Chris and I had developed his idea, fleshed out the structure, embarked on multiple re-writes before finally producing Drone Strike (or Distant Reaper as it was called then) to a state where we were pretty happy with it.
We showed it to various respected friends for feedback, who were all positive, constructively suggesting tweaks here and there. But we still had the nagging worry that it needed more. It needed to be scrutinised, poked and prodded by the scalpel-edged hand of a script consultant.
You might have seen their credits on films. They’re not generally part of the core team, they’re normally guns for hire. But their value lies in their detachment from a project. We’d lived and breathed the story, so we found it hard to be objective. Noelia’s online research led us to Kira-Anne Pelican. For a moderate fee, she agreed to take our precious script and give it a duffing up for us. After she’d had it for a day, she got in touch, and suggested we meet at a cafe…neutral territory, very clever.