| When new screenwriters finish their scripts, they | | | | written a very popular screenwriting book. Please |
| often begin the search for a rep to submit the | | | | trust me on this. There are no second chances |
| work around town. But is that the best way to | | | | for first impressions in our industry. And it's not |
| do it? Well, sure! But it's not the ONLY way to do | | | | just your rep on the line, but also the rep of |
| it. | | | | whoever opens that door for your submission. |
| As you prep to get your script sold, incorporate | | | | Why "more than one script"? That is because if |
| this info into your marketing strategy: | | | | someone reads work of yours and thinks you |
| SEEK REPRESENTATION | | | | have promise, their next request (to confirm the |
| But only if you have a bona fide "in" to their | | | | initial impression) is very often, "Can you send me |
| direct office line! It's very difficult to get a lit | | | | another spec?" If you can't, that is by no means |
| agent to read a script for representation without | | | | a dealbreaker. But if you CAN, and the second |
| a personal introduction by a repped client of theirs. | | | | script is equally hot, that could be a dealmaker! |
| If you know a screenwriter or other industry | | | | The second script needs to be structurally sound, |
| member with an agent who actually is getting | | | | as well. |
| scripts read by real studios and funders, and you | | | | Be sure that your screenplays are structurally |
| have TWO solid scripts (more on that later), ask | | | | solid (on a first submission, nothing else will do! |
| for an introduction. Give your contact a substantial | | | | Trust me!). Be sure that an experienced |
| gift whether you are signed or not! | | | | Hollywood reader has read the script and you've |
| Of course, it's not necessary to have a lit agent | | | | addressed the notes. As I always say, "if the |
| to shop a script. Make getting an agent only one | | | | story does not fit, you must not submit!" If you |
| part of a broader shopping strategy. | | | | submit a flawless first spec, you will never have |
| EXPLORE LEGITIMATE SUBMISSION OUTLETS | | | | to live up these standards again, but you should. If |
| The main places you're trying to get your script | | | | you submit a flawed first spec, you will not get |
| to, production companies, studios and even | | | | the chance to live up to higher standards at that |
| top-five actors' shingles, are sometimes more | | | | company; you will be blocked from future |
| accessible than lit agents. If you're not already, | | | | submissions. |
| make sure you join professional writers' groups | | | | CONSIDER PRODUCING YOUR WORK |
| like ScreenplayLab and Scriptwriters' Network, and | | | | YOURSELF |
| attend every possible event to make those | | | | If you find you are getting great feedback on |
| contacts. There's a list of organizations to get you | | | | your work, but it's never quite the right fit, |
| started at Movie in a Box - Links. | | | | consider producing the film yourself. This is a |
| Again, the way to shop a script in our industry is | | | | great approach when you have a lower-budget |
| to know someone. It's tough to open a new | | | | indie project (think "Open Water") versus an |
| professional relationship by asking for the | | | | effects-laden thriller! It is an enormous undertaking |
| considerable favor of an agent referral, so try a | | | | to produce a film, but there are many resources |
| strategy where you're offering something they | | | | out there for people who have compelling scripts |
| could use in exchange for the introduction (like | | | | to develop. And just as you studied and trained to |
| Web site design, database entry, etc.). And | | | | write well, be sure to research and train |
| expect them to request to read your script first - | | | | extensively before taking on a massive project |
| and listen to their notes without argument. | | | | like producing a movie. Your first stop should be a |
| Another credible outlet for getting your script | | | | professional organization like Film Independent |
| noticed is via some of the online sites. If you're | | | | (FIND), which can connect with you with terrific |
| not already, make sure you're active at Inktip, for | | | | partners and/or mentors, as well as vital |
| example. And be sure to explore the hundreds of | | | | resources. Look into comprehensive seminars like |
| screenplay competitions, like Scriptapalooza - but | | | | Movie in a Box, as well. |
| check first to see what success stories you can | | | | However you decide to get your screenplay sold, |
| verify from their sites. | | | | it should be clear by now that you don't do it |
| WRITE AND QC MORE THAN ONE SCRIPT | | | | alone - you need community support and |
| "QC" stands for "Quality Control." Do not ever | | | | resources - and no one else does it for you - |
| submit a script that is not structurally sound, no | | | | even an agent! It is no one's responsibility to open |
| matter how ready you are to stop looking at it! | | | | a door for you to sell a screenplay. It is your |
| This is neither a judgment, an assumption, an | | | | responsibility to create a tight script, research |
| insult or a joke. It truly is a requirement. I was a | | | | appropriate buyers, and relentlessly seek |
| reader at one of the biggest prod cos in Los | | | | submission opportunities until someone buys - or |
| Angeles, I've had scripts optioned, I run a | | | | you decide to produce your work yourself! |
| filmmaking seminar, I've taught at UCLA Ext, I've | | | | |