Selling scripts

[Stylianou]

is it really so hard to sell a script as a first time writer? I know your all eager to type in 'Reality check dude' but if the story is good enough how hard can it be?

i can feel you all aching to rip me to shreds!

does anybody know of any films that were written by new writers?

[NikeeGoddess]

yes it is that hard b/c a majority of the scripts bought are written by seasoned writers. just think how hard it would be for you to convince a production (studio) company to invest $100 million on your idea. that's a lot of mula!

there ARE scripts produced by first time writers but, the reality check: those writers have been writing for 10 years and sold their 5th script; not their first that they wrote a few months ago. and many of those were major contest winners which brought them enough exposure for the producers to even look at their script.

another reality check: your writing improves so drastically year after year at plugging away at your craft that you'll probably be so embarrased at your first attempt; embarrased that you even showed it to people --- that is, if you stick with it ;)

none of this is ripping you to shreds. you must be pre-jaded :lol

write on!

[Stylianou]

fair enough. I guess i'm a little delutional. I truly think my screenplay is destined to be made. I love it and thats rare for me as i am my hardest critic. i read alot of profesh/published scripts and I do believe that mine can compare. I'm not saying that i have a natrual talent for screenwriting but...well, thats exactly what i'm saying!:lol

[NikeeGoddess]

if you enter your script in a major contest and become a finalist then you can use that to get automatic exposure and the fuel you need to get an agent.

so write the next one already.

rewrite on!

[William Haskins]

go here and post 5 pages of your script:

p068.ezboard.com/bdonedeal (http://p068.ezboard.com/bdonedeal)

then... don't live or die by what feedback you get, but look objectively at the range of feedback. then imagine this as a microcosm of what your script would go through as it makes the rounds of industry readers.

nothing is universally lauded anymore. there are as many opinions as there are producers, and your script is not destined for any more, or any less, than those parameters will allow.

best of luck to you.

[Stylianou]

dont worry wil, i'm not gonna live or die by constructive criticism. thats why i'm here dude.

i would love to post my pages and cant wait to but unfortunatly its not copy written yet. As soon as it is, i'll get on with getting feedback from you guys. thanks


p.s scripts that are entered into comps, can they not be published as a movie or does the competion exposure ruin that chance?

[kojled]

stylianou

extremely difficult to sell script. my advice - forget it. concentrate on craft. if you are a talented writer you can find work. weekly rate for assignments is through the roof. a few good samples can land this type work for you. result - you could make huge money for years and never sell a script, never even get a screen credit. so - forget selling, focus on craft.


zilla

[Noah1]

Whoa.


Deja Vu.

[William Haskins]

boilerplate posting. it's the wave of the future.

[Ron239]

The larger question is, how do you get anyone legit in the industry to read your material? That seems to be the major hurdle.
You can be a phenomenal writer with good sample scripts, but how in the world do you get anyone who is bona fide legit to read them?
I would be very curious to know how many of these working Hollywood writers actually broke in, because it is a mystery to me. An absolute mystery.
That hooey about writing a great script and burying it and agents breaking down your door is just that -- baloney.

[desmas]

It's hard because most first time writers bring bad scripts to the table.

If you think you've got talent then go for it. What do you have to lose?

My advice to you is find an agent. Most studios will not even look at a script if it is not represented by an agent.

Invest some time preparing a pitch for the studios. You got to sell them your idea and tell them why they need to make it into a movie!

You want to here of a first time writer making it big. Christopher McQuarrie. He wrote the ScreenPlay Usual Suspects directed by Bryan Singer.

Chrsitophers first ScreenPlay was Public Access. It wasn't really a hit but it did enough for his career to get noticed.

[Vigorish9]

"my advice is to find an agent" desmas

yes, they hangout in packs at grocery stores and are as accesible as grapes. getting an agent can be a dfficultas selling a script.

vig

[desmas]

I don't care if you like the advise are not. You don't have representation your script sees the trash can.

