The Steps to the Screenplay sale?

[PoMoTy]

This is an edit of an email to a friend, we talked about how to pursue a screenwriting career. I thought I would share it!

It is very hard to get an agent to read your scripts. They don't want to read scripts from unsold writers, but you can't sell a script without an agent. It's a horrible catch-22.

Note:
Right now big blockbuster, special effects driven films are what the studios are looking for; Terminator, Superhero types, or Twilight / Angeles & Demons (built in audience). Selling a "Juno" requires the stars and producers and directors to align perfectly. It's rare, but it happens. The rest of the sales are through connections; i.e. nepotism.

They say not to focus on getting an agent, it's a waste of time. I recommend reading the trades (Variety, Hollywood Reporter, both are free online) and about the film business so you know what you are getting yourself into, namely: rejection

Comes with the territory I'm told...

Here are the steps to a sale as I see them right now:

1) READ a few screenplays, download and read a (hit) script in the genre you are writing. This will help you get the pace and format. Also read a book or two about the biz and screenwriting.

2) Flush out your idea / concept. Compile some notes. Gather your thoughts. Scene ideas, characters ect.

3) Write an outline, or a treatment. This will help your script from wondering aimlessly, and will help incredibly in keeping you on track. It will also help you see what kind of idea you have, and how to make it work.

4) Write a first draft.

5) Take a break, to clear your mind. Maybe read another script in your genre to cleanse you pallet.

6) Read your script as many times as possible. If you want have some family or friends read it and give you feedback. Get as much feedback as possible. I'd be happy to read it for you. You want some constructive criticism. It's the parts people don't like and why and how that will help you most. Those are the parts to fix!

7) Incorporate your notes. Do a rewrite.

8) Maybe repeat step 6 & 7

9) Get professional coverage --> from a Professional. I think two opinions is best, ask around, check references. This can cost hundreds.

10) If they give you decent feedback (they will never 'love it') then you are ready for step 11

11) Enter Contests. There are only a few truly reputable contests (Nicholl's, Zoetrope, Disney Fellowship) worth entering. If you place you are on the right track.

12) Contests can get you an agent, but you can also begin to query Managers, producers and Production companies, and even stars if you can get to them, to generate some interest. Once there is interest, and a buyer, an agent will find you!

I think it's really important to love the process, and start with a strong idea you believe in. They say "write what you know", but if you really want to sell a script you need to know the market, and know what's selling.

It's hard right now, because the studios are making way less films these days and most studios have staff writers to write scripts for them. They are not buying a lot. Most agents have like 20 clients who's scripts they haven't read (because they know they probably stink) so they really aren't interested in new clients. The odds are stacked against the new writer, we are competing with people who have sold maybe a five scripts before.

But I never let the odds get to me. Neither should you!

Anyone want to add to this?

[Jim McLain]

Yea. I have my first film deal in the works beecause I wrote a spec script for a young and comming local director who's script I offered to edit for free. Shortly after I did a gentle (at his request) edit of his screen play, he asked me to write one specifically for a story he had in mind. I wrote it, he loved it, the producer loved it except one scene that I immediately changed. I'm not suggesting that everyone can do this but I am suggesting that the only way to get the screen credit you need to get an agent may be taking advantage of those rare openings that occasionally appear. Holding out for that multimillion deal is a good way to never see one of your screen plays made.

[Steve Rotramel]

Is it a local effort there Jim? I lived in Anchorage '79 to '82 and was briefly involved with a theater group (Full Moon something or other).

Pretty cool if they are making features there.

[krano]

alaska has film incentives. it's the only state besides georgia to have no cap on atl expenditures.

[icerose]

Gratz Jim.

As for the list, I would remove friends and family looking at the script. All they're going to do is give false confidence. You want someone who you aren't friends with, who's in the writing field, who can give it a sharp critical eye before you go to the step of having it paid for.

[Jim McLain]

Yes, there is a growing film community and really good incentives going here. If you think my family is going to sugarcoat anything you don't know them at all. We are a very competive group and it is hard to hear from a sister that she would "never waste her money to go see that film (a direct quote) " is a real eye opener. It also makes it much sweeter when the same sister writes me and says of my newest script that she (and god bless her soul the cheapest person I know) would happily spend her money to go the theatre to see my latest offering.

[Cyia]

9) Get professional coverage --> from a Professional. I think two opinions is best, ask around, check references. This can cost hundreds.

10) If they give you decent feedback (they will never 'love it') then you are ready for step 11




I think you mean professional critique. Coverage doesn't tell you much other than "Pass", "Maybe", "Recommend".

