| For those of you who already wrote your | | | | or a window. Back doors and windows are always |
| feature script, congratulations. It's a super cool | | | | opened by people who know you. |
| accomplishment to write a screenplay. But don't | | | | Friends will do more to help friends than they will |
| go crazy. Just because you have a script doesn't | | | | to help themselves. For example, when I couldn't |
| mean Hollywood is going to knock down your | | | | get my stuff read, I did two things that opened |
| door. Like any business, you now have something | | | | every door to me. One is, I read screenplays for |
| to sell. And like any business, part of your job is | | | | a producer in NYC, which eventually led to a more |
| seeking out and finding the appropriate buyer. | | | | detailed role in development. When the time |
| In Hollywood, agents and managers have long | | | | came, because I had the relationships, it was very |
| standing relationships with the heavy hitters. It is | | | | easy to get my script into the hands of a capable |
| through these relationships that material gets read | | | | producers. Around the same time, I also sent my |
| and sold. But assuming you don't have | | | | script to an actor friend who was getting quite a |
| representation, you'll have to get crafty and | | | | few mainstream gigs in Hollywood. Because the |
| creative in order to get your material read. The | | | | work was good, he felt good telling other people |
| biggest hurdle to overcome is the fact most | | | | about it. |
| industry players will refuse to read your work. | | | | All of these actions led to further credibility and |
| Why? Because they don't have a trusting, | | | | stronger relationships, which made getting the |
| working relationship with you. | | | | next script read - well, it was very easy. |
| Even if you mail your script directly to a | | | | What if you don't live in Hollywood or New York? |
| prospective buyer, more than likely it will be sent | | | | This is simple. Make friends through the internet. |
| back or go in the recycle bin without being read. | | | | At the same time, research screenplay contests |
| Think of it this way: What if I (as a producer) | | | | for places that traditionally favor your type of |
| spent the last 3 years developing and raising | | | | work. Then submit your finished work to the |
| money for a zombie movie about ninjas (currently | | | | contests. These contests are a great place to |
| in development) and you happen to send me a | | | | have your work read by industry folks. Even if |
| ninja zombie movie? Then all a sudden you think | | | | you don't win, many offer detailed feedback and |
| I'm stealing your idea. Then we go to court or | | | | coverage. If you do win, you can then leverage |
| some other form of litigation... Frankly it's just not | | | | your win to make phone calls to all the industry |
| worth it. | | | | folks you otherwise wouldn't call. |
| Hold on... Before you get discouraged, here is the | | | | The point is, there are ways to get your work |
| thing. What I just described is the front door. It's | | | | read. So don't give up at the first rejection. |
| the conventional route to getting your work read. | | | | And please do not track me down... I do not |
| But like most things in life, when the front door is | | | | accept unsolicited screenplays. |
| locked, rest assured there is always a back door | | | | |