[JustinoXV]

"My advice to you is find an agent. Most studios will not even look at a script if it is not represented by an agent."

Make that all studios, as well as most studio backed or celebrity attached prodcos.

If you'll go to Done Deal @ www.scriptsales.com, you'll see most sales are made by agencies such as CAA, ICM, William Morris, etc.

These agencies do not read unsolicited screenplays. They do not take query letters.

How can you get read by these agents? You need to be in the industry, and get an industry referral. Or you need to have already sold a script. Or you need a deal on the table.

I think anyone who just says get an agent clearly isn't thinking or doesn't know much about the film industry. But since get an agent is your advice, surely you can elaborate even further and tell people how they should go about getting agents. And don't say queries, as top line agencies don't accept them.

[Vigorish9]

i will try harder to say what i mean since you seem to be an advocate of that.

agents are VERY very, very, very dfficult to procure. everybody already knows that having n agent is basically what you want to do. so, getting an agent is of course paramount, AFTER you are good enough to get one.

you just don't put an add in the paper asking for an agent.


vig

[desmas]

WIll if that was your point then yes I will have to agree with you there.

Agents are tough to attract but not impossible.

But let's be honest here. It takes only one good Screenplay to get noticed. You can write 20 bad ones before you have any talent to write a good one but it's that one that get's you the deal.

If you manage to hit it on your first try than all the success to you.

For me anyways I am more concern with Mastering the art than to complain about how hard it is to break through.

[maestrowork]

Reminds me of a joke:

How many screenwriters does it take to screw in a light bulb?

100. One to screw it in and 99 to sit around Starbucks saying, “I could have done that – if someone would only give me a break.”

[Noah1]

If you'll go to Done Deal @ www.scriptsales.com, you'll see most sales are made by agencies such as CAA, ICM, William Morris, etc.

These agencies do not...take query letters.
Not true.

They just don't take crappy query letters or query letters for crappy concepts.

[NikeeGoddess]

don't waste your time trying to contact studios

look for and query smaller independent production companies. those with "first look" deals with studios have more clout.
but even those without that deal can work out their own packaging.

[JustinoXV]

"They just don't take crappy query letters or query letters for crappy concepts."

Calll any of those agencies, and you'll likely get a response saying that they accept no unsolicited materials, including queries.

Catch someone in a good enough mood, and yes, you might get someone who'll say send in a query. This is sufficiently rare you'll have to use other ways of getting your work out.

[Noah1]

I'm speaking from personal experience, Justino. This has worked for me several times and gotten me a few reads at some of the agencies you listed. I used both emailed and snail-mailed queries.

Like I said before, though, it won't work if your query letter or concept are crap.

Perhaps that's why it hasn't worked for you?

[maestrowork]

I seriously doubt Justino's experience is the only truth here. Granted, I don't doubt his experience is valid, but I am sure there are other ways. I mean, did he actually call every agent in town to find out that they don't accept queries? A friend of mine just optioned two of his screenplays through his agent. Yes, he got an agent without having sold anything first. He wasn't even an insider -- he was a novelist before he started doing scripts. (Okay, so maybe that's the way he started first.) Granted, his agent is a small one, but they got his screenplays out. Not everyone is CAA and not everyone needs to be.

I'd like to hear from those who have procure an agent and/or sold their screenplays through their agents.

[JustinoXV]

Well, Noah1, did any of these agencies sign you? I don't think so. A good query or logline doesn't necessarily mean one has a good script. Apparently you were passed on.:)

Getting read in Hollywood isn't that big a deal. Most scripts sent in are going to be rejected, so people out in LA are overall dismissive of queries.

As for not everyone needing to be CAA or ICM, you do indeed need an agency of this rank if you expect to have a career selling screenplays to studios.

Not optioning. Most scripts optioned are never actually purchased.

