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Script consultant
Creative coach
Writing workshop 1:1
In the beginning was the screenplay
I support writers, screenwriters, producers and creative teams at every stage of the writing process
My approach is dynamic and collaborative, working from within the ecosystem of the story and its unique identity to help bring the screenplay to its most polished and refined form.
/ Proven method tailored to each project
/ Respectful of the artistic vision
/ Supportive yet uncompromising feedback and confidentiality
/ Streamlining the creative process and shaping a stronger screenplay
/ Available in French or English, in Paris or remotely
/ 15+ years’ experience in supporting audiovisual storytelling
90pages script consulting
Pourquoi
Writing a screenplay is both about creating a world and mapping it out.
The development of a screenplay is a crucial and fundamental step in the life of a film. However, the work of screenwriting can sometimes be solitary, lengthy, and frustrating.
My role is to help writers and screenwriters, whether emerging or established, optimize the narrative, structural, and emotional quality and coherence of their projects, while preserving their unique vision.
My method is based on guided brainstorming sessions - a dynamic, creative dialogue that uncovers the real challenges in a script and helps shape solutions that stay true to the writer’s vision.
With a strong background in editing, I bring both creative intuition and narrative precision.
What I Offer:
• One-on-one coaching sessions tailored to your needs
• A collaborative, dynamic, problem-solving approach to storytelling
• Deep expertise in structure, pacing, emotion and character development
• Support for :
- established & emerging screenwriters looking for deep story refinement
- producers wanting to fine-tune screenplays
- creators wishing to unblock, amplify, accelerate, deepen their creativity process
Comment
HOW
The script itself should not be discussed (too much) during our first exchange. I need to be able to discover it fully and completely, without any preconceptions. This is important because it allows me to have an authentic first reading, as well as to see any discrepancies between what the reader reads, understands and feels and the author's intention.
After receiving the script I read it, twice, and take notes. Next is the consultation, which is the core of the process.
The strength of 90pages lies in its process, which is based on collaboration.
This is a half-day exchange during which the writer engages with comments, reflections, suggestions, ideas, and questions. It is a constructive, dynamic, and shared reflection that allows to delve deeper into the mechanics of the screenplay to optimize it.
It's a process during which the author and I explore, based on my notes, how to refine and reinforce the script on different scales, big picture as well as details, where needed, to optimize it.
There is no ideal number of sessions. This is decided gradually, based on the screenplay, its level of development, and its specific needs. The screenplay you share with me can be in the form of a treatment or already a fully written script
Quoi
WHAT
At the end of the session, the author leaves with greater perspective, a clearer vision… and above all, a precise and detailed list of what to do.
Built step by step during the exchange, it is usually written by the author, to avoid any misinterpretation and to ensure that each point reflects their own understanding and choices.
Precise, validated and immediately actionable, this to-do list becomes a genuine roadmap for moving forward in the rewriting process.
Qui
DÉBORAH BRAUN
Script consultant
Programming Advisor for Filmapalooza Seattle 2025
I have worked with Wim Wenders, Jean-Loup Hubert, Pierre Jolivet, Jean Odoutan, Frédéric Jolfre, Emmanuel Robert-Espalieu, Sophie Fino-Berger, Etienne Chatilliez, Raphaëlle Catteau, Jérome Raynaud, Pierre-Henry Salfati, Gilles Paquet-Brenner, Samuel Luret, Nathan Nicolovovitch, Ivan Goldschmidt, Fabien Chalon, etc...
I have worked for AZ You Like, ZED, Little Bear, Storia Télévision, Terence Films, Bande à Part, Telsete, Dum Dum Films, Nelka Films, Point du Jour, Idéale Audience, 45RDLC, LDM, IN Production, Morgane, Vincent et 7 Amis, Hugo Films, Terre Neuve, Zeta Productions, Seconde Vague, etc…
"Once upon a time... , and a world is born.
Stories have always fascinated me, they are like magic. Invented and yet so true..."
French-British, I grew up in Cannes and quickly became a film buff.
As a young woman, I was already on several film festival juries. Five films a day and it was bliss. Films but also books, every day, sometimes the whole day, of all genres: science fiction, thrillers, novels, short stories, and theatre too, a little later.
I have never tired of wandering through stories and rubbing shoulders with their characters.
At the Namur Festival, I discovered the practice of editing, the third form of film writing. It was love at first sight.
