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HOW DO I FIND AN EXPERIENCED WRITING PARTNER?

QUESTION: How can I hook up with an experienced writer at one of the studios so we can develop some of my ideas into screenplays? Signed, A.V.

ANSWER: A.V., it takes so much talent and hard work for a screenwriter to get a job writing at a studio that I doubt many of them would be interested in working on the ideas of another writer. Perhaps that sounds harsh, but I believe it is the reality. If they've gotten that far, believe me, they have their own ideas. Or they have found producers with ideas who are willing to pay them to develop these ideas into movies.

I do have some other suggestions for you -- on a more modest scale.

Movie director Francis Coppola (GODFATHER, PATTON, APOCALYPSE NOW) created a terrific site where writers give other writers feedback on
scripts and movie ideas. Here's the URL --> http://www.zoetrope.com/

The site offers a Virtual Studio that mimics the process of developing a story idea at a real movie studio. Once you sign up for the site (for free) you can post your script or story idea. You offer feedback on the ideas other writers have posted and they comment on the material you post. I think this type of networking really helps -- both creatively and emotionally.

If you'd like to collaborate on your story with another aspiring screenwriter, you can use one of the many callboards for screenwriters that exist online. I've written an article that lists where to find these writers callboards. Here's the URL --> http://breakingin.net/tswboards.htm

These writers have writing experience, but not many produced credits. It is important that you somehow teach yourself how to turn your outlines and ideas into shootable screenplays.

For script format assistance, check out this FORMAT TUTORIAL ---> http://breakingin.net/format_tutorial.htm

RESEARCHING ONLINE SCRIPT REGISTRIES

QUESTION: Have you heard of Script Writer Sale online? They're looking for writers with screenplays. Are they legitimate? Sincerely, D.M.

ANSWER: I looked into the Scriptwritersale.com services, D.M. The creator of the company - Joe Estephan - seems to have very thorough credentials. Essentially he is offering a script registry service to writers. For a small fee, you post your logline or synopsis on the site.
Scriptwritersale.com sends a copy of these postings to their producer/agent subscribers by email.

This can be good exposure -- it all depends on the size and reliability of their subscriber list. In this game, quality trumps quantity.

The more established script registries like Writers Script Network <http://writersscriptnetwork.com/> have thousands of subscribers. If you go to this site, you can read the experiences of some of the writers who have succeeded in finding agents or optioning their scripts through their postings.

I've researched details on other script registries and published the results on my links page. GO DIRECTLY ---> http://breakingin.net/links.htm#registry

Create a dynamite logline - the tutorial in this issue can help. Then try one of these services after you've found out how many subscribers they have and what they charge per posting.

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HOW DO I MARKET A FILM MUSICAL?

QUESTION: I have been professionally involved in the music biz for 15 years. I have written many published songs & one musical which toured the UK twice. The musical drew publicity because it was a true story of a young woman who became involved with the occult. I have begun to screenplay the story. Suggestions on where to take it would be appreciated. -- Kev

ANSWER: Your project sounds fascinating.

I'm sure you realize that marketing a film musical will be challenging. They just don't make them very often. However, MOULIN ROUGE was a hit this year; and your occult subject matter is timely, another big plus. Also, the project has already been mounted as a play -- another endorsement.

Your project has theatrical roots, so I would recommend targeting agents who have Broadway or West End clients who work in film but have a background in theatre or musical performance. They might appreciate the special qualities of your project.

It's important to research any agent you consider. Several sites on the Web offer details about agents -- what they like, what they've sold, what makes them cranky. I've researched them for this article WHERE AGENTS HIDE OUT ----> http://breakingin.net/agents_hide.htm

For tips on writing dynamic query letters --->
http://breakingin.net/tswquery.htm

Personal referral remains the best way to get your scripts or plays read, so if you have any contacts from the team that produced your play years ago, follow them up. Perhaps they can connect you with other artists who will spark to the project in its new cinematic form.

DO I HAVE TO MOVE TO LOS ANGELES TO SELL MY SCREENPLAYS?

QUESTION: My writing partner and I have been writing for a few years now. We were represented by a lady who ran a production company. Recently her company folded. Where do you suggest we go now? We have sold one script and have a number of excellent scripts to market; and we are both very keen to direct. We are based in England. Should we move to L.A. and try to sell some of our work? -- M.P. and D.G.

ANSWER: You've already accomplished quite a bit! The most important element -- you've written several movie scripts. Every successful screenwriter I know has written dozens of scripts. Many of them wrote 6 or more before they made their first sale.

You've asked a pivotal question -- should you focus on the UK film market or travel to Hollywood and target the US film market?

This dilemma remains complicated. I haven't tried to market scripts in England, but I do know that the UK has many government supported programs for aspiring film writers and directors. Before you uproot yourselves, you should research some of these local opportunities.

