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Dear Screenwriter:
It's Kudo Time in Hollywood. The Oscar frenzy just finished and the
Cannes Film Festival looms on the horizon. Screenwriters not in
contention for prizes this year (That's most of us, dude!) are
motivated to finish their scripts so we're not left out next year.
If you're not among the winners, I hope you are among the
motivated...
SCRIPT
MARKET
NEWS MARCH 25, 2002
IN THIS ISSUE...
Writer Q + A: Agents,
Treatments
Tutorial: Pitching to Sell!
Market Tip: Deadline Alert!
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SCREENWRITER
Q + A
----> QUESTION on JUGGLING AGENTS
After sending dozens of queries, four agents asked to read my script. Agency A was very
interested; but they have suggested a large(ish) rewrite to make it more production friendly. Should I tell them that agencies B,C and
D also have a copy? I don't want to upset the wrong people! -- Rene B.
----> ANSWER
Most working screenwriters have been in your position.
Agents understand that unproduced writers have to make multiple
submissions when they're starting out. Though the agents might
not like it, they accept it. Focus on the positive side of your
dilemma -- you're making great progress in your efforts to attract
representation!
Some questions to ask yourself as you ponder how to deal with
Agency A:
1) Is agency A's interest contingent on the script being rewritten to
their satisfaction?
2) Is agency A willing to meet in person with you, to discuss your
script (in its current version), any future revisions and your career
plans?
3) Do you want an agency that offers lots of input? Some writers
don't.
Before launching a major rewrite based on agency A's response, I
would wait a little while longer for responses from the other
agencies. Quite often if one agency likes your script, others will
also.
While you're waiting, arrange a face-to-face a meeting with agency
A to discuss your script. You're looking for a business partner and
so are they. How you (and they) handle this 'courtship' phase will
give an indication of how the relationship will progress.
Do not make false promises to A, B, C or D.
Do not use agency A's interest in your script to pressure B, C, and
D to read your script faster. This usually backfires.
---> QUESTION on USING ATTORNEYS TO
NEGOTIATE
I have an entertainment attorney to negotiate my interests on a property. Do
I still need an agent? -- Teddy E.
----> ANSWER
Many very successful screenwriters use attorneys not
agents to negotiate their contracts. Some writers with agents also
use entertainment attorneys to look over their contracts.
The purpose of agents really is to give the writer access to a pool
of personal industry contacts that the agent has worked with over a
period of years. Essentially they provide a professional
endorsement for the writer.
Packaging agents of course offer a writer access to the talent on
their agency list - stars, directors and first rate producers. Many
writers sign with packaging agencies in order to make use of the
agency talent pool.
Unfamiliar with the difference between literary agents and
packaging agents? This article describes their special functions =>
www.breakingin.net/choosingagent.net
----> QUESTION on MARKETING
TREATMENTS
I just finished my first treatment. How do I get it sold to the highest bidder? -- Molo
----> ANSWER
In 20 years of screenwriting and selling screenplays,
I've never yet met a writer who sold a treatment as their first piece of writing. I'm not saying it doesn't happen, just that I'm not familiar
with examples. The successful movie writers I know made their first sales with complete screenplays -- quite often their 5th, 6th or 12th
script.
If you want to establish a career as a screenwriter, you must write
screenplays. Some writers use treatments to outline their movie,
but eventually they have to turn that treatment into a screenplay.
I don't know of a special market for treatments; but if you're
determined to sell your story as a treatment, here are some
marketing venues for you:
~ CALLBOARDS
Post your project on filmmakers callboards. This article explains
how callboards work and the best ones to try:
=> www.breakingin.net/tswboards.htm
~ SCRIPT REGISTRIES
Make use of online script registries to sell your treatment. You'll
find a list of the best registries here:
=> www.breakingin.net/tswregistries.htm
If you'd like to learn how to write and format a movie script, here's a
tutorial to get you started:
=> www.breakingin.net/format_tutorial.htm
TUTORIAL
PITCHING TO SELL
Copyright (c) 2002, Lenore Wright
Many writers fear pitching their stories, if they wanted to perform for
an audience, they would not have chosen a solitary profession like writing. Script writing may be a solitary pursuit when you face the
blank page; but once you put something magic on that blank page, everybody wants to get into the act.
Working writers often pitch their stories while they're in the midst of writing their screenplays. Even after they sell the script, they have
to pitch it to the director and the actors. All successful screenwriters learn how to pitch effectively, it's part of the job
description.
TIPS FOR DYNAMIC PITCHING
=> PRACTICE YOUR PITCH
This seems rudimentary, but some writers get caught up in the omnipotent throes of the creative process and believe they can
wing it. Spare yourself and your audience some agony -- DON'T wing it.
INSIDER TIP: Practice pitching to a pal or writing partner. Pitch a screenplay you've already written or a movie you've seen before you
practice pitching your new story. Leave the audience with the impression that they've seen your movie or at least a tantalizing
trailer of your movie.
