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Dear Screenwriter:
We're one year old today! This issue marks the first anniversary of SCRIPT MARKET NEWS. I'm proud to announce that our subscribers now number in the thousands.
New subscribers will find back issues of Script Market News here => www.breakingin.net/tocscriptmarket
This anniversary issue features a tutorial on how to research and choose contests that will benefit YOU and YOUR SCREENPLAY.
Brace yourself, Sheila...
SCRIPT
MARKET
NEWS
August 10, 2002
IN THIS ISSUE...
WRITER Q + A => 2 Market, 2 Market
TUTORIAL => Choosing Script Contests
MARKET TIP => Summer Submissions
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SCREENWRITER Q + A
QUESTION on a PRODUCER PITCHING
A PRODUCER ~~ I am a startup producer with an extremely commercial screenplay. My partner and I own the property with a top comic book artist, but we don't have the clout or contacts to produce the project ($30 Million budget) on our own. Do we go to production companies or agents for packaging?
ANSWER ~~ Your situation is more sophisticated than many I handle in this answer column for three important reasons:
1) You are willing to raise or put up some portion of the production budget as part of your job as
producer. This is rare, so many ersatz producers want a free ride.
2) The package you're selling is a known commercial commodity within its original milieu -- comic book writing and art.
3) You have a completed (and terrific) screenplay.
All these strengths will help you set this project up as a motion picture -- combined with your energy and your belief in the project.
As you've discovered, it is difficult to penetrate the inner circle of Hollywood -- even after working there for a decade or more. Each worthy project finds its own pathway to the right people, but it is never the same path.
Some suggestions:
~ Target very specific agents and producers who have handled this type of project successfully in the past.
~ Make a list of producers or directors of movies that are in some ways similar to your project either in tone, story, special effects, casting, directing style or audience appeal.
~ Focus on getting your script read by these particular people, people close to them or people who have worked successfully with them on past projects.
I know you're thinking along these lines already; but you have to do this person by person. When industry pros read a great script, they want to pass it on to those they have worked with before so it will become a viable project (with themselves attached of course).
I've written an article on creating a great query letter for an original script. It is aimed at a more rudimentary situation than yours, but you might find it helpful. Read it here =>
www.breakingin.net/tswquery.htm
Find out how to use the Web to target specific agents and producers for your project =>
www.breakingin.net/target_submissions.htm
Some of the resources I point toward will lead you to the contact numbers you need and help you determine which agents have successfully sold and setup material like yours.
QUESTION on CREATIVE JUICE ~~ I'm a college student who wants to write. A lot of my imagery, tone, character development is expressed visually, as it pops into my head. The sad fact, though, is that most of my writing never gets onto paper. How do I develop my skills?
ANSWER ~~ As a writer I can tell you the only way to find out if you can write movies is to START WRITING!!
~ Make notes on your favorite ideas.
~ Start working on the one that sticks with you, the one that bothers you, the one you can't stop thinking about -- like a burr under a saddle.
~ Choose a project that engages you on every level -- emotionally, sensually and through your imagination. A story that engages and fascinates you has a better chance of having that same hypnotic effect on the audience.
One tip: Screenwriters must learn how genre works in movies. Movies require genre storytelling because they are marketed to moviegoers by genre as war movies or thrillers or or action-adventure etc. Here are some articles on movie genres that will help you get started:
Why Genres Are Important => www.breakingin.net/tswgenre.htm
How Genre Works with Structure in Movies => www.breakingin.net/Genrestructure.htm
FAQ on Movie Genres => www.breakingin.net/genre_faq.htm
Once you have a polished screenplay, enter it in contests. That is a great way to draw attention to your script. The tutorial this issue focuses on choosing the best contests for your scripts.
Write again when you have a script to market!
QUESTION on TIMING QUERIES TO AGENTS ~~ An agent requests your screenplay from a query. You send it. Six weeks pass and you haven't heard a word. Should you mail another query for a different screenplay to this agent or press to find out the status of the first screenplay?
ANSWER ~~ I would send a follow-up note to the agent confirming that he or she received your script. Add something creative to this short note that perhaps will get them interested in reading your script pronto. Try something like...
This would make a great summer movie for next year...
or
This would be a terrific vehicle for ... (Substitute the name of an appropriate star whose current movie is doing well...)
Six weeks is not that long to wait, honestly, for an unproduced writer that the agent doesn't know personally. Of course you can always query other agents and producers at the same time.
For a tutorial on finding agents to query to here => www.breakingin.net/agents_hide.htm
Need help creating a bombproof logline for your script? =>
www.breakingin.net/logline.htm
!!!!!!!!!!!!!!!!!
LOOKING FOR THE BEST WRITER'S WEB SITE!
Writers Digest is looking for the best writer's Web sites which are created and maintained by a writer. (HINT: Sites like mine --> Break into Screenwriting!)
To nominate: Submit your name and the URL of the site to wd-tools@fwpubs.com with "Best Writer's Site" as the subject head.
If you feel my site is worthy, please nominate Breakingin.net!
!!!!!!!!!!!!!!!!!
Haven't seen my
screenwriting site? GO NOW => www.breakingin.net/
TUTORIAL
SCRIPT CONTESTS -- DON'T GET BURNED!
