Reality Skewed...
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Articles
Write another. The most important thing for you to do is keep writing if you truly want to become a screenwriter. Write at least three scripts before you attempt to market any of them. Each script will be better than the last. The practice and experience will give you confidence and improve all of your skills. Chris McQuarry writer of "The Usual Suspects" had four scripts tucked away in a drawer before his "first" script won an Academy Award.
Before you try to sell your scripts make sure you have the healthiest attitudes and clearest expectations of what the industry can truly provide you. With a clear head and honest understanding you can handle the bumps and detours you will encounter on your road to success.
That's not your goal. You didn't write a movie. You wrote a screenplay. From nothing you created characters, plots, ideas. Your success is to get someone interested/excited enough about your script to pay you money for it. Once it is sold, that's the success. Danny Rubin, the screenwriter who created "Ground Hog Day," found this lesson very hard at first. His original script set a much different mood than the final film. He was uneasy with his accomplishment until he realized that his vision was a success the moment he found someone else liked it enough to purchase his script. That was his triumph. There are numerous screenwriters whose great works were changed significantly once they were sold. The fact that the writers still are sought out in Hollywood attests to the fact that their talents are what are valued time and time again and the movies that result are the inevitable evolution of the process.
This is the biggest false concern of neophytes and the least important. You want to be known as a writer. Ideas are common and similarities abound. If a movie is made similar to one of your scripts take it as a sign you are on the right track. Use your other scripts to sell you as a good idea source. Brooding will rarely win in court and will most likely kill any career that might have been available to you as a writer.
The best guard against idea theft is to have lots of them. And show you can write them all or anything else they want you to write. You are a screenwriter, aren't you?
As long as writing makes you happy, keep after it. It doesn't reflect your talent, just happenstance. What sells in Hollywood usually has much less to do with available talent and much more with accessibility, timing and luck. The business side of the business dictates a lot of restrictions on the freedoms of the creative side. Similar is safe. Cheap is less expensive. Known is more comfortable. As a new writer you have to buck each of these trends to get someone to take a chance on you and your ideas by committing a lot of money on a long term investment that has no guarantee of return. That's asking a lot. It happens, but, the more likely scenario is the chance will not be taken. Take that in stride, wait and in the meantime keep writing.
You should next try to get your completed script read, but, by whom? There are different levels of readers that can provide different types of feedback and opportunity for bettering your work. Each class of reader has its place and an understanding of what they can- and can't- provide will be important in deciding just how to take advantage of what they can offer a writer.
If you have access to friends or family who can give you an honest evaluation of your work by all means you should take advantage of their perspective. But, be aware that they are not usually versed in the language of the screenplay and don't usually have the experience level to evaluate its merit on a professional level. They will be able to tell you if the story makes sense to a general reader and point you to any problems or complications in plot or character development. They'll also provide a few extra eyes to find the elusive typos and spelling errors that a single pair of eyes is inevitably going to miss. A friendly reader will give you a reassuring confidence in the strength of your story, but, you'll need to get the work in front of a professional in order to have a chance of becoming successful.
There are various professionals who are well versed in what it takes to make a salable script in the industry. Each brings their particular perspective to the reading of a script. Understanding what each affords to a writer and what limitations are included as well are important in evaluating which opinions to pursue and what to do with the responses you get.
For years the traditional course for breaking into Hollywood open to a writer was to find a literary agent who specialized in screenplays and was willing to read your work and take you on as a client. The importance of getting an agent first has lessened with the alternative venues opening over the last few years but it is still a viable option worth consideration.
An agent is a service provider for the writer. There is a contractual relationship between the two, the agent works to get your work in front of the moneyed individuals in the industry who have potential for buying your product and you in turn promise to pay the agent a percentage of the negotiated price of the culminating sales of your work. Respectable agents cannot ask for any money outside of their commission and that cannot rise above 10%. Agents bring a level of professionalism to a presentation of a script that a writer alone cannot provide. There is less a potential of legal hassles when dealing with agent represented writers and therefore more producers are willing to deal with writers who are represented by agents they know than unknown scribes. Playing by traditional rules tends to put potential dealers more at ease.
As to what agents bring to a writer, the long-term relationship tends to allow the agent to look toward the body of work represented by the potentials of the writer. Having more than one script to show that potential is key to landing an agent. They look for writers with salable work or work abilities because each sale they can land means money in their pockets. Most agents attempt to get their clients work quickly and the good ones will help the writer develop their material into the best salable material it can be. One drawback is that if the writer writes material that isn't attractive to the producers the agent usually deals with there is less an incentive for the agent to try to broaden their contacts without the writer pushing them to try harder. Some writers think that once they sign with an agent they can sit back and let them do all the work in finding producers. That's not the best course of action. An active writer can find venues that the agent may not have considered or doesn't have access to and once contacted the agent can be the business intermediary to get the deal to completion. It is a business partnership that has many ways of being formed, each relationship needs to be explored to find the best fit between writer and agent.