[Vigorish9]

scripts that are purchased hardly ever make it to screen either.

vig

[kojled]

justino

noah is correct. the agencies you listed will take queries and they will read scripts by unrepped writers.

and yes they do sign newbies based on these reads. and yes they do sell some of these acquisitions

and no you don't need to be at one of the big 3 (or 5 or whatever it is) like caa or icm to 'have a career selling screenplays to studios'


zilla

[JustinoXV]

According to their receptionist, they do not.

At any rate, getting read is like having an one night stand. After it's done you'll never hear from them again most likely.

The simple fact is that in all likelihood, a query letter will not result in something that you see on the screen.

[Noah1]

Justino,

Your logic is as functionally retarded as your arguments are weak and circular.

Your original statement(s) had nothing to do with "selling." It had to do with query letters and script solicitations. You claimed that the Big 4 would not read queries.

That's not true.

I told you so. So, your argument went from "they don't accept queries at all so don't try" to "well, they will but they won't read it" to "well, they may read it but it won't lead to a sale" and then back to "they don't accept queries so don't try."

That always happens when your BS is challenged by factual information. You backpedal faster than a politician while letting fly as many red-herrings and strawmen for your argument as you can to take attention away from the fact that you're full of crap.

But, I digress...

If you call the receptionist at one of the "Big 4," of course he/she will tell you that they don't accept queries because they want to deter the influx of bad queries. However, why the hell would you call the receptionist and ask her? Why don't you call and ask to speak to the agent directly? Try it. Many times they'll put you through, you ask him/her if they have the time to take a quick pitch, you pitch, they accept or decline. Or, you just email the agent directly.

It's that freaking simple.

There are some agents at these larger agencies who will accept queries and request your script. They want a sale. They want the "next big thing." They want to make money.

A few requested one of my scripts. Granted, this was a while ago and my script sucked, but that has nothing to do with the point. They read your queries. If they query sucks, then they either ignore it or send it back with the standard "No unsolicited queries" letter. Which basically means, "You suck." However, as I said, that's not the point as it has nothing to do with the original issue, which is whether or not you can get read at one of the larger agencies off of a query.

The point is that, yet again, you have passed off your own anecdotal and barely substantiated opinion as fact.

The only fact involved in your posts is the fact that most of them are laughably erroneous and heinously misleading.

[JustinoXV]

The websites of many of the big agencies say that they do not accept unsolicited materials, including queries. And many of the people I know who have interned at the big agencies say that queries from unknown people are typically thrown in the garbage.

It isn't the most efficient way to get read. You, Noah, never actually said which agencies requested your script after you mailed in your queries. A lower tier agency might. But the big ones do not, according to people I've met and known personally here in Los Angeles.

So my original point stands.

My point about getting read ultimately meaning nothing stands as well. Most reads from unknown, unsold writers lead to rejection.

[Noah1]

You, Noah, never actually said which agencies requested your script after you mailed in your queries....But the big ones do not...
ICM and CAA, if you really need to know that badly.

So, you're still wrong.

Very wrong.

Like always.

You have no idea what you're talking about and you never do.

I just feel bad for some poor newbie who doesn't know any better who may read one of your posts and actually believe that you know what the hell you're talking about.

The board regulars (here and Done Deal) already know that. I'm just looking out for the little guy.

[Stylianou]

Noah, hey there, just wanted to know if you've actually sold anything. how long have you been plugging away? just curious. also what do you mean by sending
queries?

[kojled]

noah

my thoughts exactly. i'm just too lazy for all those keystrokes. however, justino does make a good rebuttal: the receptionist said they don't take queries - he seems to know the industry. anyway, keep it up. sorry i'm so lazy or i'd help. i'm just too la

[NikeeGoddess]

My point about getting read ultimately meaning nothing stands as well. Most reads from unknown, unsold writers lead to rejection.

this is a well known fact for anyone who's been pluggin away and trying to get read. all your advice is based on this fact. and you're not added to questions about "how to" do this or "how to" do that by saying it over and over and over again. :rolleyes

even so..... there is no wrong way to get your foot in the door or break it down. if anything you do works then it was the right thing to do at the time. ie - if you go to a popular stars/producer hangout and tape your query on the inside door of a toilet booth anyone who sits will be compelled to read it. if it's crap they might use it for toilet paper. if it's great they might take it with them. who knows? who cares? if it works....

