Cat Stewart: Screenwriter and script consultant in Los Angeles, California.

Jesus Christ, Cat. Excuse my French. Is every post you make on this thread going to be an excuse to launch into another FAST pitch? I stopped reading after your first paragraph. The first paragraph says it all. I'll put it into one sentence for you. No, FAST can't do anything for a writer with an IQ over 110. Cheers.

I say tomatoe.... you say tomatoe....each to their own... For all of us who can not afford to pay for the suggested Fast... We have to use our own imagination, and go in search of those in the know... Who do offer advice to script writers, in order to better themselves. Nothing better, than a real time mentor. Those links are invaluable to me...

I can't say enough about how important mentoring is. My partner is also my mentor and without him giving me, not only screenwriting tips but tips about the industry in general, I'd have a much harder time getting anywhere.

I use coverage services, and I hire mentors. Someone that has produced projects and has sold to the major studios in the past. It's expensive, but it's worth it- to me. They don't have time to waste and hopefully I won't waste any time either. They tell you like it is, sometimes you cry, lol, but you get up, brush yourself off, and try again. Time is the only true currency, once it's spent, it's gone. Somethimes things cost, that's just the way it is. That's my philosophy... I'll let you know later if it works! Once I was in a conference with Loral Langmeir "The Millionaire Maker" (NYT Bestseller), and she told a story about her paying to be mentored by Bob Proctor about starting her business. At the time, she was working for Chevron as a financial analyst. She paid $10,000, but was sitting on the fence as to quitting her job, or what. She said he told her- "Don't contact me anymore until you are serious!" (and he kept the $10,000) Finally, she quit, got serious, and her business ended up doing consulting to Chevron (the same job she did for Chevron), for many times more. Then, she went on to start her huge business that is known worldwide. (Google her.) Loral taught me a couple of things: 1) Only take the advice from people who are already where you want to be. (you can listen to others, but consider the source.) 2) You gotta pay to play. Time is money, and no one on the level of where you want to be, is generally gonna baby you along. Their time is valuable. (This is where good readers and coverage services, and mentors come in.) If you have friends, family, contacts that you can tap for free- by all means, use those contacts. But I think if you have no one to give you good advice, sometimes you have to pay to play. But of course, do your due dilligence!!! I was in a screenwriting group once, it was ok- I didn't like it because everybody was emailing everybody's scripts all over the place like crazy. I didn't like that. Now I deal one on one with someone like Lee and Leonard speak about. Sorry for the dissertaion. :)

Writer friends, non-writer friends and do a read through. Read throughs really get you to notice the weaker area's of your script.

My scripts are a little to "hot" to handle. My editor, designer, and publisher is all I let see them until I'm ready to publish. As far as my screenwriting goes, I only reveal it in parts to the Characters and actors as I write it. Generally, I will share it as I go with the members of Ruby Zandra's Blue Jazz Society by authorizing them on Celtx, but the finished product after changes and editing and surprises and twists are worked in will only be revealed to the committed producer as I save the best for last as I read it myself for the first time.