Stage and Screen

FSP's central and satellite network is a rock and roll of producers, camera and sound, tech support, pre and post production movers, lighting and riggers, costumiers, artists and creatives, all independent in their own right. It's healthy. Collaborations form and die. Contracts are obligatory. Project development is currently underway on a crime thriller (Aus)and, in early development, a stage production for Melbourne 2018/19.

Paul J Warren DoP, Cinematographer, on the Red One


Manuscript and Screenplay Analysis

On set, Joe Frame. Cast flirting with local council boys


Should you choose to risk your work with FSP please email us about yourself, in two or three sentences only, and a short synopsis of your project. Include CV, work to date and experience.

Please check spelling and punctuation and use industry-accepted formatting before requesting analysis. We provide constructive critique and scale the work based on:


  • filmic technique
  • dialogue
  • mood
  • believability


  • genre
  • wordcount
  • specific audience

Please be clear about the genre and your target audience.

When you contact us please send your CV, tell us where you studied (if you did), whose work you love and whose you hate. We either have an arrangement or we do not. We will require a 1 paragraph, 1 page synopsis, whether the work is short film or feature. No tag or log lines are required (you are pitching your writing, not your film). We do not critique stage plays, television pilots or series, nor do we analyse documentary unless it is docu-drama. We also require the entirety of your short film (15 pages or less) or the first 20 pages of your feature (90 - 110 pages). Address provided privately.

This process MUST be mutual. FSP does not want to just take your money. We wish to be inspired by your work and assist you to achieve the most marketable outcome for your story. We do, however, request that your work be viable for the industry in the current era. There is precious little funding available for the beginner or for someone yet to crack it in Australia. Blame John Howard.

There are two, independent assessors working on each project and you will be given full script notes and suggestions on the work itself, an independent assessment/grading of each of the categories and a 1 hour Skype deconstruction.

Total cost feature screenplay analysis: AUS$280
Total cost short screenplay analysis: AUS$200
Docu-drama will be negotiated on length & complexity.

No attachments accepted.

Send details and synopsis here.


STORY by Robert McKee
SAVE THE CAT by Blake Snyder

There are many many others and many sites designed to assist you to learn to write well. They all cost and they're all pretty much the same as the above.

Re SCREENPLAY: What I can advise, most earnestly, is that you write for the actor/audience. That each and every character have a reason for being in your story. That each and every character has a vast backstory even if none of that is relayed to the audience (this is called a character bible). That you write into the story itself what a director might see and feel but do not write directorial notes in your script. The other two pieces of advice I can, definitively give, are 1.think about cost. Unless you are George Miller that's going to matter. Or unless you're kickarse rich, then forget everything I'm suggesting and 2. film is about visuals. I could suggest a gazillion examples but I'm only going to give one, a recent TV miniseries: TOP OF THE LAKE. Brilliant.

Updated January 2017