[Boobsie Malone]

"No unsolicited queries?" Bull****. You call up any of the big five, you can get read. Make sure your script is good though, because, getting read doesn't mean ****. Anybody, from any state, any country, anywhere can get read. Whether or not you get an agent, now that's a whole 'nother kettle of fish.

[scripter1]

In order to sell you need the RIGHT script at the RIGHT time at the RIGHT studio with the RIGHT people. Oh and holding your tongue just right and the alignment of the stars couldn't hurt either.

You've GOT to make sure that your script is in great working order.
As near perfect as it can be.

Then RESEARCH companies. Send a drama to people who are making dramas, rom-coms to romance makers, etc. Call around, ask questions. Find out who wants what and then target those people specifically.

[Lord_Galvatron]

I just feel bad for some poor newbie who doesn't know any better who may read one of your posts and actually believe that you know what the hell you're talking about.

The board regulars (here and Done Deal) already know that. I'm just looking out for the little guy.

Thanks Noah... I was getting upset thinking I didn't have a chance in hell thanks to that guy.

[JustinoXXV]

I didn't at all say that no one has a chance.

I did say that if you're depending on querying big agencies, then yes, there is a major chance you won't get anywhere.

Check around this forum. You'll see people talk about doing all sorts of things, from screenwriting contests, doing their own short films, getting reads from a director or producer, selling a novel first, etc.

Why?

It is fantastically hard to get repped by a major agency by a query alone. If you have a solid industry referral, or already have a deal on the table, then you can easily get into a major agency.

But from queries alone? At best, you'll likely just get read. Of the working professional screenwriters I've met, not one of them made it from a query to a big agency (or any agency).

[ironmike]

I paid $250 to the Fade-IN Pitch fest. Got to pitch my script to 10 producers for seven and half minutes each. The result, 8 requests for my script. In a month's time I had 7 (not quite right for us). Only $35 per rejection, haven't heard back from the last one. Hope is eternal!

[BottomlessCup]

I'm unsold, un-repped, and unread, but I've read everything I can get my hands on about how to sell a script. The almost universal advice is this:

Anyway you can.

Yes, your chances of selling from an unsolicited query are next to zero. So are your chances from a solicited query, a referral, a pitchfest, a contest win, or a random elevator ride with Steven Spielberg.

Spec scripts rarely sell. It's a fact. 15,000-odd scripts are copywritten each year and roughly 300 hit the screen. Then overwhelming majority of those 300 are assignments. The overwhelming majority of the remainder are from well-established writers. Breaking into Hollywood is one of the hardest things in the world to do.

As Scripter said, you need a lot of things to be in the right place to sell a script. Since you can't control most of those things, you need to put your script in as many places as you can and hope that one of them is the right one.

When you genuinely, honestly feel your writing is good enough - and you have reasonbly reliable feedback that suggests that you're right, you carpet-bomb the town with your best script. Enter the big contests. Query away. Hit up a scriptfest (but do your research first!). Pursue every possible industry connection you can think of. Attend some Shrewood Oaks Experimental College events. Call an agent and pitch it over the phone. Leave copies in the Wilshire Blvd Starbucks. Whatever.

They're all long-shots, so you need to take as many shots as possible. If your script is good enough, it'll bubble to the top of the swamp eventually.

[Joe Calabrese]

Bottomlesscup can be called bottomless pit. He/she paints a bleak picture well.

Yes, it's true that the odds are small but not that small. Actually 450-475 films are released in US theatres each year, not 300. Not a big difference but it's better.

But, let's not forget that there are other avenues, pay tv markets, direct to dvd, foriegn distribution, etc... That brings that number to well over 1000 films a year.

