| One of the most asked questions in screenwriting | | | | What size budgets? What level of special effects? |
| is "How do I sell a screenplay?" | | | | What limitations are on them? Etc. |
| Over the last 10 years, I've interviewed many | | | | Understanding your market will help you present |
| produced screenwriters and they all went through | | | | your script in a way that makes sense to them. |
| their own version of the following steps as they | | | | It will also make it easier for you to become an |
| made their first sale. | | | | "insider." |
| Those steps are: | | | | KEY: The "right market" will match your script. |
| 1. A well-written script that is marketable. | | | | You are looking for the perfect market for your |
| 2. A pitch. | | | | script. This is where a lot of writers mess up. |
| 3. A market. | | | | They are looking for glory or status or to win the |
| 4. An "in" into the market. | | | | lottery, but they've written a script that is |
| 5. A negotiation that leads to a sale. | | | | perfect for a low budget market. Rather than |
| Of course, each of those steps can be fulfilled in | | | | beat your head against the Studio's gate, go find |
| many ways. My purpose in presenting this article | | | | the market that will love and honor your script. |
| is to help you easily recognize opportunities when | | | | Then write another script that matches the |
| they arrive and quickly surmise what might be | | | | market you want to be in. |
| stopping you from succeeding. | | | | 4. An "in" into the market. |
| Let's look at some details on those five steps. | | | | Somehow, you need to get in the door of your |
| 1. A well-written script that is marketable. | | | | market. The traditional route is to get a low-level |
| To write a great script, you need a great story | | | | job and work their way up, looking for |
| and a fresh voice that is entertaining to read. It | | | | opportunities as they go. |
| takes a combination of passion, skill and creativity. | | | | Another way is to find an "in." That person could |
| But there is another side that needs to be there... | | | | be an agent, manager, producer, director, actor, |
| Basically, you are bringing a product to a market. | | | | assistant, or anyone else who has contacts. |
| If you want the market to pay you for it, you | | | | Getting that "in" is just a matter of finding people, |
| need to make sure the product meets their | | | | pitching the script, having them read it, and most |
| needs. In this business, that translates into a | | | | important, having them fall in love with the work. |
| marketable concept, castable parts, and great | | | | In reality, you may find the one contact that will |
| writing. | | | | champion your work and get you a deal...or you |
| If you really want to be successful as a | | | | may have to find twenty champions. You want to |
| screenwriter, you need high marks in both the | | | | keep building fans of your writing until you are |
| artistic side and the business side. The more of a | | | | safely inside the business. |
| master you are at both "arts," the better your | | | | KEY: If you've done the first three steps well, |
| chance of having a true breakout career. | | | | you will be welcomed by people who have |
| KEY: If you want to sell, design your script to be | | | | connections in your market. |
| as attractive as possible to the decision makers in | | | | Why? Because you are bringing them a great |
| the movie biz. | | | | script, a great pitch, and both fit their market well. |
| Amazing lead characters will attract top actors. | | | | What more could they ask for? |
| High concepts will attract producers. Great writing | | | | Of course, the better your writing and pitch, the |
| will satisfy readers. Do all three and you have a | | | | easier it is going to be to establish yourself with |
| winner. | | | | the players in your market. |
| Remember, the script is your product. If that | | | | 5. A negotiation that leads to a deal. |
| script is amazing, then people will want to do | | | | There are two kinds of writers -- those who |
| business with you. This is a choice that you have | | | | have representation and those who negotiate |
| 100% control over -- WRITE TO ATTRACT. | | | | their own deals. Obviously, it is much easier to |
| 2. A pitch. | | | | have an agent negotiate on your behalf. But there |
| What is a great script without a great pitch? A | | | | are other alternatives. You can hire an |
| writing sample. | | | | Entertainment Attorney. Or you can negotiate on |
| You've spent six months writing your script. | | | | your own. |
| You've agonized over the characters and their | | | | If you are working with a small production |
| story. You've rewritten some lines of dialogue | | | | company, there may not be funds up front, which |
| twenty times. Now, it is worth it to create a | | | | means you'll likely be doing the negotiation on your |
| great pitch. | | | | own. Don't worry. Just keep focused on making |
| The whole purpose of a pitch is to get your script | | | | the deal. |
| read. Usually, your marketing materials consist of | | | | That may sound obvious, but newcomers to this |
| a logline, synopsis, and One Page, but there is an | | | | business are often trying to score the "million |
| important distinction you need to make. | | | | dollar sale" when the market only gives that in |
| Your pitch needs to present your story in the | | | | about 2% of the cases. Of course, those make |
| most compelling way possible. They need to | | | | the news and then everyone jumps in demanding |
| create a strong desire in your reader or listener, | | | | "their right" to the big money. |
| and ultimately cause them to demand the right to | | | | More important than money is the credibility a |
| read your script. | | | | sale will bring you. It puts you in the clubhouse. It |
| Believe it or not, your pitch can cause agents, | | | | says you belong in this business. It opens doors. It |
| managers, and producers to pursue you...if it is a | | | | gets you meetings, where you pitch your next |
| great pitch. | | | | project that will make you even more money. |
| KEY: Find the hook in your story. | | | | KEY: Make sure you keep both parts of this step |
| The hook is the most interesting, unique, amazing, | | | | in mind... |
| intriguing, or fresh part of the big idea for your | | | | 1) A negotiation... 2) that leads to a deal. |
| story. It is the thing that will intrigue potential | | | | When you negotiate, make sure you get the sale. |
| buyers and cause them to demand the script. | | | | All other items are in a lower category. I've seen |
| The right one or two-sentence hook will have | | | | writers demand all kinds of crazy things -- |
| more impact than a five minute pitch. | | | | Associate Producer title, million dollars, be on the |
| If you find the right hook, it will give you | | | | set, meet with the star, final edit approval on the |
| enormous power when you need it most -- when | | | | movie, back end points, etc. and most of them |
| you are face to face with a producer. | | | | lost out on their chance at success because of a |
| 3. A market. | | | | little greed. Don't do it. |
| There are many different markets in this business | | | | REMEMBER, you need to get that first sale in |
| and each of them has their own needs. In general, | | | | order to get on the inside of this business. That is |
| there are markets based on budget -- extreme | | | | your ticket into the show. Once you have your |
| low budget, low budget, mid-range budget, and | | | | ticket, you will get many perks. But you don't get |
| high budget. There are markets based upon | | | | any of them without a ticket. |
| venue -- TV, Cable, straight-to-DVD, Theater, etc. | | | | For most people, selling a screenplay is a dream |
| There are markets based upon funding source -- | | | | come true. It takes you behind the scenes, gives |
| government funding, private funding, grants, etc. | | | | you the opportunity to do what you love -- and |
| Also, there are new markets opening up -- Web | | | | get paid very well for it. It gets you on the Red |
| movies, cell phones, and others we haven't even | | | | Carpet at the premier of your movie. And for |
| discovered, yet. | | | | some, it catapults you into the spotlight to enjoy |
| Now, here's the key. Look at your script, | | | | a little fame. |
| determine the best market for it, and get to | | | | You know the path, now. Follow it. |
| know that market. What do they already make? | | | | |