Break into Screenwriting: The Secret to Movie Script Sales, marketing screenplays, finding agents

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TUTORIAL: Marketing your Scripts from Outside the Hollywood Loop

Question: So many people want to become screenwriters. Do I have a chance?

Answer: I just read that an 82-year-old woman has written a play - an adaptation of Great Expectations (she was a teacher of Dickens for 60 years) - that's being produced at a first class theatre. Isn't that inspiring?

You need juice to tackle this profession, no doubt. Anybody who is 'gauging his or her chances' too carefully won't cut it, I'm afraid. I know that sounds harsh, but this business is not for sissies.

Don't be discouraged. There are so many ways to get your writing on film. You don't have to move to Hollywood and chase after Kevin Costner and Julia Roberts. I agree with Merl Haggard; when they asked him what makes a great singer, he answered in one word, "Desire." His way of saying it made it sound like the word had six syllables and an orchestral accompaniment. Like any creative endeavor, that's what screenwriting takes - desire.

Writing well is only half the job; marketing your work is the other half. You need both talents, if you're missing one or the other, either learn how to develop it or find a writing partner who has it.

Question: To attract a buyer for a script, do I have to put together a package: a director, a star and a producer?

Answer: Packaging a script is the producer's job; but your script must 'attract' these package elements. I'll clarify this. As you write and polish your script remember a screenplay does not stand on its own like a novel, it is a tool that must be used to attract a star, a successful director, and an accomplished producer in order to be made into a film.

Question: What script qualities attract a star?

Answer: Whether a producer submits the script to a star or you write to the star's company yourself and get permission to send your script, the script must contain the qualities that will attract the star:

1) An interesting, well-developed character caught up in a compelling situation with potential for exciting conflict.

2) A character who takes action within the story that leads to the resolution of the conflict’s climax. You'd be surprised how many aspiring writers forget this vital #2 'star quality'.

Question: What script qualities attract a successful director?

Answer: To attract a director you must lay out a compelling story that can be told visually. By this I don't mean special effects and stunning scenery. The story must unfold visually; the emotion conveyed visually, the danger represented visually and so on.

Question: Can a writer without an agent get a script to a star?

Answer: A-list actors are very well protected individuals; it is extremely difficult and rare for an unproduced writer to penetrate this inner circle.

I have heard wild stories of writers who tried to get hired as the nanny to a star's children in order to get access to the star, and other stories of writers who forced their preschoolers to make play dates with the preschoolers of certain CAA or William Morris star's agents in an attempt to gain access to the agent's client list.

I don't recommend either of those comical routes.

The best way to get material to a star is by personal referral from a film professional that the star has worked with: an agent, producer, director, script reader or film executive. A writer increases his or her chances of getting this personal referral from these pros by developing their own professional credentials. How do unproduced writers develop professional credentials?

Winning a script competition.
Attracting a well-respected agent with a great spec script.
Trying to get an established producer who has worked with the star to read the script and recommend it.
Writing a film short and selling it or making it.

Question: Should I send my script to a star's production company?

Answer: When the star has their own production company, many writers will query this company and try to convince the executive in charge to read the script for the star. This works once in a while. Work on that query letter, it's very important that you entice the person who reads it to say yes to reading your script. Do your research so you know what the star has already done, the new work that's about to be released, and learn (this is especially important) what they already have in development. Demonstrate how your script fits with them. My book has several other creative suggestions for acquiring this insider information.

Question: What writer’s ezines and magazines are most helpful.

Answer: For insider information on script sales, production deals, casting news: www.scriptsales.com

For producer credits, production details: Internet Movie Database - www.imdb.com

Movie zines, which offer great professional and insider information:

Print Magazines:

Script Magazine
Creative Screenwriter
Scenario This exceptional magazine features scripts of films currently released and penetrating interviews with their writers and directors.

Question: Should I post my script in an online database?

Answer: Yes and no. There are two concerns about online posting: security and effectiveness.

Are they secure?

Many writers are worried unscrupulous writers or producers will steal their material. Writers must protect themselves from this by registering their scripts either with the Writer's Guild, the Copyright office, or with an independent script registering entity. It's a simple process and not that expensive. I believe the Guild registration costs $20 for non-members. I register my work with the Guild because I know they (and their team of lawyers) will back me up if there is a dispute over ownership. They will do this even if you aren't a Guild member, if you register with them.

Are they effective?

These script databases are a fairly new marketing tool. I researched a very extensive article about these online script and story registries to be published in Writer Online Magazine (September 2001). I interviewed many writers who have had some success with these services. They have secured agent representation, sold or optioned film shorts and film scripts. Most of the services email you if a producer or agent is interested in reading your material and the writer decides whether to release the script or manuscript to them. I would suggest the writer research the agent or producer in one of the online databases before sending their material. Obviously, it's important to keep a detailed paper trail of those who see your original material no matter how you are marketing it.

Question: How does an aspiring screenwriter beat the odds, aren’t they simply too high for the average writer?

