The Screenwriters Web www.breakingin.net Screenplay Marketing Advice

Loglines Lost in Cyberspace: Marketing Script Online

Every creative writer knows that the first important sale is the most difficult. Yet, few aspiring novelists or screenwriters are prepared for how difficult it is.

Each year, tens of thousands of hopeful new writers finish novels, screenplays and short stories. These aspiring writers then put their original material on the market. Initially, they attempt to interest literary agents or movie packaging agents in representing their work. If that doesn’t pan out, they try to gain direct access to other industry professionals like book publishers or movie producers who can help them find a market for their work.

Do many of these original books and stories get published? Only a small percentage. Do most of these new screenplays sell? No, few of them do.

How can you increase your chances to sell your original work?

Many creative writers are using the power of the Web to put their stories and screenplays into the hands of those who can help them find a receptive audience. How? They are taking advantage of a new marketing tool – electronic clearinghouses for original material.

HOW ELECTRONIC CLEARING HOUSES WORK

Writers post a logline and synopsis of their script or book in a registry database. Industry professionals - publishers, movie producers, film executives, and agents - subscribe to these online registries to expose themselves to a wide variety of original material. If a post interests them, they request to see sample script pages, a sample chapter, or in some cases the whole work.

This form of global marketing wasn’t available to writers until a few years ago so it comes with no guarantees. However, since most aspiring creative writers must market their own material until they are well-established; a marketing tool like this can become a useful element in a writer’s marketing plan. This is especially true if you are an unpublished freelancer, an unproduced screenwriter, a regional writer, or even an experienced writer without agent representation.

What Writers Say about Working with Script Registries

The Garbonzo Brothers (Chris Cram and Christopher Berardi):

“We met a producer through WritersScriptNetwork.com who attached a director, Howard Fein, to our script ‘Frankie’s Friend’. Then Jim Belushi, Danny Nucci and other actors either became attached or interested. A reading was organized. As of now, Artisan is going to co-produce our first feature.”

Mary Schirmer, a St. Louis screenwriter:

“At Screenwriters.net we encourage each other and give each other leads and tips. We engage in joint promotions, like the Web site and sending queries. Do I feel any closer to breaking in? Four or five dozen production companies or studios or actors have asked to see my scripts. Major companies and studios and A-list actors have my screenplays. We’ll see if anyone recognizes my genius for storytelling.”

Randall Barnwell:

“I like the writerscriptnetwork.com NEWSFLASH emails a lot. They offer names and addresses of producers who are looking for certain types of scripts. Very helpful. They offer master classes that are valuable to people new to the business. I have heard there has been some success there. If you are not repped, these classes may open the door for you. We’ve send out about 30 scripts since January. We have been in contact with a director in NYC who has helped us realize a short script into a feature-length soon to be produced Samurai script. We now have an entertainment attorney assisting us with submissions and queries.”

Ben Fiore, a New York writer:

“Using a service like writerswebsite.com has been a tremendous tool for me. Last year, a Los Angeles TV movie producer took an interest in a screenplay of mine that was listed on the site. After several months of re-writing the project, he sent the script to a NY agent, Ms. Robin Kaver of Robert A. Freedman Dramatics Agency. I am now represented by her.”

Elizabeth English:

“I think WriterScriptNetwork is a valuable resource for helping one stand out from the crowd and get the attention of potential buyers. During the time my three feature screenplay loglines and synopses were on their site, I received a dozen requests for my work from producers, and one from an agent and one from an award-winning director. The agent, Tony Porter, now reps my work. And the director, Vangelis Maderakis, is in production on one of my short screenplays, ‘Papou and Yiayia’. I also have a free webpage on Reelmind.com and I’m listed on Euroscreenwriter.”

John Calu:

“Signing with a registry service (writerswebsite.com) gains you industry respect and gets your work read. We’ve had four readings so far. The last one still seems pretty positive and it convinced us that we needed some thorough rewriting to flesh out things we had only implied.”

