Archive for the ‘Marketing, Selling, Pitching’ Category

Friday Q&A: Finding An Agent

Q: How do I find and select an agent to query?

A: Thanks for your question. Here are three ways to find agents to pitch:

1. The Hollywood Representation Directory lists agents and managers. You can research agents who represent writers in your genre.

2. Read trade publications (such as The Hollywood Reporter, Variety, Script Magazine, and Done Deal Pro) to learn about screenplay sales and the agents representing the projects and writers.

3. Attend industry conferences, film events, and pitch festivals where agents are speaking for the chance to connect with agents in-person.

Friday Q&A: Tracking Boards

Q: I keep hearing about “tracking boards”. What is a tracking board and should I care?

A: Thanks for your question. Tracking Boards are online sites used by film executives and script readers to track spec scripts, and share and discuss information. Tracking boards may help screenwriters by providing more exposure for their work however, a screenplay that receives negative feedback may hurt the writer and the script’s chances for sale. Access to tracking boards was once exclusive to the industry, but today screenwriters have the opportunity to follow boards, such as TrackingB ($79/year) and The Tracking Board ($49/year).

Friday Q&A: International Screenwriters Submitting to American Studios and Agents

Q: Is it really ever worth a UK writer submitting a screenplay to an American studio or agent? I know you guys have all the money to get films made but that’s not my point. What I refer to is subject matter. In my mind, it is more than the Atlantic that separates us. Our cultures seem miles apart. In other words, are there American studios willing to read stuff without a car chase or explosions every five minutes? – Ian Harris

A: Thanks for your question Ian. To answer “Are there American studios willing to read stuff without a car chase or explosion?” I don’t recall seeing any car chases or explosions in The Blind Side, Precious, Crazy Heart, A Single Man, Up In The Air, or dozens of other successful films that were released this year. It’s apparent that not everything that comes out of Hollywood is an action-adventure film. Yes, plenty of those types of films are produced because they sell tickets, but that’s not the only genre being released.

In my opinion, the bigger challenge for a UK writer (or any screenwriter) is not living in Los Angeles. If you’re serious about being a screenwriter (and you’re not already established) get thee to L.A. Can you sell a screenplay to Hollywood from afar? Absolutely. However, you increase your odds as a first-time screenwriter if you make your home in the City of Angels. Check out Ashley Scott Meyer’s insightful posts on his experiences as a screenwriter relocating to L.A.: Do You Have to Live in Los Angeles to be a Screenwriter? and Moving to Los Angeles and Preparing for the Long Haul.

Friday Q&A: Screenwriting Revenue

Q: How do screenwriters determine their selling price for a script? – Regulo “Reggie” Zapata, Jr.

A: Thanks for your question Reggie. Usually a studio, production company, or producer will make a financial offer, either to option or purchase a script, and it is up to the screenwriter to decide if he or she will accept the amount offered. If the screenwriter is a member of the WGA or the production company is a signatory, then the screenwriter must be paid at least the minimum fees as outlined by the WGA Schedule of Minimums. A screenwriter’s rate may depend on the last script he/she sold, the producer and actors attached to a project, and the budget for the film. According to the WGA, the “average” working screenwriter makes between $40,000 and $100,000 per year (a long and winding road from the $3 million Joe Eszterhas received for Basic Instinct). A first-time writer can “expect” to receive between mid five-figures and low six-figures for a script sale.

Friday Q&A: How To Protect Your Script

Q: How can I protect my screenplay when I send it out?

A: Thanks for your question. Creativity theft is not as common as many new writers may believe, but it’s important to always safeguard your script. Remember, ideas cannot be protected – only the unique way the story is presented (the form it takes in your screenplay). The first thing you should do to protect your script is to register it with the WGA Registry. Also consider registering the copyright with the U.S. Copyright Office (the current fee for filing online is $35). Keep a paper trail of your drafts and submissions. When revising a draft always create a new file and number each new version of the script (instead of just rewriting over the previous version). When submitting your screenplay, be sure to sign your script – include your name on the cover page and in the header of every subsequent page – and only send out secured files that can’t be altered.

Friday Q&A: Screenwriting Competitions

Q: Can screenwriting competitions help a writer’s career?