The drawbacks to the agent relationship are that all agents have more than one client and when your work isn't selling it can be easy for your interests to get moved to the back burner in favor of other clients. Also, agents are often looking for the blockbuster, mainstream script to sell and creative, odd-duck scripts that have quirky interests may not be strongly supported since they are often harder to sell. Again, the relationship between the agent and writer is one that needs to be personalized between the two individuals. Remember that it is a service relationship that the writer controls and if compromises can't be found then the writer should take charge and find a better relationship either with this agent or elsewhere.
There are alternatives or additions to the agent that should be mentioned: managers and lawyers. Neither is a complete replacement for the agent relationship. A manager is sometimes a stronger advocate for a writer's interests because they usually have fewer or no other clients' interests to put ahead of the writer. The downside of their input is that because they are unregulated they can charge much higher interests than the 10% agent fees and can be named producer on picture credits, alone these aren't necessarily bad things, but they can be abused to the detriment of the writer's reputation. Lawyers can handle the legal contractual duties an agent usually works with without the long term interests getting in the way. They are usually paid flat fees or hourly rates for their services though, whether or not the contract goes through, so it can be expensive if a long, drawn out negotiation goes sour. It is not unusual for working writers to have at least one of each on their team at different parts of their career.
Having an agent is one way of gaining the attention of a producer, but, more and more there are opportunities available where the connection can be made directly. Producers are usually focusing on what the writer can do for them right at this moment, either with the script being offered in front of them or the talent they could bring to a project the producer is fostering. Because producers have found less of a need to be sheltered under the studio system of the past their ingenuity has created lots of access points enabling writers to get their work in front of them. But, because the producers are necessarily playing finances close to the vest because of the uncertainty of success they are very quick to decide whether a script is the type of project they can feel comfortable pursuing. Before a writer attempts to woo a producer they should take care to familiarize themselves with the type of film that producer is looking to produce. This maximizes the potential of making the connection that will lead to a relationship.
Many producers make themselves as accessible as possible, actively making their needs publicly known on websites, industry publications, word of mouth and the like. This self-publicity can be beneficial, but, can also be a trap by the unscrupulous producer to catch the unwary. They should be approached with caution and lots of research. The writer should never have to pay for "services" or a reading and definitely never sign an option without adequate compensation. If a deal feels too good to be true, it probably is. Hire a lawyer to check it out or just walk away and work harder on the next one.
Most producers are legitimate and really want to see the material that interests them. Some have found a way of exposing their desires with some modicum of protection for themselves and the writers by participating in pitch sessions. Pitch sessions are events where a small group of producers agree to hear "pitches," or verbal descriptions of the writers' scripts in short one-on-one sessions. This allows the writer to articulate the story, plot and characters in a couple of minutes and if the producer is intrigued they can ask for a copy of the script to be sent to them later to read. Again having several scripts already written beforehand allows the writer to try several different stories if the first doesn't strike the producer's fancy. There are many types of pitch sessions and lots of organizers out there so if this sounds like something you want to try do your homework and pick them carefully. One benefit of pitch sessions is the practice you get honing the story down into a short description. This will benefit you if you luck into a traditional meeting with a producer and they ask you to pitch your script to them. At some point you will probably have to describe your script to a potential producer so practicing pitching is probably a good idea.
Other producers make themselves available in less direct ways. More and more they are participating in screenwriting boot camps, workshops and expos. There, although some include limited story pitching, the focus is toward imparting to the budding screenwriters the producer's perspective in achieving a good screenplay. These gatherings allow a writer to hear from various producers and others what works for them, what pitfalls to avoid and how to keep on the right track towards success. Many of these workshops use small group question and answer settings so your specific questions can be addressed. They are a great way to get insider knowledge and have the added benefit of associating with fellow screenwriters at the same stage as you are where you can compare notes and make friends with whom you can commiserate or celebrate.
Reaching some producers can also be done through the query letter process. This procedure seems to be falling out of favor, but, has been used successfully in the past by some. The query letter is a short, written introduction of the writer sent directly to a producer that has shown some amenability to accepting queries. The letter is brief and contains only information about the writer and at most a log line of the script. Too much information about the script or querying someone who isn't receptive to queries will quickly get you a cease and desist response from the producer's lawyer. There are lots of ways of getting on the wrong side of producers using queries so if you do choose this method approach with caution. For example, some producers may get turned off if they find out their letter was part of a bulk mailing to a large group. One advantage to queries is that it may be the only viable way of contacting producers if the writer is from outside the state of California.
There are always those occasions where either through friends of a friend or standing in line at a checkout counter you discover you are next to a producer that would be a perfect match to your latest script. Should you try to make a connection? Use common sense, but, remember that these people have very compact schedules and their livelihood depends on the most efficient use of their time. The last thing they want is a stranger shoving a script in front of their face. Treat the producer with respect and if the opportunity presents itself you will recognize how best to take advantage of it without going overboard.
