Editors, Writers, & Creative Writing Instructors: Scripts & Screeplays

Screenplays - Scripts

Editors

TIM GRUNDMANN, is an author, playwright and TV scriptwriter and story editor with 25 years of experience. His books in the Doug Chronicles series are published by Disney Press. He was part of the creative team behind Pee-wee's Playhouse on CBS (for which he wrote the show "bible"), and developed the HBO comedy Norman's Corner with Seinfeld creator Larry David. As head writer and story editor for the Disney Channel's New Mickey Mouse Club and Nickelodeon's Doug, he guided scripts from concept to final draft. He's written episodes of Allegra's Window and Welcome, Freshmen for Nickelodeon, and was developmental writer for Mowgli and His Friends and WaysideSchool for the Disney Channel and ABC-TV. As house writer for Broadcast Arts in NYC, he wrote scripts, proposals, treatments and show bibles for TV shows starring Gilbert Gottfried, Madeline Kahn and others. Recently he wrote scripts for the PC game My Scene Goes Hollywood for Vivendi Universal Games.

BOOKS

Doug Chronicles: Lost in Space
The Funnie Haunted House
Winter Games

3 chapter books for kids (ages 7-12), published by Disney Press, 1998-2000.

WRITER-EDITOR

Pee-wee’s Playhouse - CBS Television. Wrote show bible, proposal, developed show with Paul Rubens and Broadcast Arts for CBS. 1985-86.

Norman's Corner, a Cinemax Comedy Special with Gilbert Gottfried, co-written with Larry David. 1987. Story Editor and writer. “Developed by” credit.

(The New) Mickey Mouse Club - for Disney Channel (Blue Wave Prods). Head writer, (1991-92). Duties included managing writing staff and scripts from concept to final drafts, as well as writing comedy sketches and interstitial material for a daily show. Also for "Mickey Mouse Club": writer for pilot (1988), 4 seasons as staff writer, 1989-91. Also wrote songs (music and lyrics) for several episodes.

Doug - cartoon series for Nickelodeon (Jumbo Pictures). Story Editor for 2nd Season (1991-92). Duties included managing writers, as well as working with executive producer and Nickelodeon story editor throughout the script-writing process from concept to outline to final draft. Wrote the episodes “Doug’s Secret Song” and “Doug’s Big News”.

Marx Madness - animated TV series for Gaumont (French TV) based on the Marx Brothers, co-produced and wrote development material, show bible; 1998-98.

The Misfits: animated feature for Good Times Video and Pop Inc. Prods., sequel to “Rudolph”; co-produced and wrote development material, show bible; 1999.

How My Body Works - writer for pilot segments for Reader's Digest CD-Rom, Aug. 1995.

How To Show Grown-ups the Museum - writer, for Roberts/Strong Prods. Educational video promotional script, Dec-Jan, 1995.

The Wheels on the Bus - for Good Times Video. CD-ROM for kids. Writer for 2 stories, June-Oct 1994.

My Scene Goes Hollywood – PC Game for Vivendi Universal. Script writer, 2005

Allegra's Window - for Nickelodeon. Writer for "I've Got a Secret" episode. May 1994.

Welcome Freshmen - for Nickelodeon. Head writer for five episodes, wrote two, 4th season (July-October 1993). Duties included managing staff writers, editing and rewriting scripts.

Greetings from Gilbert - HBO Video with Gilbert Gottfried featuring “Norman’s Corner” (writer). 1988.

Staff writer at Broadcast Arts, 1985-88, wrote proposals, bibles, scripts and developed several shows, among them: “Pee-wee's Playhouse” (wrote proposal, bible, developed show), "Norman's Corner", a Cinemax Comedy Special with Gilbert Gottfried, “Wayside School" for ABC (proposal, bible, draft), Mowgli and His Friends for unproduced Disney Channel series based on "Jungle Book".

SEGMENT PRODUCER

fX network (Fox cable channel - March ‘95-April ‘97). Duties included writing and producing 42 light and informative 50-second “channel hosting” hits per week for on-air talent. Content varied from background info on fX acquired programs, to promos.

NEWS PRODUCER

fX network from March ‘95-to March ‘96. Duties included checking news copy and supervising 8 live one-minute news breaks per day.

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MARIE VALENTINE's editorial work ranges from conceptual and developmental brainstorming to copy editing and proofreading, as well as the nitty-gritty of print and Web production. She has worked in acquisitions and production for the renowned new age book publisher Llewellyn Worldwide. She has also served as a news editor and writer, business technology editor, poet and small press publisher of experimental works by contemporary writers. Marie will use her knowledge in literature and nonfiction to clarify your thoughts with minimal alteration, but she is also open to experiments and will adapt easily and quickly to your perceived vision and goals. A flexible editor and proofreader with a light touch, Marie will help your prose shine while keeping your personal style intact.

10+ years proofreading experience (print, web, digital, books, magazines, news weeklies, chapbooks and more)

6 years business and technology editing experience

5 years book manuscript editing experience, both fiction and nonfiction

4 years publisher acquisitions experience - Ruminator (small press), university press (U of MN), commercial press (Llewellyn). She knows what publishers look for in a book.

