or gaining some kind of representation? I am clueless about this. I am working on a screenplay, and would like to know what I do next? Sorry again if this has been covered, but when I tried to search it gave some weird excuse as to why I couldn't search.
Sorry if this has been covered but...How would you go about selling a screenplay...
- Thread starter VelvetCyberpunk
- Start date
- Joined
- Feb 12, 2005
- Messages
- 18,805
- Reaction score
- 4,600
- Location
- Caledonia
- Website
- derekpaterson.net
If you select Search this Forum and simply search for query you'll find a whole bunch of previous threads. A recent one that might interest you:
Ready to Query: Agent vs. Producer????
-Derek
Ready to Query: Agent vs. Producer????
-Derek
Here's an answer that I wrote for the FAQ of another newsgroup.
http://www.panix.com/~mwsm/nms_faq.html
NMS
Hi ,
writng a script is easy selling is an Himalalayan task I am a script writer
the first thing is you can post your script for suggestions . you redraft your script
and there are lot of production houses and agent . People you should write about six or seven and than hunt for an agent . This is my personal experience .
Best of luck
padma
writng a script is easy selling is an Himalalayan task I am a script writer
the first thing is you can post your script for suggestions . you redraft your script
and there are lot of production houses and agent . People you should write about six or seven and than hunt for an agent . This is my personal experience .
Best of luck
padma
Indian attorney
hey Guys,
ya'll live in US and I am in India. I heard that prod cos in US will read if you got an attorney. I wanna know would an Indian attorney work.
regards,
Aceinc1
hey Guys,
ya'll live in US and I am in India. I heard that prod cos in US will read if you got an attorney. I wanna know would an Indian attorney work.
regards,
Aceinc1
- Joined
- Feb 12, 2005
- Messages
- 18,805
- Reaction score
- 4,600
- Location
- Caledonia
- Website
- derekpaterson.net
I don't know the answer to your question, ace, but I know what my response would be if I got a call from an Indian lawyer trying to sell me something.
-Derek
-Derek
It comes down to networking. Make it half your writing work to get out and make contacts with people in the industry. Planning to sell your script by sitting at home and mailing it out to agents and production companies is like planning on winning the lottery. It does happen of course, but how many lifetimes do you have to wait for your ticket to come up?
Phil
Phil
so, you're saying that i have quit me job and leave my family behind to move to los angeles if i hope to ever sell spec scripts? i don't buy that, gold, sorry. it comes down to networking? how about it coming down to having a marketable story? i find it hard to digest that some prodco is going to choose someone's inferior script based solely on the fact that i'm in dayton, ohio and that other person is in l.a.. i can see location being an issue for television scripts, but for films? i may have to set aside some time and money for pitch meetings (i guess). you may even want to drop in on your agent while you're there and say howdy.
so, what, do i have to move across country and start hanging out where producers hang out, and then by way of having made so many lifelong friends that's the only way to sell specs?
or is it more likely that through the quality of the script can you land an agent or get attention from a prodco, and while it's more convenient that the writer is in town, that's not a deal-breaker? is it reasonable that you should have had personal contact and built some kind of relationship with every layer of decision-maker at every single prodco you plan on going with?
i think the best you can hope for is that whatever frontline reader opens your unsolicited script and looks at it recognizes genius when they see it. or that your agent who's the one you're paying to have done all this networking, hopefully passes it on to the right person. not to say it's never a case of who you know, but, honestly, no one is going to put their reputation on the line for their brother's wife's sister's boyfriend unless he's got a hot script.
keep making great (and by 'great' i mean a script with the potential to make a pile of money) scripts and it's just my guess someone somewhere will recognize you whether or not you live behind the hollywood sign 'H' or under a bridge in utah.
do you have to create your own opportunities? sure; you don't want to pass up on the chance to talk with a producer or agent. that doesn't mean you start sending them naked pictures of your wife through e-mail. it doesn't mean you pop out of a cake at their son's bar mitzvah. i'm sure these guys would certainly remember your name in such cases (hopefully they spell it right on the restraining order). ne'ertheless, one thing i'm pretty sure about is if you don't have a hot script then there's no reason at all for these guys to remember your name, eh?