A: Thank you for your question. Screenwriting competitions won’t harm a writer’s career (unless you’re spending more time and money entering competitions than working on your writing or trying to sell your script and get it made), but don’t expect winning a competition to launch you as the next Hollywood “it” screenwriter. If you win or “place” in a well-respected competition you can always mention it in your marketing efforts – it’s one more credit to include in your query letter. And if you’re lucky, you may garner a few industry contacts. If you decide to enter screenplay competitions, consider the well-known contests, such as The Nicholls Fellowship, Scriptapalooza, and the Austin Film Festival.

YOUR TURN: Has entering screenwriting contests helped your writing career? Do you have any screenplay competitions you recommend?

Q&A Friday: Common Screenwriting Mistakes

Q: What are the most common errors new writers make with writing a screenplay? – Hog Muffin

A: Thanks for your question Hog Muffin (I’m guessing that’s your pen name.) The ten most common mistakes I see over and over from new writers are:

1. The protagonist lacks a clear goal

2. Incorrect formatting and too many camera directions

3. Poor grammar, punctuation, and spelling

4. No character transformation

5. All the characters sound alike (which happens to sound just like the writer’s “voice”)

6. Not enough conflict and action

7. The stakes aren’t high enough

8. The scenes (and overall story) lack direction, they meander without purpose. The scenes don’t move the story forward.

9. The story is derivative and predictable – everything presented has been done before and done better

10. Poor dialogue: on-the-nose, overly long passages, too much exposition

My advice: learn the craft of good screenwriting by reading successful scripts (try to read several each week), stay focused and on-track by writing from a detailed outline, and continue to edit, revise, and repeat…

Q&A Friday: Spec Script Sales

Q: I’ve heard spec script sales are down. Is that true? How do I find out what’s selling?

A: Done Deal Pro is an excellent resource for script sales information and well worth the $23.95 annual fee. According to the site, almost 50 spec scripts have sold so far this year. The majority have been comedies and thrillers, followed by action, drama, and sci-fi/fantasy.

Spec scripts make up a small percentage of the number of screenplays purchased each year. Adaptations (scripts based on source material such as a book, comic, another film, magazine article, television show, play, video game, etc.) account for 85% to 95% – and possibly up to 98% (!) – of screenplays sold.

How To Write For The Hollywood Reader

Your “spec” script (short for speculation script) must pass the infamous Hollywood reader before ever being considered for film development by a studio executive. All screenplay submissions are read and evaluated by a reader or story analyst who produces a “coverage” report.

The coverage report includes a summary of the script, the reader’s comments as to the screenplay’s weaknesses and strengths, and ranking of various elements such as storyline, structure, dialogue, characterization, and concept. Each script is assigned a grade of ‘pass’, ‘consider’, or ‘recommend’. If your script receives a ‘consider’ or ‘recommend’ then your screenplay moves up the ladder to a producer, agent, director, or development executive for further consideration. Less than 1% of spec scripts receive a ‘recommend’. Ensure your screenplay stays out of the rejection pile by writing for the reader.

CREATE AN EMOTIONAL EXPERIENCE
Film is a visual medium and screenplays adhere to that structure, but successful screenwriters are always aware they are writing a script that will be read. They never forget that the reader is their first audience. They respect the interplay between writer and reader. As a writer, you are providing an emotional experience for the reader. Each scene should be crafted for emotional impact. You must understand how your written word is experienced emotionally. Is the reader feeling scared, sad, curious, anxious, excited… or just bored?

KEEP THE READER ENGAGED
If the reader wanders off while reading your script or is pulled ‘out of the story’, you’ve lost him. Your goal is to make the reader lose track of time, to feel compelled to turn the next page, to be completely absorbed by your story. Hook the reader with an exciting concept, riveting characters, and escalating tension and conflict.

MAKE A CONNECTION
Readers want to be participants in the story, not just bystanders. Successful scripts (and films) have universal appeal because readers/viewers can relate to the story, characters, and theme. None of us have experienced life on Tattooine or flying aboard the Millennium Falcon – but “Star Wars” and the character of Luke Skywalker resonates with readers and viewers because we all know the desire to break free from our daily life, to explore outside of our limited confines, to move from childhood to adulthood, and to prove we can succeed. Can a reader identify with your story? Does your material resonate and connect?

STAY-TUNED: In my next post I will discuss How To Make Your Soft-Concept seem more High-Concept.