how to get your script noticed?

I'm gonna have to say other because of experience. I think the best way to get a QUALITY script noticed falls into two categories.

1. Finding an agent that will get your material in the mix. Most finance companies will not even take a script without representation. So this alone can open many doors. Also, you will get first hand knowledge on what production companies or finance companies are looking for.

2. Sending a synopsis and/or treatment to production or finance companies. Most of the companies will not take a script, but a solid synopsis or treatment could get in the door. Those are easy to read, don't take much time, and you get their attention right away.

Or if you know some A-List talent, you could attach them and then call whoever you want and drop their name...haha...I recommend this option if possible.

I, unfortuantely, only have query letters at my disposal so that's what I use. I know no one and I cannot afford to go to LA.

No reason to go to LA as a writer anyway. You can even get an agent from wherever you live.

Kitt, have you finished a screenplay and looking for resources to get it out there? Or are you just planning ahead?

It's been argued that unless you have some kind of screenwriting credits, e.g. contest wins, options, etc. agents are unlikely to be interested in taking you on. They're not editors in the business of nurturing writing talent -- they want someone whose writing is good enough to sell, and who can continue to produce sellable material.

There's an interesting thread on the DD board: The Futility of Pursuing an Agent ...which is a harsh but realistic insider look at the agent situation.

-Derek

branbran said:

I'm gonna have to say other because of experience. I think the best way to get a QUALITY script noticed falls into two categories.

1. Finding an agent that will get your material in the mix. Most finance companies will not even take a script without representation. So this alone can open many doors. Also, you will get first hand knowledge on what production companies or finance companies are looking for.

2. Sending a synopsis and/or treatment to production or finance companies. Most of the companies will not take a script, but a solid synopsis or treatment could get in the door. Those are easy to read, don't take much time, and you get their attention right away.

Click to expand...

Unfortunately, the only ways to accomplish #1 or #2 are through outstanding query letters (that actually get read and responded to), being in L.A. and having connections, or being a finalist in one of the big contests.

All of which are implicit within the options in the poll.

Perseverance.

Maybe when I die...GOD will read it! I believe GOD has connections!

God?
Isn't his agent over at ICM or CAA?

The very truth of the matter is that 99.9% of the screenplays that sell are sold based on a relationship. How you develop that relationship is a vital piece of the puzzle.

If, for instance, you're Adam Sandler's best friend, and he thinks you're funny, you could probably get a script optioned even if it's not really the greatest script ever.

However, for most people, they don't have an immediate in like that.

So for them (us, really) you have to build a relationship a different way: with a script. [Redacted--JDM] says (and I believe him) that if you have an amazing script, then people will want it, and they'll want you, and they'll go out of their way to get to you.

So that's your first step. Write the kind of script that would make story analysts weep, that would amaze audiences, that would make any director proud and honored to have shot.

Next, get it in the hands of anyone who matters. Anyone. Because, really, once it's in one person's hands who matter, it'll find its way to the one person who really matters: the one who's going to buy it.

How do you do that? Your very best options are just the top echelon of contests (almost all the others are egostrokes only), or querying topline agencies.

There will be the constant stream of people who tell you that this isn't the only way in, and they're right. I mean, how else to account for the other .1%?

dpaterso said:

It's been argued that unless you have some kind of screenwriting credits, e.g. contest wins, options, etc. agents are unlikely to be interested in taking you on. They're not editors in the business of nurturing writing talent -- they want someone whose writing is good enough to sell, and who can continue to produce sellable material.

There's an interesting thread on the DD board: The Futility of Pursuing an Agent ...which is a harsh but realistic insider look at the agent situation.

-Derek

Click to expand...

I understand exactly what you are saying in regards to some type of credentials. But, I do know a few people that got an agent to represent their material because the industry was specifically looking for that genre. Now, these agents don't have to be the top in the industry that deals with studios. There are plenty of agents that work with indie films, low budget.

Its all about the writing. If the script is good it will get attention, most people forget that its the genre that sells. Comedies are being shelved right now, even the best ones. But, I have noticed some really bad horror films getting picked up and that is what's selling. Also, you can always call around and find out what is selling. But I do agree with you, if you want to go straight to the top with a known agent, that takes knowing someone or having great credentials..

If you think about screenplays as blueprints for a building, nobody just buys blueprints and reads them. Only architects buy them, and usually the architect has an idea about what the building is going to look like. Therefore the architect usually commissions someone to do the blueprint. Blueprints are screenplays and architects are producers.

All I'm trying to say is that specs are specs. I believe my script is good. I just figure no one is buying it because no one likes the specific idea.

Make a contact that has the connections to get the script noticed.

Somehow, everyone knows someone in the business. Find that contact in your circle of friends and family and assoaicates and play upon it once you are really ready to show something.

And if that contact doesn't have the juice you need, one of their contacts might.

Write a great script.

If you do that, your script will get noticed.

If you fail to do that, you don't want your script to get noticed.

Here's a true story:

I wrote a TV pilot script and gave it to a friend of mine who produces music videos.

He loved it and gave it to a producer who makes documentaries.

She loved it and gave it to her entertainment attorney.

He loved it and gave it to a TV agent at CAA.

She loved it and sent it out to a dozen of the top television producers in the business.

They all loved it and passed.

But the script got noticed.