My point is don't limit yourself to only writing that spec for the summer blockbuster or for the major studios. Get work where ever you can. The more you do the more your name gets out there.

It's not so much who you know, but who knows you.

[Optimus]

Well, bleak or not, bottomless painted an accurate picture.

And, yes, there very well may be 450 films released in theaters each year. And even 1000 films total (counting straight-to-video, etc).

According to the WGAw's website, there are over 55,000 pieces of literature registered with them each year. Of course, not all of them are scripts (roughly about 35,000-40,000 are, however) and this also doesn't include the # of scripts which are registered JUST with the US copyright office and NOT with the WGA. This also does not take into account the number of scripts NOT registered at all, but still marketed by unsavvy writers.

So, if 1000 total US films are made a year, as you say, then they represent roughly 2%-3% of the WGA registered scripts and probably less than 1% of all scripts total.

Wow, that's...um...encouraging?

No, "encouraging" isn't the word.

I think it tells us that this biz is tough. That's right. It's tough. You can't just one day decide that you want to become a writer and that you'll be successful because you think you have the most amazing vampire-with-a-soul story, or story about some down-on-his-luck cop seeking redemption by solving one last case, or a hotshot rookie getting teamed up with an old guy close to retirement story, or some dreck about a divorced woman returning home to rediscover her roots in a small rural town, etc, etc, ad infinitum.

These people will never make it.

Trying to sugar-coat things and say, "Oh, it's not that bad. If you have talent and determination, you'll make it!" is akin to your mom giving you a cookie and patting you on the head. Does it make you feel better? Perhaps. But, it doesn't change the fact that you just got beat up by a girl.

Even those with talent and determination may never make it. Hell, there are thousands of very talented writers out there who will go absolutely nowhere, ever, because they don't have the connections, won't make the connections, and will never be in the right place at the right time.

Fact is, 99% of writers will fail.

Sorry, them's the breaks.

99% of people writing right now are wasting their time. 99% of people writing right now would be better served by directing those efforts toward something they actually have a talent for.

Does this mean that "you" are in that 99%?

No.

However, it does mean that people shouldn't be placing their lives on hold waiting for that big break. It also means that there are many people out there who need to know when to give up. However, it also means that there are a few very talented writers out there who do have the natural talent, will get the lucky breaks, and do have what it takes to make it.

The true talent and courage lies in your ability to finally realize, admit, and accept which category you fall into.

[maestrowork]

If you think screenwriting is bad, try novel writing. 99% end up in slushpile. And out of the slushpile, only a small percentage get published.

Of course, that 99% probably suck. Just because you write a novel or a screenplay doesn't mean it's up to snuff. Anyone can self-publish or register with WGA. So I think the figures are a little misleading. I mean, I wonder how many of those 50,000 registered screenplays suck.

Nevertheless, you need to write a kick-*** piece of work and your chances for success will increase dramatically. Focus more on your craft and less on the numbers. Otherwise you'll be going nuts.

[Joe Calabrese]

Of course it's tough and odds are very slim of success-- even for those with a lot of talent. I hope no one thinks I said otherwise.

My point, which was to help those who do not plan of giving up anytime soon, was to look at all avenues of getting their name out there and to have a vast and wide body of work to show.

One person earlier said to leave copies of your work at a Starbucks. I wouldn't do that, but there are other ways of getting noticed and work or sales.

I went to Slamdance/Sundance two years ago and networked at several parties. I got a rewrite job.

My friend, Bruce Sakow, wrote Friday the 13th, part 4. Twenty years later, he struggles everyday for work. He options frequently but has a sale once in a blue moon. Mostly, he does rewrite and polishes for producers and other writers for hire. I am amazed how he has stuck to it so long without a big sale.

His answer to me was that he doesn't mind. He writes everyday and at the end of the year has made enough money to pay all the bills and maybe an extra week long vacation with the family. He's happy with what he does. He has realistic expectations of the business.

