What is a girl to do???

You're seeing the problem. Hollywood has 1,000,000 screenplays in orbit around it at all times. And it doesn't want them. The vast majority of movies are work-for-hire from writers they know and trust, and very few newbie places are ever available. You have fallen into the churn of hype and enthusiasm that is Hollywood-speak for "go away."

It's tough, really!

I am not a professional. I am just an observer. Here is what I have learned in that capacity.

* First, it helps if you have three or four scripts.

* The scripts need to be good.* Send your queries and scripts to anyone in the film industry who will read them. I have known lots of people, on line, who have had their scripts read. I have known people who sold scripts or at least got an agent.

* The main thing is: Do not try to do this without having the materials to show to people in the industry.

* My final opinion: Having an agent is not the answer for most people. The answer is to have some really good stuff to show.

As I said, I am not a professional, just an observer.

JulieJames said:

How on earth can a nobody ever hope to become a somebody?? Like that chick that wrote juno?

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She was a journalist, published a book, and had a very popular blog. This brought her to the attention of a manager. The screenwriting thing came after she had already made a name as a writer.

In order to get noticed if you don't have contacts you can't be just good. You have to be amazing and lucky. And don't forget creative.

1. Luck.
2. Contacts.
3. Luck.
4. Luck.
5. Writing Ability.

Some aspiring screenwriters have found a measure of success through contests, although the odds there aren't in your favor either, and others through paying contact networks like InkTip.com (whose weekly "scripts wanted" newsletter lists prodcos looking for specific types of script) and ScriptPIMP whose prodco signatories are willing to look at queries submitted by ScriptPIMP members. Take a peek at post #3 in the screenwriting tips thread.

-Derek

JulieJames said:

Ok so I asked earlier about getting an agent because I was told to get an agent and resubmitt my stuff to them.... well that was 3 months ago and of course I still don't have an agent, the thing is, the script is still at pitch. I've tried asking everyone I know that might possibly know someone that might know someone in Hollywood land that could help me out (It's a lot more than I realized) but I still got bupkiss. Is there anyone on here? I know I'm not saying it's going to sell, I just find it odd that it hasn't moved past scripting.

Hope you guys can help....

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100% of screenwriters working today, at one point, were not working screenwriters.

The only thing that will turn you into one of them is how badly you want it. 3 months is a sneeze in the lifetime of an aspiring screenwriter. You have to be prepared to stick with it through what could be a decade of rejection. The good news is, it's entirely possible (see above) but you have to decide if you want it that badly.

You need to make contacts. And this might well be via a different route.

Like the Juno example, she came in via other writing that got her connections.

I started writing screenplays, switched to novels, short stories and finally ended up at comics. Working with an independent comic company who had a BIG Hollywood agent got me that connection and now I'm developing a TV show, the I co-created, with a prodco. Might not go anywhere, but I have a seat at the table now.

OK... maybe a seat at the kids' table, but it came from networking and not going the obvious route that was blocked to me.

My overall point here is that in going a different route, I was able to write, be seen and develop my style/voice. That got me some people who liked what I did and they opened other doors for me. And I now have access, to people that I couldn't dream of getting to via the slush-pile. I've skipped the gatekeeper. That doesn't mean I'm IN, but it means I get my stuff to the people who can say YES, instead of just getting in front of the people who are paid to say NO.

It is NOT easy. But is IS achievable.

(BTW, I wouldn't recommend trying my route, comics are even harder to break into than Hollywood. You could look at local film-makers and develop a relationship with them - if they make your stuff, they have a vested interest in making sure your stuff is seen... because they want their stuff seen. It could be writing a few one act plays for a local theater group. Doesn't matter about the specifics, it matters about being seen and having people know you and your work.)

College. Courses in theater, film, literature, other arts. Math and science are good too, especially computers. Do a film industry internship program in Hollywood or NYC.

Write short stories, plays, reviews, paperback novels.

Make short films.

Work in the theater. Do everything you're allowed to. Act, write, build sets, hang lights, make costumes.