What you spend a couple of hundred on is script analysis, and it's a gamble as to whether or not it's worth the money.

[DevelopmentExec]

I'd like to make some comments and adjustments to PoMoTy's list.


1) READ a few screenplays, download and read a (hit) script in the genre you are writing. This will help you get the pace and format. Also read a book or two about the biz and screenwriting.


I'd change this to LEARN THE CRAFT. While I recommend reading books about the craft, I find that in many instances, writer's don't fully grasp the concepts in these books, if they are their only educational source. That's why I think a classroom or seminar environment where you are being taught, where you are given assignments, where you can ask questions and get feedback from a knowledgeable instructor is the most efficient and quickest way to learn about the craft. There are some decent online classes available (along with a lot of crappy classes) so do some vetting.

While reading scripts is a good way to see how good writers execute the craft - it's not very helpful if you don't have a solid understanding of what they are executing or why they are doing what they do. If you don't understand the basics of character and character arc - you are unlikely to magically craft one.

In fact one of the most common problems I encounter with scripts by aspiring writers is that the protagonist's don't EARN their epiphany / transformation. Meaning the writer doesn't provide the character with challenges and conflicts that lead to the change they have in the end. In these cases the writers in question grasp the fact that change is necessary but they don't pick up the complex and subtle steps that the other writers use to craft that arc. And when done properly it will be subtle, it will be organic to the story and not call attention to itself.


7) Incorporate your notes. Do a rewrite.

8) Maybe repeat step 6 & 7

The reality is you will almost certainly need to repeat step seven numerous times - as many as a dozen, or even two. Writing is rewriting and the newer you are to the craft, the more revisions you will need to make. My first feature spec script went through probably a dozen rewrites before I submitted it to agents, and the submitted draft had exactly one line of dialogue in tact from the very first draft. Today I usually do two drafts and a polish before I have something I'm comfortable submitting. In between that first spec and today, I not only gained a better understanding of the craft, I also identified my first draft weaknesses and developed ways to address those weaknesses via pre-writing exercises so that my first drafts no longer have those weaknesses.



9) Get professional coverage --> from a Professional. I think two opinions is best, ask around, check references. This can cost hundreds.

I agree with Cyia here, coverage isn't all that useful because it doesn't focus on fixing the problems and the agency/studio "readers" who do the coverage tend to have no experience working with writers or developing projects. Many production companies use interns and assistants for coverage - it is an entry level responsibility.

Script analysis is much more useful. It's more in-depth and often focused on problem solving. The best script consultant's also provide craft education when they feel it's needed. A good analysis can save you one or more drafts in the rewrite process. Script analysis tends to be more expensive than coverage it can range anywhere from a couple hundred to several thousands. A consultant's resume and the depth and breadth of the service often come into play. I'd be suspect of anyone offering analysis for coverage rates.



11) Enter Contests. There are only a few truly reputable contests (Nicholl's, Zoetrope, Disney Fellowship) worth entering. If you place you are on the right track.

I just want to reiterate that there are very few contests worth entering. Less than half a dozen have any prestige in the business.

If you are going to enter a contest, assume that you will receive nothing beyond the tangible cash and prizes attached to contest. The chances of getting an agent or manager - even if submissions to agents and managers are part of the prize package - are next to none. "Access" means nothing - blast emailing every name in the Hollywood Creative Directory announcing you won a contest is not going to get you read.


11) I think it's really important to love the process and start with a strong idea you believe in. They say "write what you know", but if you really want to sell a script you need to know the market, and know what's selling.

Great advice. Breaking in is so difficult that you really need to love it in order to deal with all the rejection. On the other hand this is a business so you need to approach it as one. Know the market, realize that you need to find a balance between your vision as an artist and the practical considerations of the marketplace. You may want your 8 year old protagonist in your g-rated family movie to have a potty mouth like Cartman, but the chances of selling a g-rated script laden with the f-word are non existent.


Finally I'd like to add one of my own. If you are serious about entering this business you need to realize it's a long haul. It's not just the multiple drafts and the even more numerous rejections that you will have to deal with, it's also the reality that this first script you are so excited about probably will never see the light of day. Nor the second, nor the third.

One round of golf isn't going to get you good enough to join the PGA tour and one script or two or three or even four may not be enough experience to put you on par with professional writers. And this is a profession. Your competition on the outside is not the people posting on this site today - it's the writers whose films are in the theaters today.

[Script a Wish]

Semi on-topic here, but it goes along with DevelopmentExec's fantastic line about playing golf: Has anybody read "The Talent Code"? It's an eyeopening book about how talent and skill actually physically develop in the brain. I can't recommend it highly enough.

[Paradis]

good post and good read