9 years academic editing and formatting

Published nonfiction edited by Marie:

Offering to Isis by M. Isidora Forrest
Living Gnosis by Tau Malachi
Pagan Visions for a Sustainable Future by various authors
Color Magic for Beginners by Richard Webster
Million Dollar Baby by Amy Patricia Meade
I Ching for Beginners by Mark McElroy

Published fiction edited by Marie:

Million Dollar Baby by Amy Patricia Meade
The Mind Box by A.J. Diehl
Murder Passes the Buck by Deb Baker

Marie has edited numerous manuscripts by authors who self-publish, list available on request.

Services:

Content organization
Structural and substantive editing
Proofreading
Formatting and style editing (MLA, Chicago, APA, AP, project-specific)
Copy editing

Articles:

Fiction Classification: Literary or Genre? Short Story, Novella, or Novel?

The Differences Between Editing and Proofreading Nonfiction, Fiction and Poetry

I love having Marie as an editor. She truly engages with the work. She finds the inner heart of the piece and works her way out from there. I appreciate that she fields my questions regarding edits openly and promptly. She is more than I could hope for. If it were ethical, I would have her edit this recommendation. -Mike Bahl, fiction writer

Marie Valentine has edited three books I have written and we have co-edited several short-run chapbooks. Her keen intellect, critical eye for good writing and ability to process large amounts of complicated text in a short period make her a valuable asset. Marie is impressively well-read and has been tremendous to collaborate with due to the broad range of literature which encompasses the breadth of her interest. I would highly recommend her in the areas of editing, proofreading, writing, analytical critique and inspirational encouragement. -Wes Tank, writer and filmmaker

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Submission

Cut and paste the questions and answers into an e-mail:

EditMyBook@Gmail.com

Alternates
2012@Book-Editing.com
Help2012@Airmail.net
Contact@Editing-Writing.com

You may send your initial submission to all addresses to make sure it's received.

Required:
Submit the first 50 pages of your manuscript (Word/DOC or RTF attachment preferred). Large files should be zipped. Attachment not required if writing has not started (e.g., because you're looking for a ghostwriter).

A sample is required to receive an estimate
for editing services

Along with a sample, the following information is required. Ignore questions that do not apply to your project (e.g., footnotes).

(01) Word count of complete project (under "Tools" in MS Word):

(02) Put your 100-word (approx) synopsis/description here (or attach):

(03) Describe your genre and topic (e.g., nonfiction/self-help, science fiction, horror, romance, mystery, Western, young adult, children, poetry, Christian, creative nonfiction, literary):

(04) Deadline date, if any, for return of complete project. (Please be realistic. Remember that professional editors usually have a project in process.):

(05) If you have no immediate deadline, when do you want to start the editing process?: (For instance: within 30 days, within 60 days, within 90 days, 4-12 months)

(06) Level of editing desired/expected --

Copyediting / Proofreading / Line Editing (e.g., English corrections, typos, paragraph and sentence structure, word use)
Developmental (e.g., help with the big picture, such as flow/pacing, telling the story, characterization, structure, style)
Rewriting / Ghostwriting
Critique / Evaluation

(07) Number of charts/tables/pictures (if any):

(08) Writing style/format manual (e.g., Chicago Manual, APA, MLA), if applicable:

(09) Number of footnotes/references:

(10) Do you have a contract with an agent or publisher?:

(11) Do you plan to self-publish?:

(12) What is your budget for the entire project?
$ ________________
(Note: The editors will quote their regular rates, but having an idea of your budget allows the editors to tell you what services they can provide to stay within that budget.)

(13) Your name:

(14) E-mail addresses:

(15) Day/evening phone numbers (required -- in case the response to your e-mail bounces or the editors need clarification regarding the scope of service needed, deadline, etc.):

(16) City, State, Country (or time zone):

(17) The name(s) of the editor(s)/writer(s) you'd like to contact.
(If no names are selected, your e-mail will be sent to several consultants chosen by the coordinator):

(18) Do you want the coordinator to reroute your submission if you requested editors/writers who (a) are not available by your deadline date, (b) do not handle the type of material you submitted, and/or (c) do not perform the service(s) you want?

(19) How did you learn about our service?:

(20) Attach the first 50 pages of your manuscript (include prologue/preface, proposal, query)

Notes:

No hidden charges
We won't quote you one price and charge you another. When possible, we'll provide you with a per-word or per-page rate so you'll know up front exactly how much your project will cost. (Of course, we ask that you fairly represent the scope of your project.)

To learn more about the rates charged by professional editors, please see: Editorial Freelancers Association

It is a mistaken notion that freelance editors work "on spec" (speculation) with no payment to the editor. It is basically asking the editor to work for free. There's no guarantee that a book will see a profit (or even be published). The editors posted here do not work on spec.

LIVE AGENT

Note: Questions about price and turnaround times cannot be given over the phone or via chat.
To obtain a price quote please follow the procedures listed on our quotes page.

Contact live support if you do not receive a response within three hours (M-F, 9a-7p central). Expect longer response times if you submitted after U.S. business hours or on weekends.

You may also send your submission to our alternate e-mail addresses if you do not receive a response within three hours M-F:

Help2012 at Airmail.net
editingnetwork at gmail.com
contact at editing-writing.com

You may also leave voice mail for the network coordinator: 469-789-3030. This number is for verification of e-mail submissions only.

Please be as complete as possible in representing your project's scope and size so you will receive the most accurate estimate.

Disclaimer: Your agreement, whether oral or written, is with your editor or publishing consultant, not with the editing network as a whole or its coordinator.