=> WHAT TO INCLUDE IN YOUR PITCH
The pitch should be about 10 minutes max. This leaves time for feedback. The initial pitch must answer these questions:
1) Who is the movie about?
Give the impression the movie centers on ONE character, the most interesting character -- the STAR. Movies are star-driven. Even low-budget independent producers hope the unknown actor they cast in
the lead will become a star or at least look like a star in this movie.
2) What happens to the star?
~ Include the arena of the story and the basic situation of the star.
~ Tell where the star is (emotionally, physically, mentally) at the beginning.
~ Tell where he/she goes (emotionally, physically, mentally) during the movie.
~ Explain where the star ends up (emotionally, physically, mentally) by the climax.
~ Describe how the star's crisis changes him or her in some fundamental way.
~ Emphasize the conflicts (internal and external) the star faces.
3) What gets in the way?
~ Highlight major OBSTACLES (inanimate or physical situations).
~ Describe important ADVERSARIES (characters) that try to prevent the star getting what they want. These blockers should be
worthy opponents, otherwise overcoming them won't be satisfying.
4) What's at stake?
Describe a few dramatic moments in detail. Choose moments involving the star where the conflicts escalate or the crisis
becomes more complicated. Make it clear the star resolves the climactic crisis or is actively involved in resolving it.
=> USE YOUR GENRE TO SELL YOUR PITCH
Know the genre of your movie -- movies are sold to audiences by genre. Your pitch audience is interested in how they will market the
movie as well as how they will make it. Don't tell them how to market it, just make it clear that it is MARKETABLE.
=> EMPHASIZE STAR QUALITIES
Present your story to emphasize the qualities that will attract the star. Here are some general guidelines:
1) Stars usually respond to an interesting, well-developed character caught up in a compelling situation with potential for
exciting conflict.
2) Stars instinctively want to play a character who takes action within the story that leads to the resolution of the climactic conflict.
Duh.
=> EMPHASIZE QUALITIES THAT MIGHT ATTRACT A SUCCESSFUL DIRECTOR.
To attract a director you must lay out a compelling story that can be told visually. By this I don't mean special effects and stunning
scenery. The story must unfold visually; the emotion conveyed visually, the danger represented visually and so on. Your pitch
demonstrates this by the action you choose to describe and the way you've dramatized and resolved the conflicts
=> DETAILS, DETAILS, DETAILS
How detailed should you be? Don't become mired in miniscule movements of plot. Give them a movie trailer not a summary of the
movie.
=> Some helpful tutorials:
~ A Screenplay Checklist: www.breakingin.net/checklist.htm
This article outlines the who-what-when-where-how-why of a screenplay story -- the vital elements of your verbal pitch.
~ Castability Considerations: www.nyscreenwriter.com/article103.htm
This helpful column focuses on story elements that will appeal to stars. Savvy producers or agents instinctively respond to stories
they believe will attract star talent.
~ Book: THE PREFECT PITCH by Ken Rotcop
Pitching is a huge, amorphous topic -- that's why there aren't many books written about it. I recommend this one: THE PERFECT
PITCH: How to Sell Yourself and Your Movie Idea by Ken Rotcop.
All successful writers somehow learned how to pitch their stories effectively. So can you. Do the preparation. This is not make-work,
in fact some writers admit that pitching their stories improves their writing.
If you do the preliminary work, when you arrive at your pitch meeting, you can take a deep breath and let 'er rip.
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MARKET TIPS
DEADLINE REMINDERS!!
---> NICHOLL FELLOWSHIPS IN SCREENWRITING
Each year they offer up to five $30,000 fellowships to aspiring screenwriters. If you only enter one contest a year - let this be the
ONE!
Deadline: May 1, 2002.
Details => www.oscars.org/nicholl/index.html
----> SUNDANCE INSTITUTE SCREENWRITER'S LAB
Deadline: May 2, 2002, for the 2003 screenwriter labs. E-mail your sSpecific questions
to => featurefilmprogram@sundance.org
Guidelines + Application =>
www.sundance.org
----> CHESTERFIELD WRITER'S PROJECT
Up to five writers will be chosen to participate, and each will receive a $20,000. stipend. Deadline: May 15, 2002
DETAILS => www.chesterfield-co.com
QUESTIONS => info@chesterfield-co.com
----> SCRIPT WORLD COMPETITION
This 2-year-old contest is new to me. It's run by Venice Arts and Zeta Entertainment, producers of SHILOH, GUN CRAZY and
several other independent films. It's open to any writer without produced feature film credits. They have a feature length division
and a short script division. Up to $5,000 in cash and prizes. Check out last year's winners online.
INFO => www.scriptworld.info/contest/deadline.htm
_______________________
You must know someone who's typed FADE OUT on the last page of their first
script, but doesn't know what to do next. SCRIPT MARKET NEWS might help them
figure it out, so please FORWARD this newsletter to writer friends or writing
groups.
Then, finish that script and DO something with it!
Lenore Wright, Editor
Script Market News
+++++++++++++
Jumpstart YOUR writing career!
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