so, what kind of networking are you talking about? it must be something pretty damn special to invest half your time doing it. how does one go about making contacts if they're not one of the privileged few living in l.a.? i think your odds are better if you know someone, sure, but it's a hyperbole to say your odds are no better than winning the lottery. whatever 'odds' there are begins with a great script. it's not as if there's a spinning barrel that says 'names of writers who we have made contact with' and they pull your name out like it's a raffle.
will someone with twenty years experience sell their script before mine even though mine is at least as good? probably. will i sell mine first because i know the executive producer? maybe. i know what you're saying, that in some ways it can be a game and there's a certain amount of jockeying for position, i just rail against the idea that it ALL amounts to nothing more than 'it's who you know.' contrary to what some folk might think, there always has to be a constant influx of new talent for agents and prodcos to draw from.
true, i've heard of lesser writers selling their script over better writers who don't know how to sell themselves. still, i doubt it's some random crap shoot. if you've got an utterly terrible script or aren't taking advantage of a german tax loophole that draws overseas investors seeking tax shelters in like flies to stink, odds are that it doesn't really matter who you know, eh?
so, what, do i have to move across country and start hanging out where producers hang out, and then by way of having made so many lifelong friends that's the only way to sell specs?
or is it more likely that through the quality of the script can you land an agent or get attention from a prodco, and while it's more convenient that the writer is in town, that's not a deal-breaker? is it reasonable that you should have had personal contact and built some kind of relationship with every layer of decision-maker at every single prodco you plan on going with?
i think the best you can hope for is that whatever frontline reader opens your unsolicited script and looks at it recognizes genius when they see it. or that your agent who's the one you're paying to have done all this networking, hopefully passes it on to the right person. not to say it's never a case of who you know, but, honestly, no one is going to put their reputation on the line for their brother's wife's sister's boyfriend unless he's got a hot script.
keep making great (and by 'great' i mean a script with the potential to make a pile of money) scripts and it's just my guess someone somewhere will recognize you whether or not you live behind the hollywood sign 'H' or under a bridge in utah.
do you have to create your own opportunities? sure; you don't want to pass up on the chance to talk with a producer or agent. that doesn't mean you start sending them naked pictures of your wife through e-mail. it doesn't mean you pop out of a cake at their son's bar mitzvah. i'm sure these guys would certainly remember your name in such cases (hopefully they spell it right on the restraining order). ne'ertheless, one thing i'm pretty sure about is if you don't have a hot script then there's no reason at all for these guys to remember your name, eh?
so, what kind of networking are you talking about? it must be something pretty damn special to invest half your time doing it. how does one go about making contacts if they're not one of the privileged few living in l.a.? i think your odds are better if you know someone, sure, but it's a hyperbole to say your odds are no better than winning the lottery. whatever 'odds' there are begins with a great script. it's not as if there's a spinning barrel that says 'names of writers who we have made contact with' and they pull your name out like it's a raffle.
will someone with twenty years experience sell their script before mine even though mine is at least as good? probably. will i sell mine first because i know the executive producer? maybe. i know what you're saying, that in some ways it can be a game and there's a certain amount of jockeying for position, i just rail against the idea that it ALL amounts to nothing more than 'it's who you know.' contrary to what some folk might think, there always has to be a constant influx of new talent for agents and prodcos to draw from.
true, i've heard of lesser writers selling their script over better writers who don't know how to sell themselves. still, i doubt it's some random crap shoot. if you've got an utterly terrible script or aren't taking advantage of a german tax loophole that draws overseas investors seeking tax shelters in like flies to stink, odds are that it doesn't really matter who you know, eh?
While I can not vouch for this branch of the entertainment industry, in my field (game development) contacts play a huge role. Yeah it is possible to build your business without them, but the odds are dramatically better when you "know a guy". And a well connected friend can open up doors for you that you never would have had available to you otherwise. Networking is HUGE.
