If you've ever submitted a script to a Director of Development, and wondered just how this person got into their position, or what they had to do with your scripts, below are some answers from Julie Huey, Director of Development at Samuel Goldwyn Films.

SJ: Could you tell us what your job entails at Samuel Goldwyn Films? JH: Our company doesn't have titles as there is a great deal of overlap with work, but technically I'd be considered the director of development. This entails outreach to agents, managers, producers and publishers for new material and fostering those relationships as well as keeping tabs on the theater world. I also track what's currently on slates throughout Hollywood and search for projects placed into turnaround by a studio or production company. In a nutshell, I am looking for the next project to put into production at Goldwyn. SJ: How did you get the job? JH: I started as an intern for the company and was hired after a month as an assistant for the former director of development and the former head of production. SJ: What are some of the aspects of the job that you like the best? JH: I enjoy finding new writers who have yet to be tapped by Hollywood and the creative process of working on their scripts with them. SJ: Dare I ask what are some of the aspects you don't like? JH: I think some of the more challenging aspects of a job in development are discovering the (Hollywood) market is inundated with copycat material or just bad material that actually gets made. There are good writers out there who have trouble getting into the (Hollywood) machine. SJ: Roughly how many scripts come through the offices during a normal week? JH: This will vary according to season, but roughly we get anywhere for 10-20 per week, which is small in comparison to many production companies and studios, but that's because we have a more selective search process. SJ: What are some of the prerequisites that you look for in a script? JH: First and foremost the story cannot be about the story, but about the character. He/She comes first otherwise you have no voice and no heart. And the writing has got to be beyond good; It has to be excellent. SJ: If you find a writer's "voice" that you like, but his or her script isn't quite what you're looking for, what do you do? JH: I provide story notes. Ultimately, it's up to the writer to work with his/her agent in terms of getting it to the right production home. However, I will express my interest in the writer's talents and keep the door open for future projects that may be more appropriate for our company. SJ: What does Samuel Goldwyn Films look for in a script? JH: This is a repeat of my other answer, but it's really about characters and the journey the characters go on and the changes they make in their lives and how it effects those around them. SJ: What do you, personally, look for in a script? JH: As I am the "gatekeeper" for the company I look for what will excite the company and strive to find top-notch writers. My personal preferences are varied, but never factor into this search. SJ: There are so many ways for a script to find its way to you: through an agent or manager, an actor, an entertainment attorney, a writer's query, contests, etc. What is the best and the worst way? JH: The best way and by far most legitimate is through an agent or manager. Secondly, I choose high profile competitions. The company does not accept unsolicited material so it's never a good idea to send a query letter or a script to us without legitimate and reputable representation. Query letters are not answered and scripts are sent back unread. SJ: Contests. Writers are told that contests are the way to go to get noticed. The big problem is which contests? How are contests looked upon by Goldwyn Films? JH: Competitions are highly regarded in the industry, but writers need to be selective. Almost every town, city, state and website offers some kind of screenwriting contest. It's not the prize money that's important, but who sponsors, who judges, and who do you get to meet if you are the winner. Money has its place, but for a new, unknown writer connections are far more important. A great place to get more information on the contests offered is www.moviebytes.com SJ: What type of script(besides a badly written one) do you hate to see cross your desk? JH: I hate to see the exact opposite of what was discussed between me and the agent or me and the writer. Meaning, I specifically stated what I wanted and what this company would NOT DO and yet I find on page 44 that the heroine is an alien who struggles between her insatiable (literal) hunger for her lover and getting the breast enhancement to make her human existence easier. That just doesn't sound like an epic love story to me. SJ: When you find a writer you like (not only personally, but company wise too) does Samuel Goldwyn like to bring him/her on board on other projects? JH: Yes, that is a struggle with many of the scripts we see. If we love a concept but feel the writer is incapable of carrying on further with the material we often don't pursue it further. We'd prefer to work with the original writers of the material as it's their vision and we'd want to nurture their "voice." SJ: Do you have a favorite old movie you wish you'd been able to work on? JH: I tend to lean more towards suspense and horror so I would have been perfectly content working on Psycho. (That's putting it mildly.) SJ: Any general advice for the screenwriters trying to get their work seen? JH: Research and stay on top of Hollywood, but don't be dictated by the climate or "buzz." If you're a good writer it's important to remain true to your voice, but balance that with recognizing your potential audience. Enter well-known competitions and research them carefully and thoroughly. And when you get a chance to meet with agents and managers get ready to sell, because they are always hungry to buy. But most importantly, if you truly believe in your writing, then never stop no matter what obstacles you encounter. It's a tough and often discouraging business. Writers have to remain devoted to their craft despite the roller coaster.

Sable Jak is an accomplished stage, radio, and screenwriter with more than fifteen scripts to her credit. Sable is also a free-lance journalist, a contributing columnist to numerous screenwriting sites, and her latest article, 'What's a Screenplay Worth?', will be appearing in the November edition of (S)cript Magazine.