Break into Screenwriting: successful script marketing tips, tools and resources from a popular script coach

Screenwriter Web www.breakingin.net Screenplay Marketing Advice

Interview with Michael Hauge -- Part 3

Marketing Screenplays: Getting YOUR Script Read by People in Power

In addition to writing one of the best-selling books (ever!) on screenplay writing, Michael has two decades of experience as a very successful writer and script consultant. He offers two-day intensive screenwriting seminars throughout the US, Canada and England.

For seminar details---> mhauge@juno.com

In Part 3 of this interview Michael discusses how emerging writers can market their scripts successfully and suggests techniques for getting your script read by people in power.

Lenore Wright: Unproduced screenwriters sometimes get discouraged by the realization that it's difficult to get to their scripts read by the right people. I guess marketing is at least 50% of the screenwriter’s job – at least for aspiring writers --

Michael Hauge: I have to stop you. I’m glad you said that. That is perhaps the biggest misconception there is. I’d say marketing is 5% at most. One of the biggest mistakes emerging screenwriters make is to worry so much about the marketing and so little about the script. The hardest job you face as a screenwriter is writing a great script.

If you don’t write a great script, all the marketing technique in the world is not going to sell it. If you do write a great script, it is not that hard to get the people involved. Because all you have to do is be tenacious about getting people who are in the industry – at any level – to read your script. If it’s really good they will recommend it to the people they know or work with and it will make its way into the inner circle so that it will get you work.

Selling any given script is difficult because of the vagaries of the marketplace and what else is being made and what they’re looking for. But if you write a great script it will get you work either by selling it or by getting a development deal with someone else.

In my seminar where I talk all about the process of selling your script, if I had my druthers I’d spend maybe a half hour on it at tops because that’s how important it is relative to knowing what goes into a great screenplay. But I spend more time on the marketing because people want the security of having a plan of attack and there is a very clear approach one can take to get their stuff read and moving up the ladder.

But writing a script is what people need to concern themselves with – not selling.

Lenore Wright: So all those screenwriters who are the Web looking at Hollywoodlitsales.com and Donedeal.com figuring out who out there in Hollywood has the deals and what they’re looking for –

Michael Hauge: It’s absolutely essential that they must do that. But they shouldn’t be spending half their time doing that. How long can that take? They should be – if they have a total regimen for their writing of an hour a day. They should certainly be spending no more than fifteen minutes searching for people to contact. They should be writing the script and when the script is ready and they’re marketing it, they should be writing the next one.

You need to know who the people in power are so you know who to approach with your script. And you need to know what they’re buying because that tells you what they’re looking for or it helps you target.

When it comes to marketing one mistake screenwriters often make is just to shotgun their script to everybody they can think of or everybody in the Hollywood Creative Directory. That isn’t good marketing. It’s the same if you’re selling computers or drill presses. You have to know what people are buying and whom you should go to who is most likely to buy your particular product. You don’t take your teen sex comedy to Merchant-Ivory (Remains of the Day, A Room With a View) and you don’t take your period drama to Jerry Bruckheimer (Top Gun).

You have to know who is appropriate for what. But that’s just detective work, it doesn’t take a whole lot of creative thought, it’s just a logical process of figuring out how to follow in the footsteps of people who have succeeded before you.

And there are lots of books that can help. There’s mine ‘Writing Screenplays that Sell’ and there are some directories that your readers should absolutely know about. There’s the Producer’s Directory and the other is the Spec Screenplay Sales Directory from Hollywoodlitsales.com.

Yes, it’s good to do this stuff but it’s not 50% of the job, maybe 10%.

Lenore Wright: This question is on behalf of writers who don’t yet have an agent. You said upfront that writers shouldn’t send their scripts out unless they have permission from someone to send it to them. Is it worthwhile for these writers to pursue an independent producer or a star’s production company without an agent? If they target the submission correctly?

Michael Hauge: They should be doing that. They will get a number of rejections just because the person will say they won’t accept a script unless it comes from an agent or manager or an attorney. Sometimes what a writer can do is not only pursue agents but managers and entertainment attorneys. Any of those people can submit scripts on their behalf.

Some production companies if you pursue them with a really sharp, targeted query letter or a really sharp phone pitch, you can persuade a development person or an assistant or someone there to read the screenplay. If the script is ready to submit, and it better be, then if that person likes it they will recommend it to the person at the company who can make a difference – who can option the script or represent them or green light it or make a deal.

Writers should be pursuing all these elements: agents, managers, attorneys, independent production companies, plus elements like stars and directors who would be appropriate for the project many of whom have their own production companies. Writers should also pursue financiers – money and investors – because if you can get some money committed to the project it makes the other groups of people more eager to read the script as well.

Lenore Wright: What do you think the online databases to register your scripts or stories?

Michael Hauge: This question came up at a class I did this weekend. So I asked if the group had any experience with these databases and a number of people who’d had success stories of getting their stuff read by listing them places on the Web. If the fee is minimal and especially if you get something else with it like a page of coverage or recommendations or at least a professional read. It’s another way to get professional feedback. Of course you need to research whoever it is you’re considering whether it’s a database or a script coach or consultant or whatever. Ask for some success stories and talk to those people if you can track them down.

Also, I recommend entering script competitions.

Lenore Wright: There are some great contest lists on the Web. Moviebytes.com has a terrific list, they divide it by categories: student contests, film festival competitions, fellowships, contests for women writers etc. They even have a section for feedback from writers who have entered these contests so you can check out other writers’ experiences.

Michael Hauge: There is so much more information available to screenwriters now that wasn’t available ten years ago when I wrote my book.

Lenore Wright: Thanks so much, Michael.

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In Part 1 of this interview Michael offers advice on setting up a successful writing routine, how to learn from successful movies and tips for writers changing from another area of writing into screenwriting.

In Part 2 of this interview Michael discusses the essential components for a successful screenplay and how to ensure the audience connects with your hero.

Check out Michael's new site ---> www.ScreenplayMastery.com (It's terrific!)

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To find out where Michael will be giving his legendary two-day seminar - Screenwriting for Hollywood: From Concept To Sale call (1-800-477-1947) or email his Hilltop Productions: mhauge@juno.com

To order Michael Hauge's best-selling book WRITING SCREENPLAYS THAT SELL Click Here!

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