There is a reason why the kids of rich parents find it easier to start their own businesses. Its not always because of daddy's money, it mostly has to do with daddy's address book and what doors he can open with them.
There is a reason why the kids of rich parents find it easier to start their own businesses. Its not always because of daddy's money, it mostly has to do with daddy's address book and what doors he can open with them.
not just any attorney will work. it must be an entertainment attorney. you can probably find an indian entertainment attorney who works in bollywood.
visit
go to the creative screenwriting expo and other type seminars
go to the fade in or great american pitch fests
and the grand daddy of them all - sherwood oaks college seminars - gets you in on the lots, in producers' conference rooms, you have lunch w/people in the business, etc...
yeah, they cost money but you can't get around that. you need to travel. save your pennies. and choose wisely when and where to go.
the hunt and peck method of mailing and emailing queries seems futile to me. i did it years ago before i realized i was not nearly ready to start marketing my stuff. now, i'm getting closer to having polished and marketing stuff so i've signed up with:
inktip - where you post your logline and synopsis. industry folks search for what they're looking for. if they like your submission they may ask to read you script. and you can see and keep track of all the hits your logline/synopsis gets and see who's bother to check you out. it's about $40.
and
scriptpimp - they have a list of producers, agents, and managers. they tell you which ones will work with new writers. they tell you what kind of material they're looking for. they tell you how to query to them directly or through their site. etc... and a bunch of other stuff. you can also keep track of your queries on their site. - i won a 5 year membership from a script competition but it's still only $99 bucks!
the nepotism of the networking is usually why crappy flicks get made. none of us have that problem so if we do sell then we can feel confident that its because we have talent.
The SCREENWRITER'S BIBLE by Trottier (who runs this site: http://www.keepwriting.com/)
has a section on how to sell your script.
Before moving to L.A. write several really great scripts for T.V. and film. (^_^)
This is just my opinion as a former intern for a script mill:
the writers who are taken seriously have a range which makes them marketable and proves their talent. In fact agents are discouraged usually to read one really great script and when they ask "do you have more?" and you say "no". In your query letter, in the last paragraph where you give a brief bio/qualifications and writing history it's also good to mention other completed works in your stable (even if they have not been optioned or produced).
Agents are actually into signing on writers who can keep producing great work for them to sell.
And no matter what anyone tells you---yes you do need an agent to sell the script. Very few scripts are optioned directly by the writer (and the ones that do usually are due to major exposure from *legit and *prestigious contests). The best legit agencies can usually recommend entertainment lawyers.
has a section on how to sell your script.
Before moving to L.A. write several really great scripts for T.V. and film. (^_^)
This is just my opinion as a former intern for a script mill:
the writers who are taken seriously have a range which makes them marketable and proves their talent. In fact agents are discouraged usually to read one really great script and when they ask "do you have more?" and you say "no". In your query letter, in the last paragraph where you give a brief bio/qualifications and writing history it's also good to mention other completed works in your stable (even if they have not been optioned or produced).
Agents are actually into signing on writers who can keep producing great work for them to sell.
And no matter what anyone tells you---yes you do need an agent to sell the script. Very few scripts are optioned directly by the writer (and the ones that do usually are due to major exposure from *legit and *prestigious contests). The best legit agencies can usually recommend entertainment lawyers.
'There is a reason why the kids of rich parents find it easier to start their own businesses. Its not always because of daddy's money, it mostly has to do with daddy's address book and what doors he can open with them.' ~ this is exactly what i'm saying. daddy's contacts took him years to build. someone like me has none, zero, zip, nada.
i have my own business, too, so i'm not oblivious to the value of having contacts. then again, there's really nothing i can't get done now that i couldn't have gotten done then on my first contact, if that makes any sense. and there are ocassions where there's something i can't have done and send the customer to one of those guys. i don't see that as being vastly different than being rejected by a producer and asking him for a recommendation on who else might be interested. in a broad interpretation, i'm effectively acting as an agent (who gets no money) by connecting a customer with the appropriate place.