Move to Los Angeles, find an entry level job in the industry. Make people. Meet friends. Keep writing.

Per your question from another thread, your Mom can't be your manager.

JulieJames said:

thats so depressing... even though I know it's true... How on earth can a nobody ever hope to become a somebody?? Like that chick that wrote juno? How do you ever get discovered if you don't know anyone at all?

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Move to Hollywood and make contacts.

Something else, and it may sound horrible, but unless you're writing straight chick flick fare, don't put a girl's name on the front. Hollywood is very much a boystown; pick a name that's at least gender neutral.

And know that even if you do everything right, know all the right people, win all the right contests*, write all the right scripts, get all the right education, the odds are still crushingly against you. Don't turn your life upside down.

*Winning the Nicholl is still a very, very good idea if you can manage it.

Hi. Very daunting task indeed. But if you glance upon entering AW there's always viewing traffic--- tremendous interest. Most shy. (views in relation to posts)

This thread states the harsh realities s-writer faces. Absolute best cluster of posts I've seen... till mine drags it down.

Suggestion: grab the 'life rights' to somebody verrry interesting. Could be a jewel borne from the distant... or not so distant past... or present. Past is easier to secure, less vultures circling. Pow. You are now at the very least an associate producer. You own the rights of a developing H-wood film embryo. Write the script. You now own a viable H-wood film fetus. Take this to the door. By bringing the first two stages of the hallowed 'package' (star/director/producer elements to be attached) you have tremendously increased your odds of getting a seat at The Table. Why? Because your competition is banging on the door with the same fist most everyone else bangs with. A script by its lonesome. You are different. What you bring can be measured. It's less nebulous... therefore less risky. Now pitch your heart out.

But as pointed out in above posts... execution of the script is key. Make sure you bring your 'A' game or you will be kicked to the curb before the salad can even be served.

Just a suggestion. Enjoy your day. Plat

Everything, everything, everything has been tried. I have a producer friend who does the life rights bit. Believe me, if someone is even possibly of interest to Hollywood, my friend is on a plane to go get their rights. She's got an entertainment attorney to write the agreements, and the money to make it happen. So advising a new writer to get in that game and magically find the rights to someone's story is fairly close to "here a miracle occurs."

And how does my friend afford all this? By selling the rights on to production companies. They then hire a known writer, and you're back to square one.

Kull--- Very simple. If your friend sells the rights to prod. companies... then the mere (and easy) act of her acquiring life rights (which I recommended) brought her into the 'sphere of influence'. Got her to the table with flesh and blood producers. Producers who, by your account, pay real money to her. Her approach brought her to the alter of The Holy Grail. Thought that was the point. So advise seems reasonable... far from 'a miracle occurs'. And your post intimates that she has done this on more than one occasion. Hmmm. A 'pattern of miracles? Interesting.

Why does she 'fly around the country'? Email is far more efficient and far less costly. Suggests haphazard process.

Entertainment Attorney? Wow. A simple Deal Memo signed and faxed/mailed will do. Once you have that... all future deals will be basically the same format. Why pay?

The 'money to make it happen'? We should all be so lucky. Yes, if she's chasing 'Pilot Lands on the Water' rights and 'Scott Peterson-type' breaking news stuff... that's TV MOW, and networks are the competition, and do prefer their 'knowns'. She doesn't have the dough for those sweepstakes. Wasted plane fare.

'Magically finding the rights'. It's not magic. Much easier than that. You simply ID your target. Scour net for connection. Relative. Employer. Agent. Manager. Etc. Example: HOLLYWOODLAND, the story of TV's Superman George Reeves. Story was 40-50 years old. Musty and dusty. Someone woke up someone at Reeves estate, which was NOT fighting off the offers with a stick. Probably paid no upfront dough. Whoever got the rights had first shot at script. Big budget Ben Affleck flick results.
THE EXPRESS, first black Heisman winner. Guy died in late 50's. Now at theaters starring Dennis Quaid. The point is you don't need the money. Just the passion. You pay off... actually the producers/studios pay off on 1st day of filming.