There are others who are not in the market to produce your scripts but do bring with them industry knowledge that you might find useful to take advantage of by having them read your scripts. You can hire a script consultant to look at your work and get more professional feedback than your Aunt Polly can probably supply. A script consultant is usually someone who has worked in the industry for some time and has amassed a level of knowledge of what works and doesn't work in a script. The quality of script consultants varies so shop around for ones who's reputation and experiences most appeal to you. Their greatest benefit is that they have been there in some capacity and have seen quite a number of scripts and know the flaws that new writers make and hopefully how to fix them. Their interest is in helping you make the best script and become the best writer you can be. You are paying for that focus on you. But remember, no matter how stellar the reputation it is only one person's opinion and if you don't agree with what they say you are perfectly within your rights to move on. Still, if they like what they read they have been in the industry and may still have the contacts to get you the meetings that may lead to the big sale.
One drawback to consultants is that they are usually quite expensive for their services, in the several hundreds of dollars for those with good reputations. For a less pricy alternative you could try finding script readers who might be willing to take on individual writers. Script readers are hired by producers and studios to read scripts. Even if a producer agrees to read your work the likelihood is that it will actually be read by a reader and the producer will be given what is called "coverage." Coverage is a short write-up of the essence of your script and an evaluation of whether the script should be pursued or not. If you get good coverage the producer may then read the script him or herself and go on from there. If you can get a reader who is willing to read your stuff directly you might be able to find out what kind of coverage your material would get and learn what works and doesn't. There is even a very remote chance that if the reader loves your work they may have some input in getting your script on top of the stack on their producer's desk. Be advised, though, that most readers have only a little experience, being on the bottom rung of the industry ladder. Their opinions may be biased, either because of the types of scripts their employer's are looking for or because they may be followers of one of the "gurus" whose mandated must have elements don't jive with what's in your script. Take their advice only if you feel it benefits your writing.
Besides finding individuals who can further your career there are several other ways of getting your work out there. Popping up nearly daily are writing competitions and film festivals that have screenplay contests among their attractions. There is a wide variety of offerings available and research and common sense are your best tools to finding ones that will be of best benefit to you.
Some of the contests offer high monetary awards but that shouldn't be the attraction for a writer, since, by definition, only a very few people can be crowned winners. If all you are looking for is a big windfall, your chances are actually greater of selling your script to a producer than winning a script contest. But money isn't the only incentive these contests can offer. There are the big contests like the Nichols Fellowship that receive over 10,000 entries annually. You can use these contests to prove to yourself that you are serious about writing without building a false expectation hoping for a win. Use their fixed, annual deadlines as your own deadlines to finish your script by and reward yourself with knowing your continuing in your pursuit of your dream.
Because of the tremendous number of participants in these larger contests there is little chance of getting any individualized feedback. There are other contests that are smaller and take advantage of their size by offering some type of individual feedback to their contestants. Care in choosing among these smaller contests will help you avoid those few that are foils for taking advantage of the unwary writer. With a little research you can find good hearted smaller contests in which to participate. These are attractive for providing that stranger's perspective on your work as long as you remember that the feedback you get will probably not be higher than the level of a professional reader in most instances.
There are a number of other contests that may be attractive to you because of their specialization. There are contests that emphasis a particular viewpoint or specialized area that may fit well with the type of writing you are doing. There are also regional contests that may be right around the corner from you and give you a chance to shine in your own neighborhood. Be alert and don't overlook these smaller contests that might provide an extra incentive to keep you writing.
Remember that no matter what these contests or festivals offer they are still competitions and can be run well or badly, suffer from biases or political agendas so don't take not placing in them as any measure of your talent level. Glean from them what you can and keep moving on. One good way of keeping them all in perspective is to always have a script in competition as the results of previous entries arrive. That way you can always look to the next competition and the sting of not winning can heal more quickly. If a festival or contest fails to live up to your expectations you can ignore it and move on to the next opportunity knowing all you've lost is the entry fee.
Also, look for screenwriting groups in your area. There are numerous groups of budding screenwriters who gather together on a regular basis to share the pangs and excitement of their chosen avocation. There are several common structure types for these groups so try finding one that fits your personality. Some groups gather to discuss screenwriting in general, review hit movies with a screenwriter's eye, talk about techniques and discuss the nuts and bolts of the process. Other groups gather to charge up incintives for members to keep writing. They read selections from a few members works, charge their members with completing a certain number of pages of their own work between sessions or workshop group projects to help hone their skills at the craft. Other groups combine elements of both of these types and still others venture out in new ways of exploring the world of screenwriting. These groups can spring up independently or spin off of other film centric groups so keep your eyes out. And if there isn't a group in your area go ahead and start one up yourself. You'll soon find you are not alone in your interest in screenwriting. Whatever way you can keep your motivation charged, give it a try and keep writing.
As you can see there are a lot of potential sources to pursue in your path towards making yourself a better writer. If you find one attractive you should carefully research it to make sure it is legitimate and coincides with what you are seeking. And don't just take my word for what's out there. All of this is just the opinion of a fellow writer probably in the same boat as you, so take all the advice with a healthy dose of skepticism. If what you find here is helpful, I'm glad. If not, strike out on your own and I wish you the best of luck. And above all else, keep writing.