that's what i expect an agent to do. i have to wonder, though, of all the WGA members numbering in the thousands (not sure how many there are anymore, used to be around 9,000 about ten years ago so i've read), how many of them relied on networking and how many just had a good script and had it read by the right people.
to reiterate, i'm not downplaying networking and saying it's useless. that somewhat happens as a matter of course regardless of what business you get into, it just depends on how aggressive you are about doing it. i say you can have a hundred contacts that never amounts to squat, or you can have one that does the job wonderfully. seeing as how not all writers are salesmen, i have to think that comes in second (usually) to having a script that's bound to make money, which is the point of owning a business.
of course nepotism happens in screenwriting, but that's surely a small percentage, eh? and even then, that's not to say that a script optioned on nepotism will ever get made... unless it's good script, and who's to say it's not?
i have my own business, too, so i'm not oblivious to the value of having contacts. then again, there's really nothing i can't get done now that i couldn't have gotten done then on my first contact, if that makes any sense. and there are ocassions where there's something i can't have done and send the customer to one of those guys. i don't see that as being vastly different than being rejected by a producer and asking him for a recommendation on who else might be interested. in a broad interpretation, i'm effectively acting as an agent (who gets no money) by connecting a customer with the appropriate place.
that's what i expect an agent to do. i have to wonder, though, of all the WGA members numbering in the thousands (not sure how many there are anymore, used to be around 9,000 about ten years ago so i've read), how many of them relied on networking and how many just had a good script and had it read by the right people.
to reiterate, i'm not downplaying networking and saying it's useless. that somewhat happens as a matter of course regardless of what business you get into, it just depends on how aggressive you are about doing it. i say you can have a hundred contacts that never amounts to squat, or you can have one that does the job wonderfully. seeing as how not all writers are salesmen, i have to think that comes in second (usually) to having a script that's bound to make money, which is the point of owning a business.
of course nepotism happens in screenwriting, but that's surely a small percentage, eh? and even then, that's not to say that a script optioned on nepotism will ever get made... unless it's good script, and who's to say it's not?
I am Proud to be an Indian but still for selling my scripts
I would love to be born in Los Angels . with no money
being a freelance writer and no contacts I know it is an herculean task
but still I am writing scripts
padma
I would love to be born in Los Angels . with no money
being a freelance writer and no contacts I know it is an herculean task
but still I am writing scripts
padma
Your idea is very clever however it is more likely to work if you have a really good rep. The reason why many people in the biz rarely give recommendations (unless you are their 'real' friend) is because of this.
Production company A passes on your project and they recommend you to Company B.
You head to Company B with your project. Company B will weasel out of you how you heard of them. If you slip up and say, well Company A sent you to them then B will ask "why didn't they buy your script?" They will also get the impression that you've shopped the script all over town, many people have seen it and no one is enthusiastic.
You're dealing with a shallow group of people. They want "hot" properties and they rely on word of mouth (again these are people who won't read a whole script unless it grabs them in the first 5-10 pages).
To bypass this predicament you may want to avoid telling people your project was declined and you were recommended. Simply say that you found their website, enjoyed their past productions and figured they are a good fit for your script
how many of them relied on networking and how many just had a good script and had it read by the right people....it just depends on how aggressive you are about doing it. ...
of course nepotism happens in screenwriting, but that's surely a small percentage, eh? and even then, that's not to say that a script optioned on nepotism will ever get made... unless it's good script, and who's to say it's not?
My information is 7 years old. The company I worked for was located on 20th century Fox's lot, so while the company was not "major" it was in the "right" place and we did git alot of scripts (but not to the point that I as an intern was drowning in them). I would say that nepotism in HOllywood means that you've done your homework.
Simply, nepotism is *not* frowned upon. The company I worked for was a script mill and had a team of film makers and crew her were "rented" out to the studio etc----all the script coverage is done by unpaid interns, like myself.