Back to square one? Then she either doesn't have the chops and deserves to be there... or she is not taking the time to 'package' the property to the prod companies. I.E.--- I have this story you want. You can have it BUT I get to write the first draft. That's the deal. Simple and quite common. They can ashcan her draft and go to others. Also routinely done. But she is now a PAID writer... union benefits and since she wrote the first draft and it's a bio she at the very least will be entitled to 'story by' credit on any film. Result foot and body in the door. How's that for advice?

Entertainment Attorney? Wow. A simple Deal Memo signed and faxed/mailed will do. Once you have that... all future deals will be basically the same format. Why pay?

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You're really advising people to do without an attorney, and just rely on a boilerplate deal memo?

Odo---- Hi. And yes. That's the beauty of 'boilerplate. A 'Rental' or 'Lease' agreement covers 'deal points' of importance. Some can run 2-3 pages. A Deal Memo is simple by comparison and the verbiage is not even close to legalese. It is one sheet with very clear and easy 'deal points'.

Big (and small) producers... Deal memos are how it's done when they like a story/screenplay and offer to option it from a writer. Standard practice. The Memo has a line in it that states 'upon a studio or production entity agreeing to make film, all parties agree to execute formal contracts.

For those out seeking to tie up a life rights client--- Deal Memo can work for them too. Secures the rights. You can always get a boilerplate Option/Purchase Agreement later. They are standard and also 'boilerplate'. Easy to find on the net. But if you want to go fishing... test your nerve... this is a good way to do it without being hindered by fear of the big bad option/purchase agreement wolf. Locks subject in and it costs you zero.

Sample Deal Points: 'Joe' agrees to grant exclusive life rights to 'Jim' for a period of xxx months.

'Joe' warrants that he currently owns all of his life rights and has not sold/assigned those rights.

'Jim' agrees to pay Joe 1000 dollars should film be made. Payment to be on or before 1st day of Principal photography.

10-12 deal points. It's over. Very clear, clean, and binding.

Enjoy your day... Plat

platinumscript said:

10-12 deal points. It's over. Very clear, clean, and binding.

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Unless you actually buy the life rights - or whatever rights up front, it is not necessarily clean or binding.

Options expire eventually, unless both parties agree to keep renewing them (which usually means the perspective buyer keeps paying for the option). If a better offer comes along, the selling party can simply choose not to renew and make a deal with someone else.

Without the underlying rights - a screenplay based on those underlying rights can't be sold or produced.

I've seen both writers and producers left holding the bag, when for some reason or another the rights holder chose not to extend the option on life rights or film adaptation rights (or demanded far more money to extend the option and/or purchase the rights than the original agreement called for.) For producers it's a calculated risk that's part of the business equation, but for writers who are writing on spec....

I would never write a spec script that wasn't an original idea of my own, unless the underlying property was in the public domain or I bought the film rights outright - rather than optioned them (which is usually cost prohibitive.)

JulieJames said:

Lets see, I've already got 1 script listed on Inktip.com and I've entered several competitions.

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Did you list in their magazine? I did, and didn't get one call. Their open call list is extensive, though.

On a side note. what do you guys think about expos as in the screenwriting expo?? I've never known anyone to make it out at that event. Is it worth it to just suck up as much information as possible? and meet as many people as possible?

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I attended Expo 08, and another pitch fest (Final Draft) here in NYC. If you suck at networking and need to practice your selling and social skills, it can be very useful. You need to go to LA for at least one weekend if you've never been, to get a feel of what the city is like, but you should already be networking and mailing queries as hard as possible from home first. If you're query is awesome, one studio will bite (don't count on it being a big one).

Did I mention how awesome you guys are??

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To the naysayers, I just have to respond. Whatever you do in life, people will line up to tell you you shouldn't do it and you will fail. You truly cannot win so do what you love, and you can at least know you tried.

DevelopmentExec said:

Unless you actually buy the life rights - or whatever rights up front, it is not necessarily clean or binding.

