What happens once they like your script?

[gophergrrrl]

So, once a production company picks up your work, interested in it and you, what happens? A meeting? Then what? And, what about those pitches that I've read about? Do you have to do a big money pitch in front of a sea of people? I'm just wondering what the next step beyond getting someone's attention with a script is, and how it works.

This question is moreso aimed at those writers who have written screenplays that have been produced by companies, and have a career of it. I'm requesting this because those who haven't dealt with that phase can't really give me the answers I'm looking for.

[MrJayVee]

Many things can happen when a prodco expresses interest in a screenplay, but here's one common scenario...

A producer reads your script and they like it.
They contact your agent and set up a meeting.
If you don’t have an agent, they call you directly.
You go in for a meeting.
They tell you how much they love your script.
Maybe they’ve got some changes they’d like to see made to the script.
You toss around some ideas.
Either you really like their ideas (rare) or you hate their ideas. If you hate their ideas, it’s usually best to keep it to yourself. Anyway...
If you have an agent, they’ll call him and make an offer on the script.
If you don’t have any agent, get one (or an entertainment attorney). It's his job to get you the best deal possible.

There’s no set number on any of this, but let’s say they offer $100,000. They might give you $20,000 up front and the balance ($80,000) if/when the script goes into production.

Many deals allow you to do the first rewrite. If you’re really lucky, they’ll keep you on from start to finish. You might even get paid for additional rewrites.

If they don’t like the direction you’re taking the script – or if they’ve eaten bad sushi for lunch – they’ll yank you off the project and bring on another writer. Don’t take it personally, it happens all the time.

That’s one possible scenario.

It’s also very possible that they love your script but “it’s just not for us at the present time. But we really like your style of writing.”
OK, great, so they call you in and pitch you an idea/concept or a script they already have in development.
If they like your take on the project, they might just hire you to work on the script. Again, you should have an agent or entertainment attorney handle the fine points of whatever contract is offered.

This is the way it generally works at established, legitimate prodcos. If you’re dealing with some no-name producer and you don't have an agent looking out for you, well, it’s quite possible they’ll do their best to give you a raw deal of some kind.

[WriteKnight]

It's not really clear in JayVee's description, but an 'option' is one way of moving forward. They like the script, want to buy it. Discuss the changes they'd like, and make an offer to option the script.

This could be the 20k down that JaVee mentioned. It is more likely less than that on a 100k script (think 10-15%). Talking about NON WGA deals here.

I optioned mine for 18month. During that time, I did a rewrite. The rewrite was 'free' - in that if they DIDn't call in someone, I got a bump in the final negotiated price, which was over 100k. So, unlike a WGA deal, where you are paid for each step, in my case, there was a 'carrot' at the end to get the rewrite done the way they wanted.

NON-WGA deals can be whatever you and your agent negotiate. WGA have specific steps for each draft/rewrite/polish.

The options on mine expired without production, so I got to keep that option money, and the scripts are in circulation again. (Just sent one out today.)

[gophergrrrl]

Oh.. So do writers have to do pitches for people? Or do people do them to you? And also, what-say if you were in, hm.. I dunno, Kentucky and the prodco was in L.A., would they fly you out there? Or would you be on your own for that?

Thank you folks for the answers. =o]

[WriteKnight]

You're sort of dealing with a chicken/egg scenario here. Most of us are writing 'on spec'. We're writing scripts that are wholly our ideas and concepts. We write them with the hope (or dare I say it) expectation that they will be marketable... that is - someone will want to buy it.

So it's up to us and/or our agents to 'get the script out there'. Your question presupposed that the production company had already read the script and liked it. So someone had 'made the pitch' - either the writer or the agent. If it was the agent, then the proco asked for the script, read it, and asked 'for a meeting'. Depending on the location of everyone, and the level of production company - sure, they might fly you out. A small company might ask "Are you going to be in LA sometime soon?"

In which case, it's up to you to decide if you are going to attend your cousins wedding or not.

As a matter of course, you should have a 'pitch' ready to go, for whenever you get a call, get stuck in an elevator, or are sitting on a plane next to someone who might be in a position to help you.


The reverse scenario, where a production company might pitch to a writer, presupposes the writer is a known entity - skilled at delivering what the proco needs. They might say "We liked your sample sci-fi script, but we've got this story idea -" and pitch it to YOU.

Make sense?

[mario_c]

Well, let's put it this way...:banana:

The bad news is you aren't always paid for an option - it can be for $1, or a martini at the nearby club in LA or whatever. So essentially the money is reserved for after the option, when a director and star/cast move in to start turning your script into a movie. Correct?