Copyright (c) 2002, Lenore Wright
Hundreds of writing contests tempt screenwriters with the lure of prize money, instant film industry contacts and personal feedback from film professionals. But contests can be costly, screenwriters should choose intelligently.
Before you write that check, research and evaluate the contests that interest you. Narrow down your choices to the best contests for you personally and the best ones for your scripts. These guidelines might help:
TIPS FOR RESEARCHING CONTESTS
<<:>> Check out their website <<:>>
Nearly all contests have an online page with guidelines and other vital details. I know it's tempting to salivate over the prize list and ignore the other features available on the site. Don't let the promised goodies distract you. You're on a mission. You need to find out if the contest has preferences regarding the subject matter of the script, the ethnicity/gender of the author or the area where the writer resides.
Shortcut: At the very least read the FAQ page and note the submission deadline.
<<:>> Rely on peer reports <<:>>
If you belong to any online screenwriting discussion lists (and you should!), post a query about the contests you're considering. Learn from the experiences of others.
Movie Bytes offers a very useful feature to help you: Contest Report Card. Writers evaluate contests they've entered and post their comments. Take advantage of this wonderful resource: <http://moviebytes.com/ReportCard.cfm>
<<:>> Feedback, feedback, feedback <<:>>
Unproduced writers need professional feedback. Some contests offer feedback on your script as part of the package. Even if you don't win, you've received some extra value for your money. If the source of the 'professional feedback' is not listed on the site, send an email requesting this information. Pin them down!
<<:>> Script readings <<:>>
Some contests offer a staged reading of the winning scripts as part of the prize. Script readings offer good industry explore and can help you polish your script.
Insider tip: Film festival script competitions frequently offer script-reading opportunities to their finalists.
TIPS FOR EVALUATING CONTESTS
<<:>> Sponsors <<:>>
The people or companies sponsoring the contest should identify themselves and they should have film industry credentials. Some contests feature a well-known director, actor or producer as a nominal sponsor, implying that this person will read the final scripts or at least the winning one. If that is so, it should be stated in their guidelines or on their website -- don't just assume it's true.
<<:>> Judges <<:>>
Some contests post their judges' names and credentials. I find this reassuring; however many legitimate contests don't make this information available for various reasons, not necessarily because they're hiding something shady. A general guideline: The less information the contest makes available, the more aggressively you should query the contest contacts before your write them a check.
<<:>> Press releases <<:>>
You want to win a contest that makes an effort to publicize their winners. When you read contest press releases that tout their finalists or winners, swallow your envy and jot down the contest details so you can enter the next time around.
<<:>> Paid ads announcing winners <<:>>
The most helpful form of publicity for contest winners are paid ads in the film industry trade papers. This species is rare. Make a note to research the contests that promote their winners in Variety, Hollywood Reporter and the major film magazines.
<<:>> Industry contacts <<:>>
Many contests promise the winners and/or finalists will be exposed to important film industry contacts. Vague promises or innuendoes don't count. The legitimate contests get specific about what they mean by exposure. Exposure could mean a phone conversation with an agent, a script submission to a studio slushpile, a professional pitching session or an all-expense-paid trip to Hollywood or New York City. Find out.
<<:>> Production promises <<:>>
Some contests promise that the winning script or scripts will be produced. Yippee! But do they back up this promise with results? Find out -- call their bluff.
Tip for cynics: Request a contact email for a previous winner.
IN SHORT: BE CHOOSY!
I hope these guidelines help you find a contest that works for you and your script. Be choosy -- it's your money, your script, and your career.
__________________________________
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MARKET
TIP
Summer
Contests
=> LONG BEACH FILM FESTIVAL SCRIPT CONTEST
The Long Beach Film Festival accepts screenplays and films (short, documentary, feature) in all formats. The winners' work will be reviewed by a committee of established production companies -- a great way to get exposure
in Hollywood.
The festival is held onboard the renowned Queen Mary in Long Beach, California (30 miles from Hollywood), September 13 - 22, 2002. Student discounts!
DEADLINE: August 15, 2002
INFO => www.longbeachfilmfestival.com/entry.htm
=> OSCAR MOORE FOUNDATION PRIZE
Launched in 1997, the Oscar Moore Foundation was set up in memory of Screen International’s late editor-in-chief. It aims to recognize and reward new and exciting EUROPEAN screenwriting talent (Sorry, Yanks!).
Insider Tip: Emma Thompson is a patron of this contest which offers a HUGE money prize.
This year's theme => COMEDY.
Deadline Extended: September 2, 2002
INFO => www.screendaily.com/omf.asp
=> WARNERS WRITERS WORKSHOPS
If you live in the Los Angeles area, you might want to investigate this opportunity to work with Warner Brothers Television staff writers. You need to submit a half-hour TV comedy script or a one hour dramatic script based on a current television series.
Drama Workshop Deadline: August 16, 2002
Comedy Workshop Deadline: August 30, 2002
NOTE: This is NOT a contest, it is a workshop that you pay for if you are accepted.
INFO => www.warnerbros.com/writersworkshop
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Lenore Wright, Editor
Script Market News
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