An option is rock solid clean and unquestionably binding. Period. The option secures and reserves, without question, the exclusive right to purchase the life rights (via an instrument known as a Purchase Agreement)... should the option holder wish to do so w/in a stated period of time. (typically when and if the holder finds somebody other than himself to pay for it. Read: studio/prod. co.) No gray areas.

Quote: Options expire eventually, unless both parties agree to keep renewing them (which usually means the perspective buyer keeps paying for the option). If a better offer comes along, the selling party can simply choose not to renew and make a deal with someone else.

Yeah, options expire or get exercised. Grown-ups doing deals with eyes wide open. Why go thru pain/risk of renewing? Simply have sufficient term length, at inception, that allows time for project to be completed... that way the seller can't walk. Don't leave a window open for them. Easy enough. Can even place 'trigger' clauses that extend option period at no cost. Example: Should a studio/prod. co. start production on the property, the option period shall be extended by ___ months. Note: No law against one dollar cash option. Actually the 'consideration' can be zero cash- your promised efforts. A promise for a promise. Classic binding contract. They promise you the exclusive rights... you promise to work to get the movie made.


Quote: Without the underlying rights - a screenplay based on those underlying rights can't be sold or produced.

All the rights... underlying/overlying are secured by option agreement.

Quote: I've seen both writers and producers left holding the bag, when for some reason or another the rights holder chose not to extend the option on life rights or film adaptation rights (or demanded far more money to extend the option and/or purchase the rights than the original agreement called for.) For producers it's a calculated risk that's part of the business
equation, but for writers who are writing on spec....

They need to be left holding the bag if they didn't give themselves enough time. Their own fault, no excuse. Take the risk out of the calculation. Use good business, as well as common sense. YOU are the one who designs the terms and the parameters of those terms. For Producers it's part of equation. Same holds for writer, 'cause now he qualifies as a producer if he snags the rights. Either way ineptness is not to be rewarded, especially in H-wood. Writer is a big boy, this aint brain surgery.

Quote: I would never write a spec script that wasn't an original idea of my own, unless the underlying property was in the public domain or I bought the film rights outright - rather than optioned them (which is usually cost prohibitive.)

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No law against spending unnecessarily. Go head on. See how fast them pockets get empty. When you start talking 'buying OUTRIGHT' to anybody it takes on a sense of permanency in the mind of the seller and they suddenly want a ton. They don't wish to fall 'victim' to the city slicker, for peanuts no less. Go head on...show them the money.
But in an option situation you can (honestly) say you are working for free to get their story to the silver screen. Nobody gets paid till you... their champion and benefactor, sells it to the deep pockets. Then we both get paid --- fairly and handsomely---on the same day. Yep. 1st day of principal photography. Seller says OK... wasn't doin' anything with them dusty old rights anyway. Where do I sign?

Best--- Plat

Whoops.. got caught in the QUOTE matrix---

DevelopmentExec said:

Unless you actually buy the life rights - or whatever rights up front, it is not necessarily clean or binding.

Options expire eventually, unless both parties agree to keep renewing them (which usually means the perspective buyer keeps paying for the option). If a better offer comes along, the selling party can simply choose not to renew and make a deal with someone else.

Without the underlying rights - a screenplay based on those underlying rights can't be sold or produced.

I've seen both writers and producers left holding the bag, when for some reason or another the rights holder chose not to extend the option on life rights or film adaptation rights (or demanded far more money to extend the option and/or purchase the rights than the original agreement called for.) For producers it's a calculated risk that's part of the business equation, but for writers who are writing on spec....

I would never write a spec script that wasn't an original idea of my own, unless the underlying property was in the public domain or I bought the film rights outright - rather than optioned them (which is usually cost prohibitive.)

Click to expand...

Plat says:

An option is rock solid clean and unquestionably binding. Period. The option secures and reserves, without question, the exclusive right to purchase the life rights (via an instrument known as a Purchase Agreement)... should the option holder wish to do so w/in a stated period of time. (typically when and if the holder finds somebody other than himself to pay for it. Read: studio/prod. co.) No gray areas.