Regarding rewrites, so, you get story credit, right?

These little details, so important, so hard to nail down...

[WriteKnight]

If you're a member of the WGA, then there are 'minimums' for things like options, drafts, rewrites and polishes. Until you're a member, you've got to do your best negotiating.

If you option a screenplay for a dollar. Then that's what it's worth to the person who optioned it.

I've turned down options for 'a dollar' - I don't know how many times. They are pointless. I want the proco to have real money invested in the option, real incentive to get out and get a deal done. But that's the way I do business. Your mileage may vary.

Rewrite and story credit - again, are worked out through the guild. And disputes are arbitrated through the guild. But untill you're a member, you are free to negotiate what you can. (As per writers guild standards - is a handy clause.)

[creativexec]

The real answer to the question of what happens "once they like your script" is usually nothing. You might win a few fans but, most of the time, it leads to no movement whatsoever. Comb screenwriting message boards for all sorts of stories like "the producer loved my script," "it got great coverage at the agency," "they want to see more of my work," and you'll discover that all those scenarios (though exciting at the time) lead to nothing - putting the writer right back at square one.

However, if the script really does gain traction, the way it plays out will vary greatly depending upon who the producer is (does he have a studio deal or money?), who you are and where you fit within the "writer heirarchy." For instance, when a producer with little money meets a fledgling writer with no real representation, the results are usally dollar options and lots and lots of free rewrites. And then no production in the end.

Real producers with studio deals have to bring the script to the executive level, which means it has to pass muster with a long line of suits. So, just because the producer likes it doesn't mean much, as most projects die once they begin their search for studio approval.

Truth be told, without representation, it's unlikely any writer will strike a deal - unless his script is brilliant and Jupiter aligns with Mars. This is why I always suggest that new writers work hard to win representation (with most of the effort on managers). Sending scripts to prodcos is not a complete waste of time, but it will rarely lead to any sort of big money deal or long term success. In order to achieve the life changing deal which leads to a professional writing career, it, most likely, needs to be a studio deal. (There are always exceptions.) Most real producers deal with agents and managers. Only producers with no money and little clout avoid the agency route. (They troll InkTip instead.)

The most common thing that occurs when a script receives positive reaction from a producer or prodco is a "meet-and-greet," a general meeting where the writer goes in and meets the exec or producer and has a little chat. "Tell me about yourself...What are you working on?" These meetings rarely lead to anything, but they are important because this is a business about relationships (if you don't know anybody, it's unlikely you'll have any sort of success). Development executives must schedule meetings with writers; it's part of the job requirement. Most of the time, they fill their calendar, knowing they're meeting writers they have no intention of ever working with. Conversely, these meetings are good practice for a writer to get relaxed, work a room and learn how to pitch.

It is highly unlikely for any writer who hasn't sold a spec script or has no "heat" to sell a pitch "in the room" in this current marketplace. Studios simply will not take the pecuniary chance of putting a writer into development without some sort of professional initiation first. (If it's a producer with a studio deal, it'll be even harder.) So pitching in these meetings will most likely lead to a producer or exec saying, "That's interesting. I'd like to read it when you're done."

I do know writers (with no "heat") who have won writing assignments (from real producers) without having sold a spec. In all cases, they had a spec that was in the wheelhouse of the project the producers wanted developed, the producers were not WGA affiliated, the pay was mid-five figures (which probably played a role in why new writers were hired), and all the writers had representation at good agencies.

Making movies is a very complicated process, and although we all want to believe it begins with a producer calling the writer and saying, "Hey, I love your script...here's a check," it rarely happens that way.


:)

[kullervo]

The only thing creativexec left out was the part where the person who liked your script gets fired/catches fire/drowns and their company immediately goes out of business.

[GigiZ]

The only thing creativexec left out was the part where the person who liked your script gets fired/catches fire/drowns and their company immediately goes out of business.

And then you die and you go to Hell, where you are locked up in the screenwriters' "room" a large pool filled with cow feces -and other failed screenwriters- where you get to copy the screenplay from You've Got Mail word for word on a very slow laptop ... for eternity.

[kullervo]

And then you die and you go to Hell, where you are locked up in the screenwriters' "room" a large pool filled with cow feces -and other failed screenwriters- where you get to copy the screenplay from You've Got Mail word for word on a very slow laptop ... for eternity.

Sartre's got nothin' on you!