ones I've ever done. There have been many others, but the one thing they have in common is that at all times, I try to make it clear that I'm easy to work with, I respect their time and opinions, and that I'm a pro who will get it done (whether or not any of those things are actually true.) The screenplay really is just half the battle. Once someone calls you in for a meeting, it becomes all about them weighing whether or not they can work with you. Because we're talking what could be a protracted period of development, especially if the project gathers momentum. The exec, agent, manager or producer needs to know that you're someone who can communicate their story verbally as well as not be a looney or a pain in the ass or paralyzed in a sea of neuroses. Who wants to deal with that person for six months or more?

So this means that many of us who are not necessarily the best at presenting or public speaking have to find a way to become so if you want to make it as a screenwriter. Here's a simple but obvious tipper: plan everything out in advance. P.P.P.P.P.P., as the Rogue Warrior himself Dick Marcinko says -- Proper Planning Prevents Piss-Poor Performance. You should write out your pitch and rehearse it, just like a stage actor for a performance. You don't have to necessarily memorize it, although that helps -- a few glances at notes every now and again is fine. But the main thing is to be upbeat and keep eye contact, which forces the people you're meeting with to stay engaged. And do some research into who you're meeting with (hello, interwebs) so you have a few things to discuss, and connect the dots in a friendly (and non-stalkery) way. Maybe they went to college in your hometown or grew up near you, or you know the same people or like the same teams. Check out the company's slate so you can talk knowledgeably about their projects. Above all, just try to be cool -- even if you're a nervous wreck inside. Don't ever let 'em see ya sweat, as they say.

I know none of us signed up for this writing thing to be performers. But there it is. Crap! So: embrace it. Who knows, you might find out that, shock of shocks, the people you're meeting with are actually kind of cool. Before you know it, maybe you'll even be knocking back a few beers with this person you were so nervous about meeting. And if all else fails and you're losing 'em, run around the room like a maniac and shock 'em out of their torpor. Like it or not, they want to be entertained. (Woof! Neighhh.)

Jim Cirile, Coverage Ink

Coverage Ink Films Announces MALEVOLENT

We are super stoked to announce we are in production on our first feature film MALEVOLENT, an animated horror/thriller with a sci-fi twist. The story is sort of like SAW meets GROUNDHOG DAY. As of this writing, we cannot announce our star yet, although we can say she is well-known to genre fans. Our cast includes Ray Wise (Twin Peaks, Robocop), Bill Moseley (The Devil's Rejects) and Dani Lennon (Bite Me for FEARNet and Machinima) as Miriam, our beleaguered heroine.

This is the first feature film for Coverage Ink, a leading indie screenplay development service established in 2002. Their previous short film/pilot LIBERATOR, starring Lou Ferrigno (The Incredible Hulk), Peta Wilson (La Femnme Nikita), Michael Dorn (Mr. Worf) and Ed Asner (Up), won ten awards and is currently available on iTunes and Amazon streaming

MALEVOLENT is being directed by award-winning filmmaker and commercial director Jason Axinn (Starpocalypse) and is being produced by the team behind Bite Me, Space Guys in Space and Dungeon Bastard. The film's writers and exec producers are CI's Tanya Klein and Jim Cirile.

Team "Malevolent" at Sonic Fuel Studios

“CI has always been about indie empowerment,” says Cirile. “You can make great movies without a lot of money. You just have to take the time to get the script right. Why wait around for someone to tell you you can make your movie? Just do it.”

Find out more about MALEVOLENT and keep track of upcoming developments at:


Save 15% on Barri Evins' San Fran Screenwriting Intensive

Our pal Barri Evins shared with us this cool event. If you're anywhere near the San Francisco Bay area this month, you'll want to check this out. Barri knows her stuff! She is a producer/exec, formerly president of Debra Hill Productions, and she has set up projects art Warners, Universal and HBO to name a few. This is an intensive weekend of education at a great price.

Use this discount code: "CINK" and receive a 15% discount on the seminar when you write with the code.

San Francisco Big Ideas Screenwriting Intensive July 25-27 

Make Breaking Into The Film Business A Reality:

• Understand the Industry from The Inside
• Create Concepts that Ignite Industry Interest
• Harness Your Passions and Showcase Your Strengths
• Stop Endlessly Rewriting!  Shape and Hone Stories on a Single Page
• Confidently Pitch, Structure and Develop Ideas with Powerful New Tools
• One Year of Individual Mentorship Keeps You On Track for Success 

Special Guest: Former LA Literary agent listens to your polished pitches and gives you advice on the marketplace for your idea.

This is THE LAST BIg Ideas Seminar to offer a full year of one-on-one mentorship to develop your idea and offer career advice -- worth thousands.  

$395 per person. Sign up today and don't forget the discount code!


e-book, 343 pages
Author: Howard Casner
$2.99, Kindle only

Review by Tanya Klein
We’ve all been in this situation: we enter our masterpiece into one of the myriad screenwriting contests out there… and it doesn’t even make the quarterfinals. A script we’ve worked hard on, maybe we even got glowing coverage on it; yet, whoever read it for the contest simply didn’t like it enough to advance it. Why? How could they? What the #$%#!? In the same vein, often we send a script out for analysis and when the coverage comes back, it seems like the person didn’t even read the script we wrote, and we’re baffled by notes that seem to come out of left field. Again we wonder: what the bleep!?   

In his e-book “Rantings and Ravings of a Screenplay Reader,” Howard Casner attempts to answer all of our bleeping questions. Casner is a longtime reader for several screenplay contests such as Slamdance and Final Draft Big Break, as well as a script consultant. His book includes lessons he’s learned by seeing screenwriting contests up close and personal. He shares with us why he advanced some scripts while passing over others, as well as the biggest turn-offs for readers as well as the sometimes heated discussions that go on behind the scenes before all of the entries are whittled down to the top ten.  He also shares his musings on different genres, his dislike of formula and several screenwriting essays culled from his blog as well as many movie reviews.

The book indeed succeeds in probing the mind of a script reader -- that elusive person sitting at his or her desk reading script after script after script.  Yes, we all hate a verbose narrative and our eyes glaze over quickly while reading Faulkner-like denseness. And some will barely glance through never-ending action sequences and overly descriptive character introductions. As Casner notes, every reader hopes to get a script with characters that are so fresh and alive that they jump off the page and a story that is unique. 

Casner’s book isn’t – and doesn’t purport to be – a screenwriting manual. For someone looking to sharpen their screenwriting skills, there are many “how to” books out there. This isn’t one of them. Casner does share his “Ten Commandments of Screenwriting,” (and one can agree or disagree with them) but those won’t necessarily make you a better writer. The book comes alive when Casner gets into the nitty-gritty of a script reader’s life, from drunkenly kvetching to other readers about the terrible scripts that were submitted to facing moments of terror and panic when called upon by a contest coordinator to justify his selections. This is juicy inside-baseball stuff and is fascinating to read. One wishes that this was squarely the focus of the book, but Casner at times loses his way in general musings on screenwriting and genre proclivities as well as way too many movie reviews, which frankly we're just not as interested in.

If you want to know what the bleep goes on in a script reader’s head, Howard Casner’s “Rantings and Ravings of a Screenplay Consultant” is a good place to start and it’s currently available on Amazon. 


Tanya Klein is a New York writer/director/producer/actor living in Los Angeles.