David Lundgren, a Seattle writer:

“WSN (WriterScriptNetwork) is particularly helpful because I can check how often my loglines have come up in searches done by industry personnel and see when someone has chosen to read a synopsis for one of my scripts. If I see that a particular logline has come up for viewing, say 100 times, and yet no one has gone on to read the synopsis for that script it’s a red flag to me that perhaps I need to rewrite the logline. Additionally, if a synopsis has been read several times and the script never requested, it may be a sign that I have to look at my synopsis and consider changing it, making it tighter, etc. I have had several requests for my scripts. The most recent ended up turning into an option agreement. If I hadn’t been using WSN, this option wouldn’t have happened.”

Popular Script Registries to Explore

Most of these registries charge for each piece posted; but the fees are generally modest. Some registries are free for writers.

Script Net: www.venicearts.com/scriptnet/

This registry was created by Craig James as part of the Venice Arts site (Venice, California). The service is FREE for authors; and you can view statistics on how often your material is accessed by their subscribers.

Literary Library: http://www.literarylibrary.com

This company is the publishing registry of Story Bay, an online script brokerage company. For a fee, Literary Library will post fiction and non-fiction books, poetry, short stories, articles and true stories. Their subscribers are major publishers and movie production houses.

The Writers Script Network: http://www.writerscriptnetwork.com

Since Jerrol LeBaron founded this registry, Writers Script Network has amassed a huge database of quality scripts. LeBaron said, “We don’t just concentrate on getting scripts sold. We also help writers get representation and sell their screenplay shorts.” Check out their marketing success stories: 12 feature scripts and 7 screenplay shorts have been sold or optioned, and 37 of their writers have gained agency representation. In addition to the script database, Jerrol sends a bi-monthly newsletter (Writers Script Log) to 5,000 producers and agents promoting his writers and their new material available online.

The Screenplayers: http://www.screenplayers.net

Sam Quo Vadis founded the Screenplayers, a serious group of experienced screenwriters who joined this alliance to market their work. They don’t post every script submitted, your script must be nominated and accepted. Industry professionals are carefully screened before they are allowed to access the script database. Their website features their writers accomplishments as well as their posted work.

The Showcase for Original Screenplays: http://www.scripteaser.com

The Scripteaser staff led by senior partners Greg Coutu and Tina Lee filters their submissions for quality. Each script is checked for readability and a cohesive story before it is accepted. There is a yearly fee for posting. Database subscribers are screened for professional credentials.

The Rights Marketplace: http://www.authorlink.com

Authorlink.com currently showcases 800 manuscripts and screenplays on their website database which is accessed by major publishers and producers. All material writers submit is reviewed by the Authorlink staff. If the submission is approved, the writer posts a synopsis of their work, a short excerpt and a brief writer’s resume. There is no fee to have original work reviewed by their staff; but they do charge to post to the Rights Marketplace. Authorlink.com sends 4-6 direct mailings a year to producers and publishers promoting the work of their writers.

The Screenwriters Market: http://www.screenwritersmarket.com

The Screenwriters Market is a free script registry. They offer a bulletin board for independent producers to post job queries and a message board for screenwriters to share marketing experiences and ask submission questions.

The Writers Marketplace: http://www.writerswebsite.com

The creator of this registry, Gina VanName, has recently reprogrammed her site to focus on ‘Developing and Marketing Screenwriters’. You can post your spec screenplays and story treatments for free here.

Hollywood Script Readers Digest: http://www.screenscripts.com

This registry accepts film synopses and television proposals. In addition to their online database, they publish a printed edition of their postings called The Hollywood Script Readers Digest that they distribute to 1200 film and TV production companies. Currently, it’s free to register a project with them, but that will be changing soon.

Cyberspace Security Precautions

Some writers fear this type of global exposure will tempt unscrupulous producers or writers to steal the original ideas, characters, and situations that are posted in cyberspace.

There are two excellent ways to protect your original material from pilferage:

· 1) Establish the date of creation.

You automatically established yourself as the copyrighted author when you put your story on paper; but it’s important to have a paper trail that proves when you actually wrote your story. To establish the date of creation, apply to the Library of Congress for the copyright to your work (http://www.loc.gov/copyright). Or you can register your material with the Writers Guild of America (http://www.wga.org). You don’t have to be a Guild member to do this. If a dispute develops over who wrote the material or when it was written, the Guild has your script or story on file and they will back you up.