Not everyone can be a rock star.

Yes, rock star. Screenwriting is very much like being a musician.

You got the garage band, the studio musicians, the street performers, the band that plays small clubs, the band that plays backup at arenas and the Rock Stars...

I'm sure somewhere on the www, there is a musician's board where people are having this very same thread. The odds of hitting it big are slim but you got to keep plugging away or go to work at Macdonalds.

So yes, it is very, very tough to break in big, but remember that there are other avenues besides selling that spec to Warner for 6 figs.

Do rewrites, polishes and coverage for hire for extra cash and enter comps for name recognition and pr. Teach a course at the adult school. Go to pitch fests. DO WHATEVER IT TAKES TO get your name out there.

Even if you have great talent you will most likely never become another Goldman, but you can become a Bruce Sakow or God forbid-- me.

I know that last statement opened me up for some healthy ribbing, so let me clarify it. Last year I made enough money writing and/or writing related services to be able to buy a new, high powered telescope, take my wife to Bermuda for a long weekend, put in a new heater on my pool and cover all my writing expenses. If I was just shopping my specs, I wouldn't been able to do that and I would have had less name recognition that I do now (not that have anything great to speak of). I am by no means a working writer, but I am getting there.

[BottomlessCup]

Bottomlesscup can be called bottomless pit.

Ouch. Let's not, please.

I wasn't trying to ruin anyone's day, I was trying to be realistic about the difficulties of this field. If anything, I thought I was being optimistic, considering the apocalyptic articles floating around the trades about the "death of the spec market." A-list writers are scrambling for work.

I was being mostly facetious about the Starbucks thing. My point was that any and every way you can get a script in somebody's hand is valid. Every break-in story is different and creativity doesn't hurt.

[maestrowork]

The same with actors. People think of the superstars, the Cruise and Kidman and Pitt and Clooney... but there are hundreds of thousands of actors out of work. Simply look at the SAG statistics and you'll notice how few actors actually make minimum wage. And then there are those who can't even get in. Many actors are still doing dinner and community theaters that pay squat. Once in a blue moon they get a callback for a commericial, or a 1-day gig in a sitcom -- and that's a BIG FRIGGING DEAL.

But they keep at it. Sometimes it is insane. But if you have the passion, who's to say you have to stop...

[vig]

do not compare actors to writers please... actors are loathful clueless pansies that butcher the work of good people.

i know more know it all actors who could't riddle me a nursery rythme. a person who at a function tries to persuade me that he knows the true motivation of huck fin, because he played him in his senior play.

forget lawyers going over a hill on a bus with no brakes, how about actors just giving me the lunch menu and play that character called the GODDAMMM WAITER, and please get me my expresso, BRANDO.

vig

[Joe Calabrese]

I guess you didn't know that Maestro is an actor. Or did you?

Oh and bottomless, I didn't mean to offend so please don't be.

[Maryn]

i would love to post my pages and cant wait to but unfortunatly its not copy written yet. As soon as it is, i'll get on with getting feedback from you guys.You can relax. The moment you put pen to paper (or save to hard drive, disk, or CD), your work is copyrighted. Yes, without a paper copy. Yes, without the copyright symbol. Yes, without contacting the Library of Congress (which issues copyright registrations).

So in the highly unlikely event that somebody sees your work, steals it, and actually sells it, you have legal recourse.

However, the odds are very high that your work, and mine, aren't worth the theft. So post it as suggested, if you seek feedback.

Maryn

[maestrowork]

Vig, point taken. Good luck with your scripts without actors playing the parts -- shouldn't you be writing novels instead?