I went on to study Cinema and Arts, Communication and Language Sciences, and also took classes with Jack Garfein (Actor's Studio) on acting techniques and directing.
I met the editor Yves Deschamps, who trained me and passed on his knowledge to me. I then became chief editor for almost 15 years, often working for the same directors.
Before and during editing, the same question is always asked:
What is the story? The film is in the answer.
Later, I worked with Noëlle Mesny-Deschamps, founder of the first script development company in France, then of éQuinoxe and its writing workshops.
It was a natural progression for me to go from working on the third writing of movies to working on the first. And so I decided to create 90pages script consulting.
My background in film editing, gives me a unique perspective on the interplay between story structure, pacing, and emotional impact, as well as on the characters and the dialogues. It allows me to approach script development as a holistic process, combining intuition, analysis, and creative brainstorming.
I believe that detailed work does not wait for multiple versions but is carried out in a dynamic and creative process within the ecosystem of the screenplay and its uniqueness, in collaboration with the author.
"I enter each script like one enters an unknown place. I also explore it physically. Volumes and sounds, textures and sensations, emotions. Insights, reflections, analysis, exchanges, brainstorming, evidence, stories..."
Manifesto
MANIFESTO
Homo is the only animal to tell fictions
Humanity was born from shared stories
They are the sounding boards of our emotions, by sharing them we form a group
Stories shape our realities, and build our beliefs
Stories are our superpower
Stories are the place where we recognize ourselves
Myths Tales Laws Stories Texts Legends Plays Scenarios Novels Films are made of human, living matter.
A story is a movement towards the Other
A story is always a fiction
It seeks to create a link, an understanding, a common experience
Stories are more than entertainment
They synchronize us when we share their meaning
They are able to arouse in us intense emotions that transcend the boundaries of the possible
They have a very real impact on our lives
A screenplay is a parallel universe, an ecosystem, a map
Nothing is real, but everything is true
It is the origin of a new world
What is the story?
The movie is in the answer.
Témoignages
TESTIMONIALS
"I entrusted her with “La Reine des Lézards”, a script I wrote twenty years ago, never filmed and that has haunted me ever since. Not only did she provide highly detailed notes, but she also spent five hours with me dissecting the script with intelligence, insight, and sensitivity, never imposing her views, yet inspiring me to revisit it.
She helped me rediscover my own work and reignited my drive to write a new version that is both truer to myself and more effective (Déborah’s background as an editor is a major asset in enhancing a script’s pacing).
Since then, I’ve hired her again on another project, and her work exceeded all my expectations.
I cannot imagine writing anything important to me in the future without her expertise.
For screenwriters, and especially producers looking to improve a script or gain a sharp, insightful analysis, there is one name to remember: Déborah Braun"
Alain Layrac, screenwriter
"It is clear that I felt, thanks to her ‘intimate’ understanding—in the sense of being ‘as close as possible’—of what we wanted to convey, a genuine desire not to distort but to serve the story we wanted to tell.
All her questions and remarks hit the mark. She misses nothing, which often allows us to trace back to the root of a narrative issue."
Erwan Rodary, Show Producer and screenwriter
"As an editor active for over fifty years, I am intimately aware of the essential importance of the screenplay. I also know Déborah as an editor and as a consultant. Having her as the first viewer of your film or screenplay is a priceless asset. Her sense and experience in rhythm, context, and dramaturgy make her a powerful ally in the work of cinematic writing.
She doesn’t interfere with your ideas or desires; she helps you express their full visual and emotional potential.
They say two heads are better than one—with her, that’s a certainty."
Yves Deschamps, Chief Editor and Author
Combien
RATES
The rates below are for production companies
For scriptwriters without a producer, students, under-26s and 48ers see below
Script editing:
- dialogue continuity (up to 120 pages, additionnal cost apply beyond),
in-depth reading, note-taking, and a half-day working session with the author(s):
1210€
- a treatment (up to 15 pages, additionnal cost apply beyond),
in-depth readings, note-taking, and a half-day work session with the author(s):
890€
- a short film (up to 30 pages, additionnal cost apply beyond),
in-depth reading, note-taking, and a half-day work session with the author(s):
650€
- Other script formats, writing follow-up, workshop, editing consultation, etc... :
quote on request
For less than two years old production companies and individuals a 20% discount is applied
For students, under-26s and 48ers, a 30% discount is applied (with the possibility of payment in instalments)
nb: for budding authors this is akin to training in scriptwriting or rewriting
Contactez-nous
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