2) Keep detailed records.

Choose a registry that keeps track of who looks at your synopsis. Many registries require that the interested buyer email you for permission to look at your sample pages or to read the entire work. Keep track of all correspondence generated by the professionals who read your material.

Cautions from Screenwriters

Luke O’Neill: “My post at writerswebsite.com has generated a few inquiries. I usually go to Zoetrope.com and talk to other writers about the proposed reading and what do they know about them (the producer or agent). If it’s just some bozo curious about the logline, I say no.”

Elizabeth English: “If someone (agents and producers) asks to see my script, I look them up on google.com, imdb.com or the WGA list if they’re agents. I ask them what they’ve done in film because sometimes they don’t identify themselves as affiliated with an agency or production company. If they don’t get back to me, I don’t follow up or send a script to them.”

Ben Fiore: “I usually use the Internet Movie Database and NY Screenwriter Magazine, both have been very helpful in verification of a producer’s or agent’s credentials. Once they charge you a fee for reading, you know something is shady.”

Mary Schirmer: “One man requested my script who didn’t check out because when I tried to e-mail him back, the mail was undelivered. That made me wonder, so I never did send the screenplay to the mailing address that was out of the country. Another young man requested to see a screenplay just so he could see the format. I answered his format questions, but didn’t send the script.”

Randall Barnwell: “If you are a writer who has no business sense or is too lazy (I find that is often the case) then these services are for you. We have read that many Producers and Agents do not trust these services for a variety of reasons. For writers who cannot search out production companies and agents on their own, then these websites and services are probably their only hope. Don’t pay money unless you are sure they are recognized by the industry or they can do something you cannot. We said no recently to a company that represented themselves as everything from a production company to an agency of entertainment lawyers. They wanted 20%, an agreement that we would rewrite as they requested and with no guarantee of anything. Needless to say, we passed.”

The Garbonzo Brothers: “If you’re lucky, people try to screw you to your face, and you just have to accept that everybody will try to leverage your success and hard work for their own benefit – all the while justifying it as their (not your) ‘big break’.”

How to Choose a Script Registry

Check the registry’s credentials thoroughly. To be of help, they must maintain a substantial subscriber list of experienced industry professionals. Exposing your material to inexperienced people without solid industry credentials won't help you much.

Get references from other writers. Most sites list personal recommendations from clients - check them out. Some even post email contacts - make use of them. If you belong to a writer’s networking group (and you should!) ask your peers about their experiences with online registries.

Choose a registry with a large database of material and an active group of subscribers who are sent up-to-date information about writers and their original material within newsletters or targeted emailings.

Ask the right questions: What are the charges? How long will my material be posted? How often do their subscribers scan for material? How often do they sign new subscribers? How many projects are posted in the database?

Check out the current projects posted. See which loglines and synopses get your attention. Polish your own logline and synopsis so it will be noticed. This post is your pitch opportunity; make them pay attention to it. Some registries allow you to revise your logline and synopsis after they’ve been posted awhile, take advantage of this.
To get value for your money, don't post a first draft of your screenplay or novel. This is not a writer's workshop. Be sure your material is polished and ready for market.

Some services offer reduced fees for material that you re-submit after polishing it. This can be worthwhile; but be sure your revised draft is significantly improved before posting it again.

Cyber Slushpile or Sure Thing?

Some writers believe that floating their loglines in cyberspace will prove to be just as haphazard and ineffectual as sending unsolicited material to unreceptive agents, unresponsive producers, or overburdened book editors. There are no guarantees; this is not a sure thing, it’s too new.

Some successful writers I know claim they would never pay to post their material or even use a free registry service. Years ago, I agreed with them; but I no longer do. The marketplace for original material grows more competitive each year. I believe a more global style marketplace can help creative writers worldwide find a home for their original material.

Marketing a novel or a spec script is a proactive endeavor whether you have an agent or not. Writers need to create their own advantages whenever they can, if they want to build a career in creative writing.

Check out these new marketing opportunities and let me know if your loglines are lost -- or found!

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This article was first printed in Script Magazine Online.

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