Side note: I'm amazed how many screenwriters seem to feel the need to bash other people (other writers, actors, directors, etc.) Is it really productive? Do you really think you can be a successful screenwriter without showing some respects for your fellow filmmakers? Hollywood is a very small place; be careful who you offend. An actor you just bashed might be the producer of your next project. One day I might be procuring the service of a screenwriter (say, to adapt my best selling novel to the screen) and guess whose name won't be on my list... ;)

[vig]

i'm not an actor maestro, where i have to rub up against someones leg, my weight and ability is on the page.

actors are posers at the heighest order. not all, a talentd actor is a genious and is the reason i write. so the can bring to bear what i angst.

vig

[JustinoXXV]

A lot of people who call themselves writers are pretentious whacks with no social skills.

And yes, Vig, having a good story is important. However, being able to get along with people is also important. That's why screenwriters often have to have meetings with directors, producers, studio execs, even actors.

An actor who reads your script and likes it, if the actor's name is big enough, can get your project greenlight. If a major actor isn't interested in it, the chances of major theatrical release can be lessened. So if you had good relationships with a actors, that would go along towards furthering your career as a screenwriter.

[Optimus]

"A lot of people who call themselves writers are pretentious whacks with no social skills." - Justino

Ah...the delicious irony.

[JustinoXXV]

I have excellent social skills, Opty.:)

[Caroyles]

Side note: I'm amazed how many screenwriters seem to feel the need to bash other people (other writers, actors, directors, etc.)

Have you forgotten that this is a forum? There is always fun in bashing ppl. You can only comprehend by trying it. ;)

Here's a cute quote from vig:


if we can not ridicule, point fingers and jeer while cloaked by the internet wall - then why do i spend 23 dollar a month?

[Nivvie]

It's against my sweet wussy nature to say this but there is some MAJOR crap out there. There's a sick little part of my nature that loves to read badly reviewed scripts. I use scriptbuddy.com, and some of the 1 or 0 starred scripts are either complete rip offs or would send you to sleep.


My cousin used to be a reader for a UK lit agency, and she said novels she gave a few pages, but she could tell from one paragraph usually. If you can't make the first paragraph interesting and stylish, then what hope is there for the rest of the book?

She gave screenplays even less leeway, as we all know, if the format is not right, no chance, and she said if there was any major camera direction, no chance. Ditto if it's been done before, or any directions regarding the actors emphasis on certain words.

Yes it's tough, but it's not impossible.
There are those sites where you can get your work rated and posted for producers and such to read.
There are agents that will give you a few pages before sending it stright back, but it has to be good.

I read as many scripts as I can online, and the difference between what some people post in hope of praise or at best constructed critisism and great scripts which have become great films is amazing.

There's one thing we often don't think about with agents.
I used to have one for my book (not cousin related), but she couldn't sell it, and I know she tried her best. She said she thought it was good, but that there's a dangerous area for agents, where they see something they like, but are undecided about, but then they worry someone else will sell it and make a fortune. She had, like many agents, a shelf of work that she had rejected and others made a fortune from.

If your work is truly, REALLY good the chances are an agent will be scared someone else is going to profit, and would rather give it a shot and have it not sell, than read about how much it grossed or the amount of copies sold etc

There's a lot of people out there who if they poured the same amount of energy into polishing their writing as they do trying to sell it they'd probably have more luck.

[JustinoXXV]

A screenwriter who frequents these forums said that he was told by an agency that they loved his script. Unfortunately, the major characters were Korean, and as far as they were concerned, this made the script unviable.

Being good is nowhere near enough for your script. If you've deal with producers, they want you to write scripts that have parts that they can attach known actors to. This helps in getting projects greenlit.

Of course, know the proper format, know good structure, etc.

Basically, Scripter1 hit the nail on the head.

"In order to sell you need the RIGHT script at the RIGHT time at the RIGHT studio with the RIGHT people. Oh and holding your tongue just right and the alignment of the stars couldn't hurt either.

You've GOT to make sure that your script is in great working order.
As near perfect as it can be.

Then RESEARCH companies. Send a drama to people who are making dramas, rom-coms to romance makers, etc. Call around, ask questions. Find out who wants what and then target those people specifically."