Screenwriting With A View #31
Jane Doe, Coverage Scores, Crowdfunding, and the Longest Gap Yet
This is probably the longest gap I’ve had between posts. That break dented my goal of hitting 100 this year, not counting the monthly recaps I do breaking down my screenwriting journey. But it’s been for good reason things have been busy in the best way, and the recap at the end of this month is going to be a wild one.
First off: Jane Doe is done. And now the fun—and the work begins.
We’ve officially started laying the groundwork for crowdfunding. While we’ve got some funds already earmarked, a successful campaign would put us right where we need to be to complete production. The plan is to launch the Indiegogo in October for a 60-day run, but prep starts now. That means digital assets, graphics, rewards, promo materials, everything. I’m one for two in crowdfunding, and horror tends to do well in that space, but success takes near full-time dedication. I’m ready for that.
One of the best pieces of news so far? The coverage scores for Jane Doe.
A lot of screenwriters don’t bother with coverage,I’ve never understood why. I always get 3–4 rounds. My process includes:
Feedback from my focus group, The League of Extraordinary Non-Industry People
Two paid services
And one from a well-known actor I consider a mentor—he’s been in Saving Private Ryan and other major films—and either he or someone in his network always gives me deep, honest notes.
I don’t chase a perfect 10. Most award-winning scripts wouldn’t get them either. My benchmark is an 8 or better. Anything 8+ means I should stop over-editing, which I’ve been guilty of in the past, rewriting something into the ground and then getting notes that ask, “What the hell did you do?”
Here’s the breakdown for Jane Doe (not counting my focus group, who are still reading it):
Coverage 1: 8.0
Coverage 2: 8.5
Coverage 3 (mentor/industry): 8.3
One note called it the most marketable script I’ve ever written, and that if I can make it look as good as it reads, it could open major doors.
I did get a 7.5 for dialogue, which stung a bit—I’ve never scored below a 9 in that category. But I understand it. I leaned more into visual storytelling and 80s-slasher-style exposition, especially since I’m planning to make this myself. That changes how I write. If I were writing this to sell, I wouldn’t worry about budget. But since I’m directing and producing, it had to be lean without losing the style and grit.
The goal budget is around $100,000, though I’m willing to go a little under if necessary. I wrote it knowing I’d be stretching my resources to make it happen—not chasing a million-dollar investor fantasy. That kind of thinking—waiting for someone to “discover” your script—is, in my opinion, a dead-end. Especially with the collapse or consolidation of screenwriting gatekeepers like ScreenCraft and others. Studios aren’t buying specs from the unknown anymore. If you want it made, you have to make it happen yourself.
Jane Doe was always intended to be that: a vehicle to showcase what I can do as a writer, director, and producer. And it’s working. Now comes the marathon of bringing it to life.
For those unfamiliar, Jane Doe is a supernatural slasher in the vein of Friday the 13th meets Coralie Fargeat’s Revenge. It follows Vivian—aka “V”, a stripper turned serial killer who’s murdered in an extrajudicial killing and returns from the dead as a vengeful force. The role is dark, layered, athletic, and a dream for any actor who’s ever wanted to play “hot Jason Voorhees” with emotional weight and a killer mask.
Which brings us to casting. Finding the right “V” is everything. I have a shortlist. Actually, more like a long-shortlist of people I’ve already reached out to, indie actresses, wrestlers from AEW and WWE, and talent with loyal followings in the horror or wrestling communities. I’m avoiding casting calls for now, hoping one of these direct contacts sticks.
The idea is simple: cast someone who brings their own fandom, who can elevate the project and carry it into sequel territory. Yes—Jane Doe is written to be franchise-ready. For the first time in my career, I’ve written something I could build an indie slasher legacy around. Think Terrifier, only smarter, neon-yer (not a word, and with better shoes.
Over the next few months, I’ll be documenting everything,casting, prep, visuals, perks, marketing, through this Substack and on socials. Some posts might be all Jane Doe, some will mix in updates on my other projects (I have two entering preproduction this fall), but this one’s special. If I do this right, it could be the one that breaks through.
And if you’re reading this, I hope you’ll be a part of it,whether by following, sharing, or supporting when the campaign goes live. Even just passing this along to someone you think would make a killer “V” helps.
Let’s build something brutal and beautiful together.