These groups come to mind:

London Screenwriters Workshop (http://www.lsw.org.uk/)
Script Naked (http://www.lighthouse.org.uk/)
First Film (http://www.firstfilm.co.uk/)
Euroscript (http://www.euroscript.co.uk/)

For networking with other writers and producers: http://www.shootingpeople.org/ offers a screenwriting callboard that lists many local UK opportunities.

Certainly, a trip to Los Angeles would be worthwhile for both of you -- especially if you have scripts to market. Working US screenwriters who don't live near Hollywood, usually spend part of the year in LA pitching stories and meeting producers, directors and agents. Insiders tip: If they live in a cold, damp climate, they usually schedule these trips during the winter months!

If possible, you should target appropriate agents and producers and set up several meetings ahead of time. You could also plan to tour the local LA film schools: USC (University of Southern California) UCLA (University of California at Los Angeles) and AFI (American Film Institute). All these famous schools have graduate programs for filmmakers and screenwriters as well as individual seminars and master classes on specific topics.

The following articles offer resources that might be helpful:

On using screenwriters networking boards to find writing opportunities ---> http://www.breakingin.net/tswboards.htm

The best script contests --> http://www.moviebytes.com/

Try FILM SCHOOL CONFIDENTIAL for the latest info on film schools and advanced film training ---> http://www.lather.com/fsc

Personal referral remains the best way to get your projects read and recommended so find opportunities for "networking" whether you stay in the UK or visit the US.

NETWORKING -- DO I NEED AN AGENT OR CAN I GO IT ALONE?

QUESTION: I would appreciate any information you can
provide for contacting people to sell a screenplay. Is it easier sell it
by yourself or through a writing agent? --- Martin

ANSWER: Most established screenwriters use agents, lawyers or managers to sell their scripts; but they also do plenty of marketing and networking on their own.

Unproduced screenwriters should try to find an agent or manager who can help them sell their work; but most writers reps prefer to market writers with credits. So you must also market your own scripts at the same time you actively pursue representation.

Here are some helpful tutorials to get you started:

Finding and researching agents -->
http://breakingin.net/agents_hide.htm

Targeting independent film production companies - especially those that center on actors with production deals at TV and movie studios will be productive for you. Here's an article to help you acquire the detailed information you need to do this successfully:
http://breakingin.net/target_submissions.htm

For tips on working with independent film companies:
http://breakingin.net/indies_faq.htm

Tutorial on writing bomb-proof query letters:
http://breakingin.net/tswquery.htm

Tutorial on creating dynamic loglines for scripts:
http://breakingin.net/logline.htm

Of course writing a GREAT SCRIPT is JOB ONE of screenwriting. Too many aspiring writers put 90% of their effort into marketing and 10% into the writing when it should be the other way around.

The best way to keep creative control of the script is NOT to sell it.
I'm not being facetious. If a studio or producer or actor really wants
to make your movie, the only way to stay on the project is NOT to sell
the script outright to the first enthusiastic bidder.

Once you sell your script outright, they are free to do as they please;
and they will usually bring in an experienced screenwriter or
writer-director which means you're out.

To protect your territory, option your script with you guaranteed as the
rewriter, with all rewrites reverting to you. Some writers get into a
bind because they keep control of their scripts, but the rewrites they
did on the script belong to the studio. Avoid that mess.

NOVELS INTO SCREENPLAYS: HOW DO I GET PERMISSION TO ADAPT A NOVEL?

QUESTION: I'm planning on writing a screenplay based on a novel whose author passed on many decades ago. How do I go about receiving permission to write this piece of work? -- Ada

ANSWER: Good for you to be concerned about getting permission to adapt this book for film BEFORE writing the screenplay. I hear from many writers who work for months or years on material that someone else controls. This often ends in heartbreak.

It is possible this work is in the 'public domain' which means any one
can adapt it for film. To be sure, contact the publisher listed in the
front of the book. Ask for the Rights and Acquisitions department. They will know who (if anyone) currently controls the rights to this book. Fax your query for a quick response.

Once you know who controls the rights to this book, then request to
option the film rights from them. A negotiation will ensue and you will
come up with a step deal: a small option payment against a future
purchase price if a movie is made.

With older or out-of-print books sometimes you can acquire permission to setup the book at a production house with very little upfront money.

Once you control the book rights, you can safely adapt a screenplay from the book. Of course you can't sell that screenplay SEPARATELY from the book. However, you could setup the book without the screenplay. You see why controlling the rights to the underlying book becomes so important for screenwriters.

Some resources for basic copyright questions:

---> http://www.benedict.com/

---> http://www.whatiscopyright.org/

HOW DO I FIND SHOOTING SCRIPTS ONLINE?

QUESTION: I have an assignment to write an article about recently released movies and I need shooting scripts pronto. Any suggestions? -- Elliot

ANSWER: These sites offer downloads of the shooting script from recent releases for educational purposes:

Movie Script database--> http://iscriptdb.com/

Scripts on the Net --> http://www.rosebud.br/scripts.htm

Script Crawler ---> http://www.scriptcrawler.net/

Simply Scripts ---> http://www.simplyscripts.com/

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