Yeah, options expire or get exercised. Grown-ups doing deals with eyes wide open. Why go thru pain/risk of renewing? Simply have sufficient term length, at inception, that allows time for project to be completed... that way the seller can't walk. Don't leave a window open for them. Easy enough. Can even place 'trigger' clauses that extend option period at no cost. Example: Should a studio/prod. co. start production on the property, the option period shall be extended by ___ months. Note: No law against one dollar cash option. Actually the 'consideration' can be zero cash- your promised efforts. A promise for a promise. Classic binding contract. They promise you the exclusive rights... you promise to work to get the movie made.

All the rights... underlying/overlying are secured by option agreement.

They need to be left holding the bag if they didn't give themselves enough time. Their own fault, no excuse. Take the risk out of the calculation. Use good business, as well as common sense. YOU are the one who designs the terms and the parameters of those terms. For Producers it's part of equation. Same holds for writer, 'cause now he qualifies as a producer if he snags the rights. Either way ineptness is not to be rewarded, especially in H-wood. Writer is a big boy, this aint brain surgery.

No law against spending unnecessarily. Go head on. See how fast them pockets get empty. When you start talking 'buying OUTRIGHT' to anybody it takes on a sense of permanency in the mind of the seller and they suddenly want a ton. They don't wish to fall 'victim' to the city slicker, for peanuts no less. Go head on...show them the money.
But in an option situation you can (honestly) say you are working for free to get their story to the silver screen. Nobody gets paid till you... their champion and benefactor, sells it to the deep pockets. Then we both get paid --- fairly and handsomely---on the same day. Yep. 1st day of principal photography. Seller says OK... wasn't doin' anything with them dusty old rights anyway. Where do I sign?

Best--- Plat

Options can and do expire all the time. It's not about ineptitude - it's about the realities of the business. The length of an option needs to be fair to both parties. It can take years for even the most successful producer to get a project up and running to the point where you go from working off an optioned property to purchasing the rights (precisely because those rights generally do cost a ton). It took something like ten years to get Forest Gump (a novel adaptation) greenlit. No author's going to agree to a ten year option, nor should they. It's not a good idea for any writer to tie up the rights to their project for that long. A couple of years is the norm. But it's often not enough time - especially when the rights are being optioned by a screenwriter who has the extra step of having to first find a producer to further develop the project and try to package it - all the while the clock on that option is ticking.

I've worked in development for some time - I've worked with optioned screenplays, projects adapted from optioned novels, projects based on true life stories that required life rights. I have a solid understanding of the pros and cons of optioned projects. And where the dangers lie. I worked on one project that between option fees and screenwriter fees for the adaptation and various rewrites the prod co invested several years and hundreds of thousands of dollars. Great relationship with the author, he loved the adaptation. But after several extensions, the author - whose on the eccentric side - suddenly wasn't sure if he wanted the book adapted into a film. The project is in limbo and may be dead - which would really be a shame because it's a fabulous script and a wonderful story. For producers development is part of the cost of doing business and since most projects that go into development, don't make it into production this is par for the course.

What writers need to understand is that options only secure the right to purchase and lock in the payment terms for the purchase, for the length of the option. The moment an option expires, if the optioner has not purchased the rights to the underlying property, he has no rights to the underlying property and the agreed upon terms set forth in the option are are null and void. Plus they are out whatever money they put up for the option (and generally speaking the longer the option, and the more extensions, the more the option costs) Since the screenplay itself is based on those underlying rights, the writer can't do anything with the script without having those underlying rights - which he no longer has.

I've seen too many writers pour their hearts and souls into writing spec scripts with underlying rights - and then lose those rights for a variety of reasons.

I stand by my position. I don't think it's a good idea to write a spec script that has underlying rights that you don't own outright. But if you are going to, make sure you have an understanding of what an option is and is not and what it's limitations and the risks are.