I have no idea what the heck my boss wanted. No one ever said, "hey keep an eye out for a good thriller" or "go through the stacks for a comedy".
He was barely in the office.
However, as a good student and intern I was diligently reading and writing summaries and learning as I went based on the work of the previous intern. Interns are not "educated" by a superior---we're expected to be smart and self-motivated. I barcode and database stuff (this is why writers should clearly state in their cover letter exactly the genre of their work---we can check off boxes for genres in the database for you).
So guess what? If you have a connection and you can have someone say a good word to my boss about your work---you just bypassed me the intern!
You just won half of the battle---otherwise your script gets placed on the shelf with the hundreds of other works.
And the system above is not unique to my company. When I went to the photocopy room---I met with dozens of students (usually from my university) and basically we were all unpaid young people handling scripts writers twice our age had worked so hard to perfect.
Why you really really need an agent...
Unless you have major blood connections in Hollywood, you seriously need an agent.
I forgot to mention this in my reply above so I'll do so now.
Many production companies will simply *not* accept unsolicited submissions, for the same reason why some major authors will write on their website "please do not send me a plot idea". It's because of legal reasons and people claiming that their ideas are stolen and the whole bit about suing each other etc.
That's why agents are used to shop around your script, and as mentioned before, agents (if they belong to a good company) have access to or work alongside with entertainment lawyers to protect you, their client. The same cannot be said of agents who have a couple of clients, work out of their tiny office and are otherwise just newbs in the business.
Unless you have major blood connections in Hollywood, you seriously need an agent.
I forgot to mention this in my reply above so I'll do so now.
Many production companies will simply *not* accept unsolicited submissions, for the same reason why some major authors will write on their website "please do not send me a plot idea". It's because of legal reasons and people claiming that their ideas are stolen and the whole bit about suing each other etc.
That's why agents are used to shop around your script, and as mentioned before, agents (if they belong to a good company) have access to or work alongside with entertainment lawyers to protect you, their client. The same cannot be said of agents who have a couple of clients, work out of their tiny office and are otherwise just newbs in the business.
hi padma and Nikee
Nikee,
In India, lawyers specialize in many things like civil and criminal at the same time. it is not going to take much effort for a lawyer to read the industry contracts or terminologies in the contracts.
Padma,
I have a sister-in-law sharing your name. I am also an Indian and proud to be so. God willing, I'll move to LA. so will you.
BTW, which part of India. there is a craze being created by indie producers in South India. they're tying up with music companies and other distribution outlets (direct-to-DVD and CD-rom) and getting finance for like RS 60.000/- per movie budget per month.
I'm 10 hours away from Mumbai, if I ain't gettign into San Francisco for my MBA in international trade then I'll take the same money and shoot some movies in Mumbai and try selling like an indie to Direct-to-DVD/CD-rom companies and also advertisee them in Mumbai. I have a few strategies for that. till that time I'm keeping my fingers crossed.
nice to know you,
regards,
Aceinc1
Nikee,
In India, lawyers specialize in many things like civil and criminal at the same time. it is not going to take much effort for a lawyer to read the industry contracts or terminologies in the contracts.
Padma,
I have a sister-in-law sharing your name. I am also an Indian and proud to be so. God willing, I'll move to LA. so will you.
BTW, which part of India. there is a craze being created by indie producers in South India. they're tying up with music companies and other distribution outlets (direct-to-DVD and CD-rom) and getting finance for like RS 60.000/- per movie budget per month.
I'm 10 hours away from Mumbai, if I ain't gettign into San Francisco for my MBA in international trade then I'll take the same money and shoot some movies in Mumbai and try selling like an indie to Direct-to-DVD/CD-rom companies and also advertisee them in Mumbai. I have a few strategies for that. till that time I'm keeping my fingers crossed.
nice to know you,
regards,
Aceinc1
Ace, it would be a huge mistake to presume that an Indian lawyer would be able to adequately negotiate the terms of a deal because of their general experience in other areas of law in another country.