Answer: About the odds -- you have to forget about that. I know it's not easy, but you do. You have to concentrate on the work full force, and then concentrate on the marketing full force. Remember that it is your script that will attract these elements, not you yourself. To attract these vital elements, your script needs memorable well-drawn characters, a story that plays out visually and a 'hook' of some kind that will make it promotable. If it does not have these three qualities, then you do not have a movie no matter how well you write or who you know.

Question: What is a ‘hook’?

Answer: Some people get hung up on this. Sorry about that pun.. The hook of a movie does not have to be outrageously original: 'a three-legged cross-dresser tries to infiltrate the Rockettes to assassinate the Mayor of New York'. A hook simply means something that will peak the interest of the audience. Take E.T. - it's a simple (though pretty original) hook - an alien child is left behind on earth, he's befriended by an earthling boy and together they figure out a way to get the alien kid back home.

BACK TO TOP

Question: Are the rules for breaking into film in the UK and Australia the same as the USA?

Answer: There are some great groups for writers to get involved with in all these locations.

In the UK:

In Australia and New Zealand:

www.filmnet.org.aus
www.thesource.com.au/scripts
Cinema Connection: www.socialchange.net.au/cc

In Canada:

Tdfilm.com is a luscious Canadian site - 27,000+ links for filmmakers

Question: What should aspiring filmmakers do first - after they write the script?

Answer: Get your work on film - somehow. Writing scripts or directing movies are jobs that you really only learn by actually doing it. The Web has so many resources that can help you get your script or scenes produced. Independent filmmaker sites abound. Some writers I've interviewed have had success writing a film short (ten minutes) and getting it made. This is a great entrée into the business. It doesn't have to feature special effects or a star, but it must be a well-told little story. The industry pros you need to help you package your script are sometimes willing to look at a few minutes of film even though they claim they are too 'busy' to read a script.

Writing a scene or script and seeing how it is transformed into film is an invaluable experience; but even getting your script read by professional actors can help most writers prepare their script for the marketplace. It's not that difficult to arrange a reading of your script no matter where you live. Find a community theatre group or a college acting class and offer to bring in scenes or arrange a script reading for an invited audience. You will learn so much about your story, about how your dialogue works (or doesn't) and about the three dimensional aspects of screenwriting.

Question: What's the best script software - the ones the pros use?

Answer: The best selling program is Final Draft, next is Screenwriter 2000 by Movie Magic and then Scriptware and Script Thing are close behind. The Writer's Store in Los Angeles offers free demo downloads so you can try them out. Or check out my formatting tutorial.

Question: How do I know if my script is for the big studios or for independent filmmakers?

Answer: You've asked a very penetrating marketing question -- What is my market? With that kind of thinking, I have no doubt you will eventually succeed in placing your movies.

The main difference between independent movies and studio movies is budget. Indies are made on a much, much lower budget - from under $50,000. (Blair Witch Project) up to probably $10-12 million. Studio movies are $20 million and upwards to $200+. I've heard the average major studio movie is now about $80-100 million.

If you have a script that requires special effects, lots of action or destruction, a major star or two - then you definitely have a studio movie.

If you have a movie with only a few settings, a small cast, and little action or special effects you probably have a great independent movie.

And then there are all those projects in between which could probably go either way.

I usually advise unsold writers to try and tackle the independent market first, if they have an appropriate script. Many writers I know secured their first writing jobs through independents. Indie films cannot afford star power or special effects. To distinguish themselves, they often start with a dynamically original script - it could be yours.

Question: Do blind query letters to production companies ever work?

Answer: Do not send query letters to huge movie studios - they will get lost. It's okay to send query letters to the smaller independent production companies, especially those that develop for movie stars or directors.

Make an enticing case why your spec script will appeal to them. Don't send a form query letter, personalize it! Make it easy for them to say yes to reading your spec script. Research the movies this production group has produced and even the movies they might have in current development. Use your creativity to let them know how your movie belongs specifically with them.

Question: I have a unique idea and I’m afraid to throw it out there for anyone to take and use. How do I find a trustworthy partner?

Answer: As I'm sure you already know, you can copyright many things, but not an idea. However, you can copyright the execution of your idea. So I hope you have registered the elements of the project that you've already created: the screenplay, the portion of the script that you've already filmed, and the soundtrack.

All these elements can and should be registered with the Writers Guild (www.wga.org) to establish not only that you created them but also WHEN you created them. As a further precaution you could also apply for the copyright to these elements from the Library of Congress (online: www.loc.gov/copyright). You were automatically the copyright author when you created them.

Question: How do I know if the ‘deal’ a producer offers is good?

Answer: Keep in mind that you as the creator own all the rights to this project until you sell them. Only make a deal that is comfortable for you. Don't put yourself in a position where you sign an unfair contract because you're worried about lunch money.

In my experience, if a true industry pro is deeply interested in your project, other pros probably will be also. As the creator, you should share not only in profits but also in all merchandising and separated rights (stage, internet, CDs, TV shows etc) down the line. The Guild has some sample contracts on their site; check out the 'separated rights’ clauses.

Once you have serious people interested in financing your project, you MUST enlist an entertainment attorney (a trusted personal referral is best) or an agent to look over your contract. It's essential.

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