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Linda Seger – How to Make a Good Script Great

Linda Seger is a legend when it comes to screenwriting coaching and script consultant. She’s been coaching for over 30 years and pretty much invented the job title. After reading her best-selling book, “Making A Good Script Great” I had to have her on the show.

She’s  best known for her method of analyzing movie scripts, which she originally developed as her graduate school dissertation on “What Makes a Great Script.” She founded the script consulting industry, becoming the first entrepreneur who saw script consulting as a business, rather than an offshoot of seminars or books.

Linda Seger has consulted on over 2000 screenplays and over 100 produced films and television shows including Universal SoldierThe Neverending Story IILutherThe Bridge (miniseries,), etc.

“When I arrived I had an idea. Three days later the idea had become a complete and rich outline. Linda’s warmth, guidance and insight helped me structure my story and discover the layers that made it come alive.”  Sergio Umansky

Her clients include Oscar® winning writer and director Peter Jackson, Sony Pictures, and Ray Bradbury. Unlike other screenwriting gurus, Linda Seger is not a screenwriter but has focused exclusively on consulting and teaching.

Linda Seger has written 13 books, 9 of them on screenwriting, including the best-selling Making a Good Script GreatCreating Unforgettable Characters, and Writing Subtext(FREE AUDIOBOOK VERSIONS HERE)

Ron Howard has endorsed Making a Good Script Great, saying he uses the book when making all of his movies beginning with Apollo 13

Not a bad recommendation. Take a listen to this master class on screenwriting with Linda Seger and get ready to take notes!

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10 Comments

  1. Jim Henson on December 16, 2015 at 2:44 pm

    Linda’s book on subtext is terrific. It should be required reading.

    My only concern is the comments about the Pitch Fests. In their infancy (I worked on them) when we had to rip out pages of the old Hollywood Production Guide or whatever it was called, we couldn’t get decision makers to come to the pitch tests, only lower level people who were only there for the food. If someone made a deal it was a token option. I would love to see some numbers of the number of writers who have attended a pitch fest against the number who have seen their stuff make it to the big screen.



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