This isn't something that one picks up or figures out as you go. There isn't anything intuitive about knowing what terms need to be present to protect a client, knowing what separated rights are, knowing what terms are generally acceptable within the industry. Even a very experienced lawyer familiar with U.S. contract law, but not specifically trained in entertainment law in the U.S. would have no clue about these things, and would be completely unable to adaquately negotiate such a contract.
This is a specialized legal area that lawyers train to work in, like labor law, or patent law. If you haven't trained in it, you're not competent to work in it.
By the way -- it seems like a much more fruitful approach to attempt to sell your work and get professional experience at home before branching out into the U.S. market. Not only would you then be operating from a position of someone with professional credits, experience and contacts -- but that experience would have some meaning when you submitted your material. It would be coming from an experienced professional screenwriter (albeit somebody with non-U.S. credits) rather than from yet another non-produced writer -- with the additional difficulty of it being a writer from outside the U.S.
NMS
Trust me, it's a huge mistake. I had a regular lawyer read through my Publish America contract and they thought it was a pretty good contract. Run that same contract by an entertainment lawyer and they would say to RUN!!!!
Trust me, take the time to find an entertainment lawyer, because a regular lawyer won't be able to tell a good entertainment clause from a horribly bad one.
I have a dream to sell a script or two. I ain't young, semi-retired, and haven't the time to make screenwriting a career. So my question is this:
I'm finally working on a great screenplay after producing a bunch of crap during the last couple of years while learning the craft. I see a catch-22 in your post. How do I sell my masterpiece if I don't have an agent? And how do I get an agent if I haven't written a BUNCH of good scripts?
jon - skip the agent and look for a manager. a manager looks for individual projects and works on putting a package together to market the package to a producer.
i wouldn't suggest using the word "masterpiece" -- too much ego and sounds expensive.
i wouldn't suggest using the word "masterpiece" -- too much ego and sounds expensive.
Never thought of a manager nor knew they served writers. Thanks.
Oh, the "masterpiece" reference was tounge-in-cheek, Nikee.
To get a Hollywood agent is a bit like getting a literary agent except in HOllywood you have to find an agency who announces that it will accept unsolicited manuscripts. This sounds funny but Hollywood agents also take published authors very seriously. So if you have written some novels which are in print it will make your cover letter stand out.
Well you write several good scripts, you mention and list them in your query letter to the agent.
If he or she is truly aggressive and is part of a big company the chances that it will be option will increase. Many agents come and go frequently---they are literally a one person show claiming they have connections and some are unsavory.
Just to share...most of the time the only "real" office work I did was answer phones and one time a young woman called (very professional and courteous)...she claimed to be an agent for a hot young writer who turned out to be her BOYFRIEND
It was clever but it's the intern who gets yelled at for not spotting a "pretend" agent.
To get a Hollywood agent is a bit like getting a literary agent except in HOllywood you have to find an agency who announces that it will accept unsolicited manuscripts. This sounds funny but Hollywood agents also take published authors very seriously. So if you have written some novels which are in print it will make your cover letter stand out.
Well you write several good scripts, you mention and list them in your query letter to the agent.
If he or she is truly aggressive and is part of a big company the chances that it will be option will increase. Many agents come and go frequently---they are literally a one person show claiming they have connections and some are unsavory.
Just to share...most of the time the only "real" office work I did was answer phones and one time a young woman called (very professional and courteous)...she claimed to be an agent for a hot young writer who turned out to be her BOYFRIEND
It was clever but it's the intern who gets yelled at for not spotting a "pretend" agent.
I may not have expressed my situation clearly enough. I'm NOT a published author, nor have I yet written a script worthy of submission.
I'm finally creating, after writing a lot of junk, what I consider to be a screenplay that could attract attention. Since I have never before written anything good enough to submit, I haven't submitted anything. In your earlier post I thought you said agents don't read submissions, unless the screenwriter has a few good scripts to show.
How do you get an agent to read your screenplay if you don't have any other good screenplay samples that you can mention in your query letter?