Script Consultant, Script Editor
IN THE BEGINNING WAS THE SCREENPLAY
&
1:1 Writing Workshops
Emotional truth lies in the detail
FOR DEMANDING SCREENWRITERS, AUTHORS AND PRODUCERS
I work from within the screenplay ecosystem and its singularity to provide you with perspective, clarity and expertise. My editing background enables me to combine creative intuition and narrative precision to guide the screenplay towards a powerful, accomplished film.
/ 90pages’ specific method
/ Precise, constructive feedback that respects the artistic vision
/ In-depth work, at a key stage of development or over the long term
/ Confidentiality
/ In French or English, in Paris or remotely
/ Over 20 years’ experience in film editing and dramaturgical consulting
WHY
USE A SCRIPT DOCTOR?
Because a screenplay is living matter that runs through a film's production, being its point of reference.
Because writing a screenplay is both creating a world and mapping it.
Because an accomplished screenplay is much more than a good story.
Because a better screenplay means a better film.
Script doctor is a profession in its own right, which requires:
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Perspective on the creative process (and not just the creation itself)
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A concrete vision of what works on screen, and what should or shouldn't be included in a screenplay
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The ability to guide without imposing, to question without judging
My experience as an editor provides me with this approach, and much more. My role is to work with screenwriters and producers to optimise the quality and narrative coherence of their project, whilst preserving its singularity, through a unique and dynamic process.
What I offer:
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Personalised one-to-one support, occasional or long-term
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A collaborative, dynamic and constructive approach
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In-depth expertise in rhythm, emotion and character development
Dedicated support for:
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Professional screenwriters seeking a script doctor combining creativity and precision
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Producers seeking to refine a screenplay to go further faster
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Creatives seeking to unblock, amplify, accelerate, deepen their creative process
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Beginning and emerging screenwriters seeking bespoke training, based on their project
WHAT
MY SERVICES
SCRIPT DOCTORING
Script doctoring is a targeted intervention on a feature length or short film screenplay at a strategic stage of its development. As a script doctor, I undertake an in-depth analysis of the screenplay’s strengths and weaknesses in relation to the story itself, in order to determine precisely how to achieve a solid and fully realised script.
This detailed diagnosis is followed by an in-depth half-day sessi
on to define clear and practical rewriting strategies. By the end of the session, the writer leaves with renewed perspective, a clear vision of the work ahead, and reactivated creative momentum. Built step by step during the exchange, the notes are generally written by the writer themselves, ensuring full ownership of the narrative stakes and artistic choices.
Benefit: a genuinely accomplished screenplay, and therefore the possibility of a more coherent, more embodied and stronger film, first for readers, producers and funding bodies, and ultimately for the audience.
1:1 WRITING WORKSHOPS
The workshops are one-to-one sessions built around the writer’s own text. They are not theoretical classes, but an active and experiential approach applied to real material: theirs. Each session develops a precise understanding of screenplay mechanics through the participant’s own project — structure, point of view, character construction, dramatic progression, coherence and audience engagement, dialogue, rhythm — while transmitting tools that can be immediately applied to the writing or rewriting process.
Benefit: increased autonomy and progressively more assured writing, fully aware of its narrative choices and their effects.
DÉBORAH BRAUN
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, and later of éQuinoxe and its writing workshops. I was immediately drawn in, and loved it.
Naturally, I moved from the third writing of film to the first, the one on which everything is built.
That's where 90pages was born.
"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
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.
HOW
A 90pages CONSULTATION WORKS
During our first discussion, we shouldn't (overly) discuss the screenplay itself. I need to be able to discover it totally and entirely, without any preconceptions. This is important because it allows an authentic first reading, and reveals any gap between what is read, understood and felt by the reader and the author's intention.
After receiving the screenplay, I read it in detail, twice, and take notes.
Then comes the consultation. The strength of 90pages is its process based on dialogue. After the in-depth reading of the screenplay and analysis of its strengths and weaknesses, we reach the heart of the process: the consultation.
It's a half-day discussion during which the author takes a position based on comments, reflections, suggestions, ideas and questions. It's a constructive, dynamic and shared reflection, which allows us to delve deeper into the screenplay's mechanics to optimise it. It's a process during which the author and I, from my notes, explore and decide how to refine and strengthen the screenplay, at different scales, where necessary.
My method combines expertise and creative dialogue to strengthen the narrative, whilst remaining faithful to the author's vision.
TESTIMONIALS
WHAT WRITERS AND PRODUCERS SAY
"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
FEES
The rates below are for production companies over two years old.
For scriptwriters without a producer, students, under-26s and 48ers see below *
Script consulting:
- dialogue continuity (up to 120 pages, additionnal cost apply beyond)
→ 1320€
-15% on the following sessions
- a short film (up to 30 pages, additionnal cost apply beyond)
→ 720€
-15% on the following sessions
- a treatment (up to 15 pages, additionnal cost apply beyond)
→ 930€
-15% on the following sessions
- Other script formats, writing follow-up, workshop, script editing, 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 25% discount is applied ( with the possibility of payment in instalments )
nb: For emerging writers, this work is akin to a personalised, hands-on training in screenwriting or script rewriting.
CONTACT
You can contact me via the form on the website, or by clicking on the VCard which will give you my contact details.
I can also call you :
I can also call you :
